Installation View: Photography Exhibitions in Australia (1848–2020)

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Notes

1 Florence Derieux, ed., Harald Szeemann: Individual Methodology (Zurich: JRP Ringier, 2007), 8

2 Earlier studies include: Eileen Chanin, Steven Miller, and Judith Pugh, Degenerates and Perverts: The 1939 Herald Exhibition of French and British Contemporary Art (Carlton, Vic.: Miegunyah Press, 2005); Kate Darian-Smith, R. Gillespie, Caroline Jordan, and Elizabeth Willis, eds., Seize the Day: Exhibitions, Australia and the World (Melbourne: Monash E-Press, 2008); Anne Maxwell, Colonial Photography and Exhibitions: Representations of the 'Native' and the Making of European Identities (London: Leicester University Press, 2000). See also Joanna Mendelssohn, Catherine De Lorenzo, Alison Inglis, and Catherine Speck, Australian Art Exhibitions: Opening Our Eyes (Melbourne: Thames & Hudson, 2018).

3 https://researchdata.edu.au/search/#!/rows=15/sort=score%20desc/class=activity/p=1/funders=Australian%20Research%20Council/q=Jolly/

4 Rémi Parcollet, ‘Exhibition View. The Primary Sources of Exhibition History: The Example of the Catalogue Raisonné of the Centre Pompidou’s Exhibitions’, Revista de Historia da Arte 14 (1919): 50.

5 See Kathryn M. Floyd, ‘Exhibition Views: Towards a Typology of the Installation Shot’, Revista de Historia da Arte 14 (1919): 93–109, as well as other articles in the same journal issue.