- William McAloon and Jill Trevelyan, Rita Angus: Life and Vision (Wellington: Te Papa Press, 2008), 15.
- Ruth Watson, ‘Rita Angus: A Life and a Vision’, Art New Zealand 128, 2008, 48.
- These were deposited, in accordance with Lilburn's wishes, following his death in 2001.
- Rita Angus, National Art Gallery, Wellington, 1982.
- William McAloon and Jill Trevelyan, Rita Angus: Life and Vision, 15.
- Bronwyn Lloyd, ‘The Goddesses: Rita Angus's Painted Emissaries of Peace’, Rita Angus: Life and Vision, 113, my emphasis.
- Tony Green, Poussin's Humour, 23 August 2008 (http://tony_green.typepad.com/pouhu/).
- Jill Trevelyan, Rita Angus: An Artist's Life (Wellington: Te Papa Press, 2008), 294. Her suggested answer is, ‘In the absence of her own testimony we can never be certain, but it has affinities with the goddess paintings.’
- See Laurence Simmons, ‘Tracing the Self’ and ‘The Haunting of Painting,’ in The Image Always Has the Last Word (Palmerston North: Dunmore Press, 2002), 29–38. See also Vita Cochran, ‘Rita Angus by Herself,’ in Rita Angus: Live to Paint and Paint to Live, ed. Vita Cochran and Jill Trevelyan (Auckland and Dunedin: Godwit/Random House, in association with City Gallery Wellington and Hocken Library, 2001), 16–24.
- Ibid.
- Sidney Nolan, ‘Public Statements’, Nolan on Nolan: Sidney Nolan in His Own Words, ed. Nancy Underhill (Camberwell, Vic.: Penguin, 2007), 289.
- Ibid., 302.
- Sidney Nolan, ‘Notebooks and Diaries’, in ibid., 21.
- Ibid., 65.
- Ibid., 97.
- Howard Wadman, ed. Yearbook of the Arts in New Zealand: 1945 (Wellington: H. H. Tombs, 1945), 60.
- Christine Moir, ‘His Art Strictly from the Intellect’, New Zealand Women's Weekly, 10 March 1969.
- ‘Full Circle for Abstract Art’, Sunday Star Times, 2 November 1997, F2.
- Diana Dekker, ‘An Icon of Abstraction’, Dominion Post, 3 September 2003, A18.
- Alan Wright and Edward Hanfling, Mrkusich: The Art of Transformation (Auckland: Auckland University Press, 2008), 7.
- Ibid., 78.
- Ibid., 42.
- John Ritchie, Auckland Star, 17 March 1965, cited in Michael Dunn and Petar L. Vuletic, Milan Mrkusich: Paintings 1946–1972 (Auckland: Auckland City Art Gallery, 1972), 18.
- Jo Noble, ‘Rich in imagery and symbolism’, New Zealand Woman's Weekly, 28 June 1965, 24–5.
- Leonard Bell, ‘Resonances of Colour’, New Zealand Listener, 21 December 1974.
- Neil Rowe, ‘McLeavey Show Important’, Evening Post, 7 July 1979.
- Alan Wright and Edward Hanfling, Mrkusich, 9.
- Ibid., 88.
- Ibid., 95.
- Hamish Keith, ‘Mrkusich's Multi-coloured Life’, Sunday Star Times, 26 April 2009, C8.
- Lindsay Rabbitt, ‘The Dealer’, Listener, 17 February 2001, 51.
- Cited in the blog Over the Net and on the Table, 20 July 2009 (http://overthenet.blogspot.com/2009/07/walk-with-me.html).
- Kobena Mercer, ‘Introduction’, in Kobena Mercer, ed., Pop Art and Vernacular Cultures (London: Iniva and MIT Press, 2007), 15.
- Ibid., 2.
- Gavin Butt, ‘“Stop That Acting!”: Performance and Authenticity in Shirley Clarke's Portrait of Jason’, in ibid., 52.
- Kobena Mercer, ‘Tropes of the Grotesque in the Black Avant-Garde’, in ibid., 138.
- Ibid.
- Tomás Ybarra-Frausto, ‘Rasquachismo: A Chicano Sensibility’, in ibid., 58.
- Ibid., 64.
- Holly Barnett-Sanchez, ‘Chicano/A Critical Practices: Reflections on Tomás Ybarra-Frausto's Concept of Rasquachismo’, in ibid., 84.
- Colin Richard, ‘Off the Wall: Mr Peanut and Other Mod Cons’, in ibid., 170.
- The MQB murals were a project of the Australian Indigenous Art Commission, with support from the Australia Council, and the curatorial vision of Hetti Perkins and Brenda Croft. Participating artists included Paddy Nyunkyuny Bedford, John Mawarndjul, Ningura Napurrula, Lena Nyadbi, Michael Riley, Judy Watson, Tommy Watson, and Gulumbu Yunupingu.
- The artists who attended the Cornell opening and created a ground painting in the gallery included Bobby West Tjupurrula, Joseph Jurra Tjapattjarri, and Ray James Tjangala.
- Nakamura Kazue, ‘A Dialogue to Find Ourselves and Others: The Reception of Emily Kngwarreye in Japan’
- Australian and New Zealand Journal of Art 9, no. 1–2 (2008–9), 23–7.
- Fred Myers, Pintupi Country, Pintupi Self: Sentiment, Place and Politics among Western Desert Aborigines (Berkeley: University of California Press, 1991).
- Hetti Perkins, ‘Preface’, in Icons of the Desert, ed. Roger Benjamin and Andrew C. Weislogel (New York: Cornell University, 2009), 13.
- I take inspiration from Marc Harrison's concept of ‘inherent value’. Personal communication with the author, 30 May 2009.
- According to Fred Myers, also transcribed as ‘Wartuma’. Personal communication with the author, 26 January 2010.
- Vivien Johnson, ‘The Intelligence of Pintupi Painting’, in Icons of the Desert, 66.
- I introduce this concept in my work with American Indian women in Circle of Goods (Albany: State University of New York Press, 2003).