- Rebecca Solnit, Wanderlust: A History of Walking (New York and London: Penguin, 2001).
- Jacques Rancière, ‘The Aesthetic Revolution and Its Outcomes’, in Dissensus: On Politics and Aesthetics (London, New York: Continuum, 2010), 118.
- Francis Alys, interviewed by Russell Ferguson in Francis Alÿsed., Cuauhtémoc Medina, Russel Ferguson, and Jean Fisher (London and New York: Phaidon, 2007), 40.
- Mark Godfrey, Klaus Biesenbach, and Kerryn Greenberg eds., Francis Alÿs: A Story of Deception, (London: Tate Publishing), 2010, 82.
- Jacques Rancière, ‘The Paradoxes of Political Art’, in Dissensus, 140.
- Ibid., 141.
- Francis Alÿs, Francis Alÿs: A Story of Deception, 139.
- Francis Alÿs, quoted in ‘Fragments of a Conversation in Buenos Aires’, in A Story of Deception: Patagonia 2003–2006 (Buenos Aires: Malba-Colección Costantini, 2006), 82.
- Francis Alÿs, Francis Alÿs: A Story of Deception, 169.
- Ibid., 86.
- The photographs were exhibited at the GBAG in 1971 as Permanent and Impermanent Forms and remain in its collection.
- The GBAG is home to the Len Lye Foundation and its collection of Lye's art and archives.
- Australian and New Zealand Journal of Art 9, no. 1/2, 2008/9.
- Eleanor Heartney, Art and Today (London and New York: Phaidon, 2008).
- Fredric Jameson, cited in Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity, 14.
- Charles Green, ‘Living in the Seventies’, in Off the Wall / In the Air: A Seventies’ Selection (Clayton, Vic: Monash University Gallery, 1991), 11.
- Terry Smith, ‘Art Criticism/Self Criticism’, in 6th Mildura Sculpture Exhibition, ed. Tom McCullough (Mildura: Mildura Regional Art Gallery, 1975), 3.
- Terry Smith, ‘Art Criticism in Australia: The Mid-1970s Moment’, Agenda 2 (Supplement), August 1988: 12.
- Terry Smith, Okwui Enwezor, and Nancy Condee, ‘Preface’, in Antinomies of Art and Culture, xiv.
- Ibid.
- Helen Molesworth, ‘Zoe Leonard, Analogue, 1998–2007’, in Antinomies of Art and Culture, 188.
- See Robert Dixon and Nicholas Birns, eds., Reading Across the Pacific: US-Australian Intellectual Histories (Sydney: Sydney University Press, 2011).
- Paul Giles, Virtual Americas: Transnational Fictions and the Transatlantic Imaginary (Durham, NC, and London: Duke University Press, 2002), 6.
- See Robert Dixon and Veronica Kelly, eds., Impact of the Modern: Vernacular Modernities in Australia 1870s to 1960s (Sydney: Sydney University Press, 2008).
- Erika Esau, Images of the Pacific Rim: Australia and California 1850–1935, 294.
- Ibid., 331.
- Joan Kerr, ‘Why Architects Should Not Write Architectural History’ (1984), A Singular Voice: Essays on Art and Architecture, 223.
- Joan Kerr, ‘The Art of Vivienne Binns’ (1993), in ibid., 147.
- Joan Kerr, ‘Art and Life’ (1995), in ibid., 65.
- Virginia Spate, speech at the Historic Houses Trust dinner for Joan Kerr at Government House, Sydney, 6 June 2003. ‘Joan Kerr: A Tribute 1938–2004’, Art Monthly Australia, no. 169, 2004: 18–9.
- Craig Judd, ‘Joan Kerr, Art Historian: February 1938-February 2004’, Artlink, no. 24, 2004: 11.
- See Design and Art Australia Online (DAAO), www.daao.org.au.
- This anthology, to which 214 people contributed, records 500 works by 500 women artists working prior to 1955.
- This work was exhibited at the inaugural exhibition of the Queensland National Association at Brisbane in 1884. Joan Kerr, ‘Art and Life’ (1995), in A Singular Voice, 64.
- Ibid., 65.
- Dinah Dysart, speech at the Historic Houses Trust dinner for Joan Kerr at Government House, Art Monthly Australia, no. 169, 2004: 18–9.
- Craig Judd, ‘Joan Kerr, Art Historian: February 1938-February 2004’: 11–2.
- Joan Kerr, ‘The Bicentenary and the BLOCKbuster, 1988’, in A Singular Voice, 13.
- Joan Kerr, ‘Somersaults in the Antipodes’ (1993), and ‘Millennial Icons for Australia’ (1999), in ibid., 48 and 67–9 respectively.
- Joan Kerr, ‘Past Present: The Local Art of Colonial Quotation’ (1999), in ibid., 151.
- Russell Storer, ‘Open House: A Discussion of Multiple Perspectives Across Borders’, Broadsheet, 40, no. 1, 2011, www.cacsa.org.au/cvapsa/2011/2_BS_40.1/40_1_OpenHouse.pdf.