| Risky business : Ivan Durrant versus the National Gallery of Victoria
|
2023 |
Marshall, Christopher R. |
| I am Gordon Bennett
|
2023 |
Butler, Rex |
| Dispersed subjects
|
2023 |
Nguyen, James |
| VNS matrix-pilled : three propositions for revisting 1990s cyberfeminist art now
|
2023 |
Hurst, Cameron |
| [Rezension von: Choreography, visual art and experimental composition 1950s -1970s / Erin Brannigan. - 2022]
|
2023 |
Best, Susan |
| Old/new: the anti-gatekeeping method
|
2023 |
Tello, Verónica |
| The rescue of William D'Oyly : colonial castaway encounters and the imperial gaze
|
2023 |
Chandler, Lisa |
| 'Ai Pōhaku, Stone Eaters : affirmation, defiance, and Kānaka 'Ōiwi visual culture today
|
2023 |
Kahu'āina Borderick, Drew |
| Embodying oceanic relationality : an introspective of the 2022 Hawai'i Triennal
|
2023 |
Ku'uleinapuananioliko'awapuhimelemeleolani Furtado, Nicole |
| The visiting curators
|
2023 |
Eshrāghi, Léuli |
| Personal tributes delivered at "Celebrating emeritus professor Virginia Spate AC FAHA, 1937-2002", University of Sydney, 10 November 2022
|
2023 |
Ledbury, Mark |
| Queer curatorial relations : a dialogue on five recent projects
|
2023 |
Barrett, Frances |
| [Rezension von: Iconomy : towards a political economy of images / Terry Smith. - 2022]
|
2023 |
Fielke, Giles |
| Teaching Mana Māhine in art history : he Whakaaro noa iho/some thoughts
|
2022 |
Ellis, Ngarino |
| [Rezension von: Pretty gentlemen : macaroni men and the eighteenth-century fashion world / Peter McNeil. - New Haven ; London : Yale University Press, 2018]
|
2022 |
Milam, Jennifer Dawn |
| Clarice Beckett: the present moment : Art Gallery of Australia, 27 February - 23 May 2021
|
2022 |
Byford, Siobhan |
| "This is the future" : feminism's double gaze - a conversation with Janine Burke
|
2022 |
McInnes, Vikki |
| "Happier in my lonely cell": convict women's textiles
|
2022 |
Hughes, Helen |
| Proposition # 61 inheriting minor cultures
|
2022 |
Martinis Roe, Alex |
| A peripatetic virgin : a seventeenth-century ivory carving from Manila in the National Gallery of Victoria
|
2022 |
Martin, Matthew |
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