ANNA SCHWARTZ GALLERY

MIKE PARR

SELECTED BIBLIOGRAPHY

By the artist: ‘Other Dimensions’ (interview by Rudi Krausmann), Aspect, Spring (September), 1975. ‘Abasex to Zymasex (Homage to Sigmund Freud)”, Art and Australia, vol. 1:4, April 1976. ‘Three Questions’, Aspect, vol. 2:1, 1976. ‘Rules & Displacement Activities: Problems of Socialization’, Data, December 1976. ‘Notes on Recent Work’, Flash Art, #80-81, February 1978. ‘Beyond the pale (Reflections on Performance Art)’, Aspect, vol. 3:4, 1978. (statement), 3rd Biennale of Sydney: European Dialogue, Sydney, The Biennale of Sydney, 1979. ‘Interstices 1-6 (Theatre of Self Correction)’, Flash Art, #17, 1979. ‘Parallel Fictions: The Third Biennale of Sydney’, Art and Australia, vol. 17:2, December, 1979. ‘Notes on the Structure of Content, Black Box, 'Theatre of Self Correction Parts 1 & 2’', Venice Biennale 1980: Art from 1968-1980. Australia: Mike Parr, Kevin Mortensen, Tony Coleing, Sydney, Visual Arts Board of the Australia Council, 1980. (Also in general catalogue published by Biennale di Venezia.) ‘Robert Owen's Apposition’, Aspect, vol. 5:3, September, 1980. ‘The Teeth of Ophion’, Survey 15: Relics and Rituals, National Gallery of Victoria, Melbourne, 1981. ‘Parapraxis 11: Donkey's Blood (Evolution Towards Silence and Absence); Pataphysics, Number 1 (From Eight Atomic Personages Face the Sun, 1981)’, Plain Images, Ivan Dougherty Gallery, Sydney, 1981. ‘Sydney Biennale Review’, Flash Art, June 1982. ‘Glossolalia/Stroke: The Art of Dale Frank- Part 1, Dale Frank, Roslyn Oxley9 Gallery, Sydney, July 1982. (Also in Aspect, #35, Newport, Sydney, 1982.) ‘Epithelium’, Notes on Art Practice, Melbourne, Art Projects, 1982. Australian Art Review, Warner Associates, Sydney, 1982. ‘In the Eye of the Beholder’, Presence and Absence, Art Gallery of Western Australia, Perth, 1983. ‘A-Atrophy’ (concrete poem), Aspect, #26-27, June 1983. Young Blood: Notes on Art Practice, Melbourne, Art Project, 1983. ‘Photo (Graphed)’, Australia: Nine Contemporary Artists, Los Angeles Institute of Contemporary Art, Los Angeles, 1984. Portage (catalogue), Roslyn Oxley 9 Gallery, Sydney & Fine Arts Committee, University of Tasmania, Hobart, 1994. ‘The Art of John Nixon: A Reply to John McDonald’, Australian & International Art Monthly #3, August, 1987. ‘Beleaguered Transcendence (The Art of John Nixon)’, The Australian Bicentennial Perspecta (catalogue), Art Gallery of New South Wales, Sydney, 1987. ‘Reproduction Zero’, British International Print Biennale (catalogue), Bradford Museum, Britain, 1987. ‘Historical Times (Criticising the Critic)’, Agenda, Issue 2, Vol. 1, August, 1988. ‘Crosswords (Hack Journalism versus Criticism)’, Tension 13, Melbourne, June, 1988. ‘The Map’, Prints by Twenty Five Australian Artists (catalogue), Australian National Gallery and the Australian Bicentennial Authority, 1988. ‘The Construction of Difference’, Media and Human Body, Fukui Biennnale 7, Fukui City Art Museum, Fukui, Japan, 1997. ‘Notes on my Peformance Art, 1971-1998’, Endurance, Exit Art, New York, 1998. ‘Excerpts from My Diary’ in ‘Notes on Art Practice III’, John Young & John Nixon (eds), Kerb Your Dog, No. 7, 1990. ‘Some Notes’, Biennale of Sydney 2000, Art Gallery of New South Wales, Sydney, 2000. ‘Artist’s Statement’, Tracey Warr and Amelia Jones (eds), The Artist’s Body, Phaidon Press, 2000. ‘Reflections on my Installation Art of the 1970s’ in Adam Gezcy and Benjamin Gennochio (eds), What is Installation? An Anthology of Writings on Australian Installation Art, Sydney, 2001. ‘Struggle Beyond Self’, The Australian, 23-24 March, 2019. ANNA SCHWARTZ GALLERY

Others:

2019 Stephen Clark, ‘Blank Canvas’, Australian Financial Review, 19 October 2020. Fiona McGregor, 'The Eternal Opening', Running Dog [online], 20 November 2019 Gina Fairley, 'Is Mike Parr Australia's greatest artist?', ArtsHub [online], 7 November 2019. James Kitto, 'Parr to paint blindscape', The Mercury, 7 June 2019. James Kitto, 'Artist keeps it all in the dark', The Mercury, 8 June 2019.

2018 Andrew Stephens, 'Through a glass darkly', The Age, 6 October 2018. Nick Clark, 'Power of Parr is in the mind', Sunday Tasmanian, 17 June 2018. Clarissa Sebag-Montefiore, 'Australian Artist is Buried Alive to Symbolize Historic Cover-Up', The New York Times, 15 June 2018.

2016 Roger Butler and Elspeth Pitt, Language and Chaos, National Gallery of Australia, 2016. Fiona McGregor, ‘Self effacing’, The Monthly, pp. 50-53, October 2016. Andrew Stephens, ‘This could really hurt’, The Age, 28 May 2016. Elspeth Pitt, ‘Mike Parr retrospective at the National Gallery of Australia in Canberra showcases an original in Australian art’, Canberra Times, 5 August 2016. Georgia Booth, ‘Feeling Uncomfortable Around Mike Parr’, Broadsheet, Sydney, 8 September 2016. Gina Fairley, ‘Blood on the floor (literally) as Parr takes on Pollock’, ArtsHub [online], 12 August 2016. Bree Richards, ‘Diversionary tactics’, Art Monthly, Issue 293, October 2016. Lucy Hawthorne, ‘Parr’s penance: ‘Asylum’ at Willow Court’, Art Monthly, Issue 293, pp. 46-47, October 2016. Tracey Clement, ‘The Mercurial Man’, Art Guide, 11 August 2016. Anne Marsh, ‘Mike Parr: Foreign Looking’, Artlink, 7 September 2016. Christopher Allen, ‘Pain and Pretence’, The Australian, 8 October 2016. Nick Galvin, ‘A Driving Force’, Sydney Morning Herald, 27 August 2016.

2015 Dewi Cooke, ‘Mike Parr’s body of work is a glimpse at the future’, The Age, 19 November 2015.

2014 Edward Scheer, ‘For bodies at risk’, Vogue Living, June 2014. Ashley Crawford, ‘Mike Parr’, Artist Profile, Issue 26, 2014.

2013 Matthias Arndt and Mike Parr, ’Mike Parr: Blind Self Portraits’ (catalogue), Mike Parr: Blind Self Portraits, ARNDT Berlin, Berlin, 2013. Anne Marsh, ‘Edel Weiss/Idle Vice, Mike Parr in Vienna 2012-13’, Art & Australia, volume 50 issue 3, pp. 420-425, 2013. Dan Rule, ‘Art As Empowerment’, Broadsheet, Melbourne, 7 June 2013.

2012 Katie Dyer, Brain Coral (catalogue), National Art School Gallery, Sydney, 2012. Alison O’Sulivan, ‘Mike Parr: The Golden Age’, Incubate, Issue 7, 2012. Anne Marsh, ‘Mike Parr: Performance Ontology Revolt’ (catalogue), Edelweiss, Kunsthalle, November 2012-February 2013, Vienna. Dan Rule, ‘Mike Parr: CYCLES OF RESILIENCE’, Vault 1, Winter, Melbourne, 2012. Edward Scheer, ‘Review. Mike Parr: Brain Coral’ in Art and Australia, vol. 50.1, 149, Aug-Oct, 2012. Gregory Wilding, ‘Edelweiss: thinking through art’ (catalogue), Edelweiss, Kunsthalle, November 2012-February 2013, Vienna. Katie Dyer and Mike Parr, (K) Not Expressionism: A Conversation between Mike Parr and Katie Dyer (catalogue), National Art School, Sydney, 2012. Sue Cramer, Less is More: Minimal and Post-Minimal Art in Australia, Heide Museum of Modern Art, Melbourne, 2012.

2011 Doug Hall, ‘Plumbing the depths. How good are our shiny new galleries?’ The Australian Financial Review, 26 May 2011. Edward Scheer, ‘Close the Concentration camps: Performance Art, Mike Parr and the Asylum seeker debate’, Human Rights Defender Gregory Wilding, ‘Indispensable: Mike Parr Performances 1971-2008’, M/C Reviews. Steven Tonkin, ‘Art Performance / Performance Art, in catalogue for Black Box/White Cube: Aspects of Performance in Contemporary Australian Art, The Arts Centre, Melbourne. Tim Elliot, ‘Drawn to extremes’, Sydney Morning Herald, 27 August 2011. Timothy Morrell, ‘Therapy Session’, Australian Art Collector, issue 56, April-June, 2012. Wilding, Gregory L., Resistance, Art, Parr: Engaging Mike Parr’s Self-Correction, PhD diss., University of Queensland, Brisbane, 2011. ANNA SCHWARTZ GALLERY

2010 Adam Geczy, ‘Mike Parr: Performances 1971 – 2008’, Art Monthly, October, Issue 234, 2010. Anthony Gardner, ‘A Space for Presence: Contemporary Australian Art’, CHANGE, Monash University Museum of Art, Melbourne. Binghui Huangfu, ‘Engaged Art: Connecting Streams’ (catalogue), The River Project, Campbelltown Arts Centre, Campbelltown. Edward Scheer, The Infinity Machine, Mike Parr's Performance Art 1971-2005, Schwartz City, Melbourne, 2010. Mike Parr, Pure Water into Polluted Water, 971, 2010, email conversation with Lisa Havilah in the catalogue for The River Project, Campbelltown Arts Centre, Campbelltown, Australia.

2009 Mike Parr: The Tilted Stage, Detached and the Tasmanian Museum and Art Gallery (forward by Klaus Biesenbach, essays by Anthony Bond, Bill Bleathman and Craig Judd), Hobart, 2009.

2008 Adam Geczy, ‘Mike Parr: Performances 1971–2008’, Art Monthly, October, Issue 234, 2010. Edward Scheer, ‘The Performance of Disappearance: Mike Parr’s “Amerika”’, TDR, The Drama Review, MIT Press Vol. 53.3 (T199), Fall 2008. Edward Scheer, ‘AUSTRALIA’S POST-OLYMPIC APOCALYSE? Mike Parr’s Kingdom Come and Other Actions (2001-2005)’, PAJ A Journal of Performance and Art, 88. vol. 30:1, pp. 42-57, January 2008. Mike Parr: Performances 1971–2008, Schwartz City, Melbourne, 2008.

2007 Edward Scheer, ‘It’s OK if you weren’t there: Mike Parr and performance documentation as remediation’, Brought to Light II: Contemporary Australian Art 1966-2006, ed. Lynne Seear and Julia Ewington, Queensland Art Gallery Publishing 2007. Geoffrey Wallis, Eye to ‘I’: The Self in Recent Art (catalogue), Art Gallery Ballarat, Victoria, 2007. Mike Parr, the undeceived are mistaken…, Reading Room, A Journal of Art and Culture, Autobiography in the Wake of Conceptualism, issue/01-2007, Auckland Art Gallery ToioTamaki, Auckland.

2006 Adam Geczy, ‘Here, There, Nowhere, Dead: Performance Art and the Cybernetic Involution’, Mike Parr: Blood Box, Artspace Visual Arts Centre, Sydney, 2006. Edward Scheer, ‘Mike Parr: Blood Box 6/9/98’, Mike Parr: Blood Box, Artspace Visual Arts Centre, Sydney, 2006. Edward Scheer, ‘The Politics of Myth: Mike Parr’s Performance Art and Amerika’ (catalogue), Performance Space and Art Gallery of New South Wales, Sydney, 2006. Edward Scheer, ‘It’s OK if you weren’t there: Mike Parr and Performance Documentation as Remediation’, Brought to Light II: Contemporary Australian Art 1966-2006, Queensland Art Gallery Publication, pp. 88-97, Brisbane, 2006. Justin Clemens, ‘I Advance Masked: Volte Face: Mike Parr Prints & Pre-Prints 1970-2005’, The Monthly, April 2006. Nichola Tsoutas, ‘Performance/Parr’, Mike Parr: Blood Box, Artspace Visual Arts Centre, Sydney, 2006. Rachel Kent, ‘Volte Face: Mike Parr Prints & Pre-Prints 1970-2005’, MCA: Art Matters: Newsletter, Melbourne, 2006. Rachel Kent, Masquerade: Representation and the self in contemporary art, Museum of Contemporary Art, Sydney, 2006. Rosalie Higson, ‘Raw ideas written on the body’, The Australian, February 24, 2006. Sebastian Smee, ‘Identity Crisis’ in ‘Review’, Weekend Australian, April 8-9 2006. Tony Bond, ‘Performing Bodies, Self Portraits’, Art and Australia, vol. 43:3, Autumn 2006.

2005 Jacqueline Millner, ‘Mike Parr: Kingdom Come and/or Punch Holes in the Body Politic’, Broadsheet, vol. 34:2, June-August 2006. Megan Backhouse, ‘Mike Parr’, The Age Magazine, Issue No. 8, p. 90, June 2005. Richard Kalina, ‘Report from Australia: Down Under No More’, Art in America, April 2005.

2004 Adam Geczy and Mike Parr (catalogue), Art Gallery of New South Wales, Sydney, 2004. Anne Ryan, Contemporary Australian Prints from the Collection, Art Gallery of New South Wales, Sydney, 2004. David Bromfield, ‘Organon 2’, Boxkite: A Journal of Writing & Poetics, Double Vol. 3:4, 2004. Edward Scheer, “A Vast Field of Lyrical Aggression: Politics and Ethical Spectatorship in Recent Durational Art by Mike Parr”, Broadsheet: Contemporary Visual Arts + Culture, vol. 33:2, June-August 2004. Edward Scheer, ‘The Reich Stuff’ THE MASS PSYCHOLOGY OF FASCISM. ZIPPEDY DOO DAH ZIPPEDY DEE DAY, Michele Helmrich, ‘Mike Parr- ‘Latemouth’, Boxkite: A Journal of Writing & Poetics, Double Volume #3:4, 2004. Mike Parr, ‘UnAustralian’, 2004 Adelaide Biennial of Australian Art, Contemporary Photo-Media, Art Gallery of South Australia, Adelaide. Mike Parr, ‘Foul Bite & Noise’, Boxkite: A Journal of Writing & Poetics, Double Volume #3:4 Monogene at the University of Wollongong, Wollongong, Australia. ANNA SCHWARTZ GALLERY

2003 Josh Milani (ed.), Latemouth Mike Parr: Works on Paper 1987-2003 (catalogue), University of Queensland Art Museum, Brisbane, 2003. Adam Geczy, ‘Focusing the mind through the body: an interview with Mike Parr’, Artlink, vol. 23:1, 2003. Alan Cruickshank (ed.), Blaze: Visual Art + Writing from the Contemporary Art Centre of South Australia, Contemporary Art Centre of South Australia, Parkside. Benjamin Genocchio, ‘Accenting the minimal’, The Weekend Australian, 1-2 February 2003. David Teh, ‘Art and Politics Estranged’, Broadsheet: Contemporary Visual Arts + Culture, vol. 32:2, June, July, August 2003. Russell Storer, Bleed Bled Said, essay and interview, Power Publications.

2002 Branka Stipancic and Petar Prelog (eds.), Zivot Umjetnosti, Institute of Art History, Zagreb, 2002. Jason Smith & Charles Green, Fieldwork: Australian Art 1968-2002, The Ian Potter Centre, The National Gallery of Victoria, Melbourne.

2001 Andrew Sayers, Australian Art: Oxford History of Art, Oxford University Press, 2001. Ashley Crawford, A Person Looks At A Work of Art…, Museum of Modern Art at Heide, 2001. Branka Stipancic (ed.), Vezeconnections: Contemporary Artists from Australia, House of Croatian Artists, Zagreb. 2001. Cathy Leahy, ‘A New Mike Parr for the Collection’, Gallery Members Magazine, National Gallery of Victoria, Melbourne, 2001. David Bromfield, Migrations (catalogue), Sydney College of the Arts Gallery, 2001. Edward Scheer, ‘The Veil of the Liminal: Mike Parr’s Brides’, Parkett, 62, 2001. Juliana Engberg, ‘Overview’, lowdown recent acquisitions, Monash University Gallery, Monash University, Clayton, 2001. Peter Hill, Anxiety: The Drawn Figure (catalogue), Ivan Dougherty Gallery, 2001. Terry Smith, ‘What is Contemporary Art? Contemporary Art, Contemporaneity and Art to Come’, Critical Issue Series, Sydney, 2001.

2000 Ashley Crawford, ‘Contemporary Art In Australia: An Odd Creature from Down Under’, ARCO 2000, Art and Australia, Sydney. Bernice Murphy, Zeitgenoessische Fotokunst aus Australien (Contemporary Photographic Art from Australia), NBK BRAUS. Cathy Leahy, On the Art of Collaboration (catalogue), Monash University Museum of Art, Melbourne. Edward Scheer & Nicholas Tsoutas, ‘Breaking through Language: Interview with Mike Parr’, 100 Years of Cruelty: Essays on Artaud, Power Institute, Centre for Art & Visual Culture and ARTSPACE. Francois Pluchart, Risk as the Practise of Thought, The Artist’s Body, Phaidon Press Ltd. Sonia Pelletier, ‘Mike Parr Performance’, Recontre Internationale D’Art Performance.

1999 Catrin Lundqvist, Mike Parr (catalogue) Moderna Museet, Stockholm, 1999. Edward Scheer, ‘Fragments from Blood Box’ in everything magazine 3.1, London, 26-28, 1999. Gao Minglu, ‘Self-Images: Mirroring the Relation between Extensionality and Intentionality’ in catalogue for Five Continents and One City: Second International Salon of Painting, Mexico City, 1999.

1998 Jackie Dunn, Telling Tales (catalogue), Ivan Dougherty Gallery, Sydney, 1998.

1997 H. Murphy & D. Elliot, In Place (Out of Time): Contemporary Art In Australia, Museum of Modern Art, Oxford. J. Mendelssohn, ‘Body of Work the Cat’s Whiskers', The Australian, September. Joyce Morgan, ‘Yen for the Big League’, The Sydney Morning Herald, October. Jason Smith, In Relief: Australian Wood Engravings, Woodcuts and Lino, National Gallery of Victoria, Melbourne. Nick Waterlow, Spirit and Place: Art in Australia 1861 – 1996 (catalogue) Museum of Contemporary Art, Sydney. Robyn McKenzie, ‘The Emetics: Primary Vomit, I am Sick of Art (Red, Yellow and Blue), interview with Mike Parr, Like, no. 3, 1997.

1996 Bruce James, ‘No Exit’, Art and Australia, vol. 34:2, 1996. Patrick Flores, ‘Mike Parr in the Philippines: The Perils of Performance’, Art Asia Pacific, vol. 3:1, 1996. Victoria Lynn, ‘Tixw On’, The Guinness Contemporary Art Project (catalogue), Art Gallery of New South Wales, Sydney.

1995 Ben Curnow, ‘Closer Up: Into the Sunset’, Artlink, vol. 15, no. 2 & 3. David Hansen, ‘My dog, your car, out art collection’, Art Monthly Australia, No. 81, July 1995. J. Mendelssohn, ‘Kedumba Drawing Award’, The Australian, October 1995. Miriam Cosic, ‘To all foreigners: we have Art as well as Outback’, The Sydney Morning Herald, October 1995. Pepe Karmel, ‘Antidotes for a Cartoonish Image’, The New York Times, June 1995. ANNA SCHWARTZ GALLERY

1994 Ashley Crawford, ‘Rememberance of Things Parr’, World Art Magazine of Contemporary Visual Arts, November 1994. Graham Coulter Smith, Mike Parr The Self Portrait Project, Schwartz City, Melbourne. Jonathan Holmes, Introduction, Portage, Roslyn Oxley 9 Gallery, Sydney & Fine Arts Committee, University of Tasmania. Julia Robinson (ed.), Antipodean Currents, Australian Art Promotions, Sydney.

1993 David Bromfield, ‘Gone West: Essays and Criticism 1981-1992’, PICA Press, Perth. Deborah Hart, Identities: Art from Australia (catalogue), Taipei Fine Arts Museum.

1992 Anne Marsh, “Techno Bodies: Spectacles, Dreams and Desires”, Binocular: Focusing, Time, Lapses, Ewen McDonald and Juliana Engberg (eds.), Moet & Chandon Contemporary Editions, 1992, Melbourne. Evelyn Juers, ‘Mike Parr’, Art + Text, 41 Summer, 1992, Melbourne.

1991 Anna Marsh, ‘Desire and Discontent: Performance Art in the 1970’s’, exhibition catalogue, Off the Wall/In the Air: A Seventies Selection, 1991, Monash University Gallery, Melbourne. Charles Green, ‘Living in the Seventies’ (catalogue), Off the Wall/In the Air: A Seventies Selection,1991, Monash University Gallery, Melbourne. David Bromfield, Identities: Critical Study of the work of Mike Parr 1970-1990, University of Western Australia Press, 1991. Graham Coulter Smith, ‘Mike Parr, Language and Chaos II’, Colin Naylor (ed), Contemporary Masterworks, St James Press, London. Graham Coulter-Smith, Mike Parr: the Self Portrait Project, monograph on the artist’s work, Schwartz City, Melbourne. Jennifer Phipps, ‘Off the Wall / In the Air: A Seventies Selection’ (catalogue), Monash University Gallery, Melbourne. Merryn Gates, ‘Gramattica Jocosa’ (catalogue) Mike Parr: Artist in Residence 1990 – 1991, The University of Melbourne.

1990 Ashley Crawford, ‘Inland’, Tension 24, December 1990. Charles Green, ‘Mike Parr at City Gallery’, Artforum International, February 1990. David Bromfield, Mike Parr (catalogue), Cologne Art Fair, Roslyn Oxley9 Gallery, Sydney, 1990. Jane Magon, ‘Mike Parr and Antonin Artaud’, Themes, 'text' and disintegration in the work of Mike Parr, from 1970-1983 with specific reference to the installation ‘A-Artaud (Against the Light) Self Portrait at 65’, unpublished masters thesis, School of Humanities, Griffith University, Queensland. John Young & John Nixon (eds), Kerb Your Dog, Number 6, Sydney, Australia, 1989, supplement to Art & Text, #35, Sydney, Summer/ Winter, 1990. Nicholas Zurbrugg, ‘Inhibodress’, Art & Text, #35, Sydney, Summer, 1990. Roger Butler, ‘I think of drypoint in terms of Braille and excavation’, Prints of Mike Parr (catalogue), Drill Hall, Australian National Gallery, Canberra, 1990.

1989 Jacques Delaruelle, ‘Parr and Rrap’, Art Monthly Australia, #24, September, 1989. Mike Parr & Sue Cramer, ‘Interview with Mike Parr’, Inhibodress 1970-72 (catalogue), Institute of Modern Art, Brisbane, 1989. Sue Cramer, ‘Inhibodress 1970-72’, Inhibodress 1970-72 (catalogue), Institute of Modern Art, Brisbane, 1989.

1988 Andrew Bogle, Advance Australian Painting (catalogue), Auckland City Art Gallery, New Zealand. Andrew Sayers, ‘Australian Drawings’, Australian Drawings and Watercolours, A Souvenir Book from the Australian National Gallery, Australian National Gallery, Canberra. Anne Marsh, ‘Body Art, in and against itself: A Psychoanalytic Reading on Narcissism and Aggressivity’, Agenda #3, vol. 1, August. Daniel Thomas, ‘Twentieth-Century Art: The Individual’, Creating Australia, 200 Years of Art, Art Gallery of South Australia, Adelaide. Graham Coulter Smith & Jane Magon, ‘Mike Parr's Self Portraits: Unma(s)king the Self’, Eyeline, June, 1988. George Petelin, ‘Australia: Beyond and Mundane’, Contemporary Australian Art to China (catalogue), Darling Downs Institute of Advanced Education, 1988. John Young & John Nixon (eds.) Kerb Your Dog, Number 3, Sydney, Australia, 1988.

1987 Bernice Murphy, ‘Babel/Nuremberg (The Photographic Winter) In the Wings of the Oedipal Theatre Part 4’, The Australian Bicentennial Perspecta (catalogue), Art Gallery of New South Wales, Sydney, 1987. Bruce Adams, ‘Life after Death (Battery Man)’ & ‘The History of Photography’, 1988 Australian Biennale From the Southern Cross (A View of World Art C. 1940-1988), Art Gallery of New South Wales, Sydney, 1987. Eleanor Heartney, ‘Mike Parr at Rught Siegel’, Art in America, January, 1987. Gary Sangster, Parallaxis (catalogue), Artspace, Sydney, 1987. Gary Sangster, ‘The Isolation of Fruit & Vegetable (Half-Life)’, Parallaxis (catalogue), Artspace, Sydney, 1987. John MacDonald, ‘Is there No Serious Criticism Here?’, Australian & International Art Monthly, #1, June, 1987. Rex Butler, ‘Light of Day’, Light of Day/ between Lindy Lee and Mike Parr (catalogue) Australian Centre for Photography, Sydney, 1987. Victoria Lynn, ‘Introduction’, British International Print Biennale catalogue, Bradford Museum, U.K., 1987. ANNA SCHWARTZ GALLERY

1986 Anthony Bond, ‘Mike Parr's Drawings’, The Satellites of Death (catalogue), Michael Milburn Galleries, Brisbane, 1986. Ellen Lee Klein, ‘Mike Parr’, Arts Magazine, December, 1986. Bernice Murphy, ‘The Installation Works of Mike Parr’, Prospect 86, catalogue, eine internationale Ausstelling aktueller Kunst des Frankfurter Kunstvereins im Steinernen Haus und der Schirn am Roemerberg Frankfurt am Main Nick Waterlow, ‘Origins Originality + Beyond’, Origins, Originality + Beyond: The Sixth Biennale of Sydney, Sydney.

1985 Anthony Bond, introduction to 5/5: Fünf vom Fünften, daadgalerie, Berlin, 1985. Bernice Murphy, Australian Perspecta 1985, Art Gallery of New South Wales, Sydney, 1985. Bernice Murphy, ‘Mike Parr: in extremis/in parenthesis’ (exhibition catalogue), 5/5: Fünf vom Fünften, daadgalerie, Berlin. David Bromfield, ‘An Australian Accent in Perth’, Art Network, Summer, 1985. Johnathan Holmes, introduction to Portage (exhibition catalogue), Fine Arts Committee, University of Tasmania, Hobart, 1985.

1984 Anthony Bond, ‘Introduction’, 5/5 Fuenf vom Fuenften, DAAD Galerie, Berlin, Germany, 1984. Bernice Murphy, ‘Mike Parr: in extremis/in parenthesis’, 5/5: Fuenf Vom Fuenften, DAAD galerie, Berlin, 1984. Benjamin Forgey, ‘The Edge of Night’, Washington Post, 22 July 1984. Daniel Thomas, ‘The Artists and Their Australian Context’, An Australian Accent, P.S. 1, Institute for Art and Urban Resources Inc., John Kaldor Art Project 7. Eric Gibson, ‘An Australian Accent?’, New Criterion, September 1984. Institute for Art and Urban Resources Inc., John Kaldor Art Project 7, 1984. Jonathan Fineberg, ‘A Critical Examination of the Artists' Current Work from an International Perspective’, An Australian Accent, P.S. 1. John Russell, ‘Three Vigorous Artists from Down Under’, New York Times, 20 April 1984. Kay Larson, ‘Seeing Australia’, New York Magazine, May 1984. Kim Levin, ‘PS1's Report Card’, Village Voice, 1 May 1984. Robert Atkins, ‘Australians Arrive at PS1’, Newsday, 11 May 1984. Thomas McEvilley, ‘An Australian Accent’, Artforum, October 1984. Paul Taylor, ‘A Culture of Temporary Culture’, Australia: Nine Contemporary Artists (catalogue), Los Angeles Institute of Contemporary Art, Los Angeles, 1984.

1983 Bernice Murphy, ‘Mike Parr: A gear-shift in the ‘Diabolus ex Machina'’, Mike Parr, Institute of Modern Art, Brisbane, 1983. Bernice Murphy & Janet Parfenovics, Australian Perspecta 1983: A Biennale Survey of Contemporary Australian Art, Art Gallery of New South Wales, Sydney. Bruce Adams, ‘Presence & Absence: The Gallery as Other Place’, Art + Text, #10, June, 1983. Catherine Millet, interview with Mike Parr, ‘Mike Parr, le moi createur et l'Autre’, in ‘Special Australie: Art, Musique, Literature, Pointure, Aborigene’, Art Press, No.74, October, 1983, Paris. Sue Cramer, ‘Masterpieces and Tall Poppies’, Art Network, Winter, Sydney, June, 1983. Terence Maloon, ‘Recent Australian Art and its background’, Tetsuo Kogawa, ‘Urban Culture in Australia’, & other essays, Continuum '83 Tokyo, Gallery Lunami, 1983. Leon Paroissien, ‘Australia’, World Art Trends 82, 1983. Leon Paroissien, Australian Art Review 2, Warner Associates, Sydney and Oxford University Press, Melbourne, 1983. Leon Paroissien, ‘Report from Sydney: The Fourth Biennale’, Art in America, February, 1983. Morris, Meaghan, Page, Suzanne, & Paroissien, Leon, D’un autre continent: L'Australie, Le rêve et le réel, Paris, ARC/Museé d'Art Moderne de la Ville de Paris, 1983 (Includes: ‘On Going Overboard’ and ‘Contra Mensurability’, by Mike Parr, April, 1983). Paul Taylor, ‘Art News: Artists in Paris’, Vogue Australia, October 1993, Australia: Art, Musique, Literature, Pointure, Aborigene', Art Press, #74, Paris, October, 1983 (includes Catherine Millet interview, ‘Mike Parr, le moi createur et l’Autre', Paul Taylor, ‘From Deserts the Profits Come’). Paul Taylor, ‘Australian Art: Beyond the Cringe’, Studio International, vol. 196:1002, London, October, 1983. Paul Taylor, Tall Poppies, University Gallery, The University of Melbourne, Melbourne, 1983.

1982 Nancy Underhill, Ian Burn, Paul Taylor, Eureka! Artists from Australia, I.C.A./Arts Council, London, 1982. Nancy Underhill, Ian Burn, Paul Taylor, 4th Biennale of Sydney: Vision of Disbelief, The Biennale of Sydney, Sydney, 1982.

1981 Bernice Murphy, Australian Perspecta 1981: A Biennale Survey of Contemporary Australian Art, Art Gallery of New South Wales, Sydney. Suzi Gablik, ‘Report from Australia’, Art in America, vol. 69:1, January 1981 (Also in Art and Australia, vol. 18:4, Winter, Sydney). Suzi Gablik, First Australian Sculpture Triennale, Preston Institute of Technology, Melbourne, 1981.

1980 Janine Burke, ‘Taken At Face Value: Self Portraits and Self Images’, Self Portrait/Self Image (catalogue), Australian Gallery Directors Council, Sydney & Victorian College of the Arts, Melbourne, 1980. Jennifer Phipps, ‘Films by Artists’, Art and Australia, vol. 18:1, Spring, September, Sydney, 1980. ANNA SCHWARTZ GALLERY

1979 Nick Waterlow, ‘European Dialogue’, Flash Art, 1979.

1978 Elwyn Lynn, ‘Letter from Australia’, Art International, vol. 22, #5-6, September, 1978. Graeme Sturgeon, The Development of Australian Sculpture, Thames and Hudson, London, 1978. Michael Nicholson, ‘Status Quo’, Aspect, vol. 3:3, July 1978. Paul McGillick, ‘Performance Art: Some Sceptical Reflections’, Act 1 An Exhibition of Performance and Participatory Art, Arts Council of Australia, A.C.T. Division, Canberra, 1978. Terry Smith, ‘Private Art and public work’, Act 1 An Exhibition of Performance and Participatory Art, Canberra, Arts Council of Australia, A.C.T. Division, 1978.

1977 Tommaso Trini, ‘Domani L'Australia (Australia Next)’, Data, #26, April, 1977.

1975 Patrick McCaughey, ‘Art and Sanctuary’, Aspect, Spring (September), Newport, Sydney, 1975.

1974 Terry Smith, ‘The Provincialism Problem’, Artforum, September, 1974.

1975 Patrick McCaughey, ‘Art and Sanctuary’, Aspect, September, 1975.

1973 Donald Brook, ‘Idea Demonstrations: Body Art and ‘Video Freaks’ in Sydney’, Studio International, vol. 185:956, June Lucy Lippard (ed.), Six Years; The Dematerialization of the Art Object from 1966 to 1972, Praeger, New York, 1973.

1971 Terry Smith, Donald Brook, Mike Parr & Peter Kennedy (exhibition introductions), The Situation Now: Object or Post-Object Art?, Sydney, Contemporary Art Society, One Central Street, 1971.