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