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Apophoria (The Way of Negation)
Leonard Brown
Brisbane: Andrew Baker Art Dealer, 2018. -
Experience Untaught Me the World
Leonard Brown
Brisbane: Andrew Baker Art Dealer, 2017. -
Extra Ordinary Painting
Leonard Brown
Brisbane: Andrew Baker Art Dealer, 2014. -
I Promised a Rainbow
Leonard Brown
Brisbane: Andrew Baker Art Dealer, 2010. -
Old Fashioned Painting
Leonard Brown
Brisbane: Andrew Baker Art Dealer, 2015. -
The Familiar Perpendicular
Leonard Brown
Brisbane: Andrew Baker Art Dealer, 2011. -
Skin / Madonna and Child
Wylda Bayron
Brisbane: Andrew Baker Art Dealer, 2008.Exhibition catalogue.
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Safety Instructions
Pippin Barr
Brisbane: Andrew Baker Art Dealer, 2014.Exhibition catalogue.
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Behind the Lines
Lincoln Austin
Brisbane: Andrew Baker Art Dealer, 2013.Exhibition catalogue.
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Every Now and Then
Lincoln Austin
Brisbane: Andrew Baker Art Dealer, 2018. -
Wayward
Lincoln Austin
Brisbane: Andrew Baker Art Dealer, 2011. -
Sometimes I Like To Pretend I’m A Robot
Lincoln Austin
Brisbane: Andrew Baker Art Dealer, 2017.Catalogue for a 2017 exhibition of sculptures, prints, and thread work.
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Yuk Wiy Min
Aurukun Artists
Brisbane: Andrew Baker Art Dealer, 2009. -
Arero Ajive (A New Light)
Ilma Savari (Ajikum’e)
Brisbane: Andrew Baker Art Dealer, 2016. -
Still In My Mind: Gurindji Location, Experience and Visuality
Brenda L. Croft; Penny Smith; Felicity Meakins
Brisbane: University of Queensland Art Museum, 2017.Foreword by Felicity Fenner and Campbell Gray.
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Biting The Clouds: A Badtjala Perspective on the Aboriginals Protection and Restriction of the Sale of Opium Act, 1897
Fiona Foley
Brisbane: University of Queensland Press, 2020.“In this groundbreaking work of Indigenous scholarship, nationally renowned visual artist Fiona Foley addresses the inherent silences, errors and injustices from the perspective of her people, the Badtjala of K’gari (Fraser Island). She shines a critical light on the little-known colonial-era practice of paying Indigenous workers in opium and the ‘solution’ of then displacing them to K’gari. Biting the Clouds – a euphemism for being stoned on opium – combines historical, personal and cultural imagery to reclaim the Badtjala story from the colonisation narrative. Full-colour images of Foley’s artwork add further impact to this important examination of Australian history.” (publisher’s blurb)
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Picture Park
Katharina Grosse
Brisbane: Queensland Art Gallery, 2007. -
Missile Park
Yhonnie Scarce
Brisbane: Institute of Modern Art, 2021.“Yhonnie Scarce: Missile Park is the first survey exhibition of leading contemporary artist Yhonnie Scarce, and brings a major new commission into dialogue with work that spans the past fifteen years of the artist’s career. Scarce’s works in this survey reference the on-going effects of colonisation on Aboriginal people, responding to research into the impact of nuclear testing and the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. Born in Woomera, South Australia in 1973, Scarce belongs to the Kokatha and Nukunu peoples, and family history is central to Scarce’s works in this show. This survey also includes major works that engage with the disciplinary forms of colonial institutions and representation-religion, ethnography, medical science, museology, taxonomy-as well as monumental and memorial forms of public art and remembrance.” (publisher’s blurb)
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Making Art Work
Llewellyn Millhouse; Liz Nowell; Tulleah Pearce; Sarah Thomson
Brisbane: Institute of Modern Art, 2021.“This publication documents an initiative of the Institute of Modern Art, Making Art Work which proposed an experimental role for the institution as administrators of economic stimulus for artists. Taking place across 2020–during and post [COV..]-19 lockdowns–the project saw over 40 artists commissioned to create new works that reinforced the importance of creative labour at a time when the cultural and economic value of art had been diminished. Drawing from the politicised language of the crisis, each artist responded to the provocations posed by four curatorial pillars; Unprecedented Times, Industrial Actions, Permanent Revolution, and Relief Measures. Artist commissions spanned objects, texts, workshops, ephemeral projects, and more with the outcomes presented via makingart.work, and at the IMA Belltower. This publication complies these artworks alongside new essays from Sophia Nampitjinpa Sambono, Ian Were, Sarah Werkmeister, and Yen-Rong Wong, and a foreword from IMA staff Llewellyn Millhouse, Liz Nowell, Tulleah Pearce, and Sarah Thomson to create a document celebrating Queensland art and artists. Making Art Work commissioned artists included: Tony Albert, Kieron Anderson, Mariam Arcilla, Maeve Baker, Richard Bell, Mia Boe, Hannah Brontë, Michael Candy, Emil Cañita, Jacquie Chlanda, Monika Noémi Correa, Merinda Davies, Julian Day, Digi Youth Arts, ?ggve|n, Ana Paula Estrada, Chantal Fraser, Hannah Gartside, Mindy Gill, Channon Goodwin, Kinly Grey, Daisy Hamlot, Susan Hawkins, Rachael Haynes, Gordon Hookey, Natalya Hughes, Inkahoots, Peter Kozak, Jenna Lee, Mia McAuslan & Jon Tjhia, Amelia McLeish, Archie Moore, Tori-Jay Mordey, Sally Olds, Steven Oliver, Sarah Poulgrain, Refugee Solidarity Meanjin, Angelica Roache-Wilson, Amy Sargeant, Shandy, Jacqui Shelton, Des Skordilis, Hannah Smith, David Spooner, Grant Stevens, Tyza Stewart, and Liesel Zink.” (publisher’s blurb)
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Root Development of Cocoa in Papua New Guinea Soils
D. F. Freyne; P. Bleeker; B. M. Wayi; P. Jeffery
Brisbane: Freyne Consulting, 1996.Technical report of research by the Land Utilisation Section, Department of Agriculture and Livestock. Write up commissioned by the Governments of Papua New Guinea and New Zealand. Scarce, 2 copies in OCLC at July, 2021, at the University of Adelaide and Wageningen University, Netherlands.