| 1943 |
Born Cornwall, U.K.
|
| 1959-63 |
Plymouth College of
Art, U.K. N.D.D. (Spec. Level) |
| 1964-67 |
Royal College of Art,
London, U.K. A.R.C.A. |
| 1968 |
as above M.Art (R.C.A.) |
| 1967-69 |
Yale University
School of Art and Architecture. U.S.A. M.F.A.
Yale |
|
|
| 1967 |
Sheffield Arts Festival,
U.K. |
| 1971 |
Barry Lett Galleries,
Auckland, N.Z. |
| 1976 |
Watters Gallery, Sydney,
Australia.
Nigel Greenwood Gallery, London. U.K.
David Hendricks Gallery, Dublin, Eire. |
| 1978 |
Felicity Samuels Gallery,
London, U.K.
Arena, Time/Space Series, The Project Gallery,
Dublin, Eire. |
| 1979 |
Further Notes towards
the Conquest of Space,
David Hendricks Gallery, Dublin, Eire.
An Exhibition in Two Places, Part I, Arts Council
Gallery, Belfast, N.I.
An Exhibition in Two Places, Part II, Orchard
Gallery, 'Derry, N.I. |
| 1980 |
Rumours of War, Watters
Gallery, Sydney, Australia.
Double Entendre, Central Street, Sydney, Australia.
Nine Targets, Avago Gallery, Sydney, Australia. |
| 1981 |
Sunrise : Impression,
Installation, drawings,
structures, and installed slide/sound works, George
Paton Gallery,Melbourne, Australia.
Nine Triplets, Watters Gallery, Sydney, Australia.
Nine Triplets, Institute of Modern Art, Brisbane,
Australia. |
| 1982 |
Targets - '72-82, Avago
Gallery, Sydney, Australia.
Travellers' Tales, Yuill/Crowley, Sydney, Australia. |
| 1983 |
Targets - '83,IndependentGallery,Ginza,
Tokyo,Japan,(partof AustralianContinuum).
Installed Works in Three Rooms, National Art Gallery,
Wellington, New Zealand. |
| 1983 |
Targets - (Figures
with Landscape), Yuill/Crowley, Sydney, Australia.
Targets - '83 (Sydney-Tokyo-Belfast), Art Research
Exchange, Belfast, N.I. |
| 1984 |
Installed Images, Independent
Gallery, Ginza, Tokyo, Japan.
Works on Paper, Red Metro, Dunedin, New Zealand. |
| 1985 |
After the Fire, Avago
Gallery, Sydney, Australia.
Installed Drawings, Independent Gallery, Ginza,
Tokyo, Japan. |
| 1986 |
Living Memorial, City
Artists Gallery, London, U.K. |
| 1987 |
Sibyl-Hydra (Equipoise),
City Artists Gallery, London, U.K. |
| 1988 |
See French Art, Avago,
Sydney, Australia.
Eyes Open/Mouth Closed - Silent Scream, Window
Installation,
Camera Lucida, Sydney, Australia. |
| 1989 |
Mars & Venus &
the Thing Which is Bigger Than Both of
Us, an installed work, with sound and projection.
With help
from STA Travel. Ivan Dougherty Gallery, Sydney,
Australia.
Shadow / Blot, an installed gallery work, W.I.N.D.O.W.,
Sydney, Australia. |
| 1990 |
Square Deal Cafe, Major
multi-media Installation,
E.M.R. Gallery, Sydney, Australia.
Tabula Rasa, Mural scale window work with Colour
Photocopies,
Camera Lucida, Sydney, Australia. |
| 1992 |
Hotel Chic, The Siege
Centre, Derry, N.Ireland.
the Gravity of Labour, The Orchard Gallery, Derry,
N.Ireland.
(Both as part of Impact 92, Derry City Council.)
Survey Exhibition, Arts Council Gallery, Belfast,
N.Ireland. |
| 1993 |
Press/View - Screen,
Installed Appliances. Black Gallery,
Sydney, Australia.
Annexe/Nexus, Perth Institute of Contemporary
Art,
(PICA), West Australia. |
| 1994 |
riù zi-st ,
KUNST, Sydney, Australia. |
| 1995 |
Hotel Chic: Tokyo,
Derry, Sydney . KUNST, Sydney, Australia. |
| 1998 |
Camp for Lost Souls.
- Gitte Weise Gallery, Sydney, Australia. |
| 1999 |
Thin Skin - Silent
Wall. - Gitte Weise Gallery, Sydney, Australia. |
| 2000 |
Bananaconda - The Physics
Room, Christchurch, Canterbury, New Zealand. |
|
|
| 1979 |
Arena, Live Actions,
Project Gallery, Dublin, Eire. |
| 1980 |
Double Flash, live
work, Experimental Art Foundation, Adelaide, Australia. |
| 1983 |
Dance, Dance...(with
Tony Coleing), Anzart,Hobart, Tasmania, Australia.
Three Tales, 5 channel sound, 4 projectors, one
hour,Yuill/Crowley, Sydney, Australia. |
| 1985 |
Live Slide Works, Quicksilver
Place, Middlesex Poly., London, UK. |
| 1990 |
Burn, opening and sustaining
action during, Square Deal Cafe,
E.M.R. Gallery, Sydney, Australia.
Dinosaur Confessions, Solo Performance, Connor
Hall, Belfast, N.I. |
| 1993 |
Pro-Aesthetic Turbo-Gt
©, Live Works, Ivan Dougherty Gallery,Sydney,
Australia
Mothers Dont Let Your Children Grow up to drive
Volvos.
Black Gallery opening action with Volvo, and C&W
music station,
SIGNALS: to a blind Academy. Guerilla Event, with
signal flags
and Volvo, outside Ivan Dougherty gallery, Sydney,
Australia.
SIGNALS ll, Bleedlines, Performance Conference,
University of Sydney, Australia. |
| 1994 |
Now the Artist Reads
a Book on Gymnastics,
riù zi-st opening action, KUNST Gallery,
Sydney, Australia.
TX5, Turbo De Luxe, IvanDougherty Gallery - Live
Actions,COFA, Sydney, Australia.
Duty, Penance, & Veneration,
Twenty Five Years of Australian Performance Art
,
Performance Space, Sydney, Australia.
Advance & Retreat, a matter of perspective.
opening action, Artspace, Sydney, Australia. |
| 1995 |
Dropping in For Tea,
D.O.T.S., dinner action,
Performance Space, Sydney, Australia.
Preaching to the Converted - Teaching Artaud to
the Trees.
A Synapse event, at Dogtrap Road Artist Camp,
N.S.W., Australia. |
| 1996 |
Preaching to the Converted,
- Taking Tiger Mountain.
Guerrilla Action, U.N.S.W. Sydney, N.S.W. Australia.
Prophylactic Measures - the business of meaning.
A Synapse
event, at Dogtrap Road Artist Camp, N.S.W., Australia.
Disbelief Suspended - Leichhardt Chronicles. A
Synapse
event, at Dogtrap Road Artist Camp, N.S.W., Australia.
Hall oween Precautions. Venue - UNSW, and studio.
Action with Executive Courier and Sydney Morning
Herald. |
| 1997 |
We Dig, We Delve, We
Scream, We Strive. Opening action.
Ardt Gallery, Sydney, Australia.
Artists in the House, Boxing the Compass. Opening
Action,
Elizabeth Bay House, Historic Houses Trust, Sydney,
Australia. |
| 1998 |
RACK, Opening action,
at Camp for Lost Souls. Gitte Weise Gallery,
Sydney, Australia |
| 1999 |
Elevate. Opening action,
Gitte Weise Gallery, Sydney, Australia. |
| 2000 |
July, Opening Web Action,
DRAB Mil.Ed., Synapse Art Initiatives,
Dogtrap Road, Gosford, Nr. Sydney.
October Dataflower for Dunedin. for the Fringe
Festival, Dunedin City Town Hall,
Clock Tower, New Zealand. Two hour live action
with radio microphone, voice translation software,
Powerbook public address system and multi-media.
November Levitate, opening action for Bananaconda,
The Physics Room, Christchurch, New Zealand. |
GROUP EXHIBITIONS
|
| 1967 |
Young Contemporaries,
Tate Gallery, London, U.K. |
| 1968 |
Yale Artists, New Haven,
Connecticut, U.S.A.
United Restaurant Gallery, New Haven, Connecticut,
U.S.A. |
| 1971 |
New Contemporaries,
Auckland City Art Gallery and N.Z. tour. |
| 1972 |
New Zealand Sculpture,
Barry Lett Galleries, Auckland, N.Z.
Drawings, Barry Lett Galleries, Auckland, N.Z.
Wairarapa Environmental Sculpture, Masterton,
N.Z. |
| 1973 |
Documentation from
New Zealand, Paris Biennale. |
| 1975 |
International Drawing
Biennale, Cleveland, U.K.
Oasis, Merrion Square, Dublin, Eire.
Irish Exhibition of Living Art, National Gallery,
Dublin, Eire.
Project Gallery, Dublin, Eire. |
| 1976 |
British Arts Council
International Drawings, U.K. tour.
Pan-Pacific Biennale, Auckland City Art Gallery,
N.Z.
David Hendriks Gallery, Dublin, Eire. |
| 1977 |
Irish Exhibition of
Living Art, National Gallery, Dublin, Eire.
Project Gallery, Dublin, Eire.
Watters Gallery, Sydney, Australia.
Pinacotheca, Melbourne, Australia.
Oireactus, Museum of Modern Art, Dublin, Eire.
Arts Council Gallery, Belfast, N.I.
Gordon Lambert Collection, Ulster Museum, Belfast,
N.I.
Oasis Environmental Sculpture, Raheny, Dublin,
Eire.
Documentation, Project Gallery, Dublin, Eire. |
| 1978 |
Edinburgh Arts, Fruit
Market Gallery, Edinburgh, Scotland.
David Hendriks Gallery, Dublin, Eire.
New Acquisitions, Ulster Museum, Belfast, N.I.
Felicity Samuels Gallery, London, U.K.
The Orchard Gallery, 'Derry, N.I.
Irish Exhibition of Living Art, Douglas Hyde Gallery,
Dublin, Eire. 1979
Felicity Samuels Gallery, London, U.K., |
| 1979 |
Tolly Cobbold Open,
Fitzwilliam Museum, Cambridge, and U.K. tour
Audio Arts, Riverside Studios, London, U.K.
International Drawing Biennale, Cleveland, U.K.
and U.K. tour.
Irish Exhibition of Living Art, Dublin, Eire. |
| 1980 |
Paperworks, Angela
Flowers Gallery, London, U.K.
The Irish Experience, Roundhouse Gallery, London,
U.K.
Audio Arts, Ulster Museum, Belfast, N.I.
Audio Arts, Douglas Hyde Gallery, Dublin, Eire.
Installed Slideworks, Bondstore, Newcastle, Australia.
Frame of Reference, George Paton Gallery, Melbourne,
and Australian Regional Gallery tour.
Watters Gallery, Sydney, Australia. |
| 1980 |
cont. Installed Slideworks,
Sydney College of the Arts, Sydney, Australia.
Hibernian Inscape, Douglas Hyde Gallery, Dublin,
Eire and U.K. tour.
Fragments Against Ruin, Arts Council of Great
Britain, U.K. tour.
Depth Gauge, Artists' Sound Works, Audio Arts
Magazine. |
| 1981 |
8 x 2 x 3, Ivan Dougherty
Gallery, Sydney, Australia.
Two Hours in Petersham, n-space, Sydney, Australia.
One for the Money, Two for the Road, installed
slide works,
Sydney College of the Arts, Sydney, Australia.
Reconstructed Image, Art Gallery of New South
Wales, Sydney, Australia. |
| 1982 |
Drawings, Geelong Art
Gallery, Victoria, Australia.
Drawings, Watters Gallery, Sydney, Australia.
Landscape Show, University of Tasmania, Hobart,
Australia.
Beacon, n-space, Sydney, Australia.
Bienale of Sydney, Art Gallery of New South Wales,
Sydney, Australia.
Singleton Art Prize, Singleton, N.S.W., Australia.
Metro Te-Ve Tabu, Metro, Paddington Town Hall,
Sydney, Australia.
Recent Wars, (with Tony Coleing), Ray Hughes 'Downtown'
Gallery, Brisbane, Australia. |
| 1983 |
Australian Perspecta,
Art Gallery of New South Wales, Sydney, Australia.
Australian Art in Amsterdam, Galerie Wettering,
Amsterdam, Netherlands.
ClevelandInternationa Drawing Biennale,
Arts Council of Great Britain,Middlesborough,
U.K
Cleveland International Drawing Biennale, selected
works,
Arts Council of Great Britain, U.K. tour.
Sound, Light & Drawing, 183 New Canterbury
Road, Petersham, Sydney, Australian, |
| 1984 |
2 x 3, Irving Sculpture
Gallery, Sydney, Australia.
Beyond the Prefab., Art Unit, Sydney, Australia.
Correspondences, University of Tasmania, Hobart,
Australia.
Hugh Williamson Prize, Ballarat Art Gallery, Australia.
Irish Exhibition of Living Art, Project Gallery,
Dublin, Eire.
Works on Paper, Sydney College of the Arts, Sydney,
Australia.
Sculpture at the Performance Space, Sydney, Australia. |
| 1985 |
Stills, Pyrmont Gallery,
Sydney, Australia.
Sculptors at Work, Canterbury, U.K.
Hornsey Artists, QP1, London, U.K. |
| 1986 |
Invicta Radio, Canterbury,
U.K. |
| 1987 |
S.A.D.E. Crawford Municipal
Gallery, Cork, Eire. |
| 1988 |
Towers of Torture,
Tin Sheds Gallery, Sydney, Australia. |
| 1989 |
Mondo Faxo, with Tony
Coleing and co-operation of
Projects,U.K.,an International Faxwork Exhibition
and Installation,
at Artspace, Sydney, Australia.
China Crisis, Pailou Plaza, Sydney, Australia. |
| 1990-91 |
Faxus-Faxforum, with
Tony Coleing, at the National Science & Technology
Centre, Canberra, Australia. (a one year international
residency & changing installation aborted
by the artists after legal advice, due to non-fulfilment
of contractual obligations by OTC,
two days before Gala - Ministerial - opening.) |
| 1991 |
From the Empires End,
Circulo de Bellas Artes, Madrid, also: Barcelona,
Vigo, Pamplona, Murcia, Las Palmas, followed by
tour of Australian Regional Galleries. |
| 1992 |
Shadow/Blot/Flight,
Bathurst Regional Gallery, N.S.W. Australia.
Commission. Installed Photographic Works.
Layers of Reality, International Fax Work coordinated
by Roy Ascott..
Manu et Mente, Ivan Dougherty Gallery, large scale
collaborative installed work, sound - text by
Diane Losche.
Synthesis, Art & Architecture. Bond Store
No. 3, Sydney, Australia.Monumental scale, installed
multi media work, collaboration with Brian Zulaika,
Architect. |
| 1993 |
Gordon Lambert Collection,
Museum of Contemporary Art, Dublin, Eire.
Mal was Anderes, The Selection of the Selected,
Kunstlerhaus
Bethannien, Mariannenpltz 2, Berlin, Germany.
SIGNALS. Large scale fax work -
Void: with Zebra. site specific, installation/excavation.
Collaboration with U.W.A. students, St. Georges
Terrace, Perth, West Australia. |
| 1994 |
International Drawing
Exhibition, Seoul International Fine Arts Centre,
Korea.
Selected: Palindrome, Commonwealth Artists Exchange,
Victoria, Canada.
Twenty Five Years of Australian Performance Art
, Autonomous documents,
Ivan Dougherty Gallery, Sydney, Australia.
25 Years of Australian Performance Art, - Tour,
IMA - Brisbane,
PICA - Perth, EAF - Adelaide, ACCA - Melbourne.
Advance & Retreat, a matter of perspective.
part ofTrue Stories,
Artspace, Sydney, Australia.
Transliteration, Glare Window, collaboration with
Lin Li,
Artspace, Sydney, Australia.
Advance & for Stephen.,Entis Eidos, Eco-Design
Foundation,Sydney, Australia |
| 1995 |
Defy - Australian PERSPECTA,
The Biennale of National Contemporary Art,
Art Gallery of New South Wales, Sydney, Australia
Faxworks and Internet works, Chimera, Goethe Institut,
Sydney, Australia
Drawing Room. KUNST, Sydney, Australia
Faxwork, D.O.T.S., Performance Space, Sydney,
Australia.
Interlude, Ivan Dougherty Gallery, Sydney, Australia.
The Viaduct Project, Public Site-Specific Sculpture
Project, Sydney, Australia. |
| 1996 |
Nailing Ones Colours.,
an installed work,
Ivan Dougherty Gallery, Sydney, Australia.
Gallery Artists , Gitte Weise Gallery, Sydney,
Australia. |
| 1997 |
We Dig, We Delve, We
Scream ,We Strive. an installed work, Ardt Gallery,
Sydney, Australia.
EXCLAMATION-BRUSH-MARK, wall-hanging structure,
Gitte Weise Gallery, Sydney, Australia.
Boxing the Compass, installed panoramic images,
in Oval Gallery
of Elizabeth Bay House, (Historic Houses Trust),
Sydney, Australia.
Pulse Friction, installed photographic work. cur.
Leigh Hobba, University of Tasmania,
Hobart, Tasmania, Australia. |
| 1998 |
RAIN AND SUN, after
the Japanese. Specific site , installed work
on windows of 19, gallery. Sydney, Australia. |
| 1999 |
Low-Tide. re-configured
work from 1971. With: Colin Macahon, Billy Apple,
Mel Bochner, Post-Object Art, City Art Gallery,
Auckland, New Zealand |
| 2000 |
Post-Object Art, Sculptograms
& History,
McDougall Art Gallery, Christchurch, New Zealand.
Snapshot, the Contemporary Museum, Baltimore,
Maryland, U.S.A. |
PUBLIC COLLECTIONS
|
Arts Council of Great
Britain, U.K; Bathurst Regional Gallery, Australia;
Contemporary Irish Art Society, Eire; Derry City
Council Collection, N.I.; Hocken Library,
University of Otago, New Zealand; Irish Museum
of Contemporary Art, Dublin, Eire;
National Art Gallery, New Zealand; New University
of Coleraine, Northern Ireland;
Northern Ireland Arts Council Collection; Tolly
Cobbold Collection, U.K.; Ulster Museum,
Northern Ireland; University of Auckland, New
Zealand;
University Collection, Trinity College, Dublin,
Eire; University of Sydney, Australia; University
of Western Australia, Australia; Seoul International
Fine Arts Centre, Korea.
National Self-Portrait Collection of Ireland,
Limerick, Eire. |
SELECTED AWARDS, Residencies, etc.
|
| 1967 |
Peter Stuyvesant Young
Contemporaries Prize.
Royal College of Art Travelling Scholarship.
Yale Scholarship. |
| 1971 |
Artist in Residence,
University of Auckland, New Zealand. |
| 1972 |
Hansells Award for
Environmental Sculpture, New Zealand. |
| 1975 |
Art in Context, Public
Sculpture, Arts Council of Northern Ireland.
Carrolls Award for Sculpture, Irish Exhibition
of Living Art. |
| 1991 |
Artist Development
Grant, Visual Arts & Craft Board, Australia
Council,
for Exhibition preparation and travel. |
| 1992 |
Artist in Residence,
Orchard Gallery, Derry, N.Ireland.
Australian Contributing Editor, Grey Suit , Video
Magazine, U.K. |
| 1993 |
Artist in Residence,
University of Western Australia, Perth.
Artist Development Grant, Visual Arts & Craft
Board,
Australia Council. for video work, and publication. |
| 1993 |
Co-Founded SYNAPSE
Art Initiatives Inc., Presiding Member -
an international, Australian based organisation
to facilitate
encourage and catalyse cross-disciplinary art,
(tele-)communications, social,
technological projects of a speculative nature.
Foundation funding achieved from the Australia
Council, and the National Association for the
Visual Arts |
| 1994 |
Funding achieved from
the Ministry of the Arts, N.S.W.,
the Australia Council, British Council 1995 etc.
for CHIMERA, a
Synapse event of many parts, a one week event
of R/T techno-installation, sound, performance
and discourse. |
| 1994 |
Goethe Institute, Sydney.
Co-organiser. D.O.T.S. - Door Open Table Laid.
a Synapse Event,
Performance Space, Sydney, Australia. Sponsored
by Lakes Folly Wines,
Regal Coffee, MedianWay Graphics, & Performance
Space.
Marketing Grant, N.S.W. Ministry of the Arts,
for GAP, the Synapse news sheet.
Coordinator / participant in TRACES, Trans Global
photo/fax/sound action with Joan Fisher in Aberdeen,
Scotland. Sponsor: Polaroid Corporation |
| 1996 |
ECHO, Short-listed
for concept development as at Public Sculpture
Project, UWS Nepean. Western Sydney, Australia. |
| 1997 |
Artist Development
Grant, $20,000 for project development Visual
Arts & Craft Fund, Australia Council. |
| 1999 |
Senior Research Fellow,,
the University of Western Sydney, Nepean, N.S.W.,
Australia. |
| 2000 |
Artist in Residence.
Artists at Work Programme, Otago Polytechnic,
Dunedin, New Zealand. |
SELECTED BIBLIOGRAPHY
A. Hall, An Exhibition in Two Places, catalogue,
Arts Council of Northern Ireland, Belfast, N.I.,
1979.
N.Rolfe, Time/Space, catalogue, The Project
Gallery, Dublin, Eire, 1979.
M. Donnelly, "Adrian Hall an interview",
Art About Ireland, Vol. 1, No. 5, Dublin, Eire,
December to January, 1979."The Fourth Cleveland
International Drawing Biennale", Art and
Artists, South Croydon, Surrey, U.K., November,
1979.
K. Martin,(essay), The Cleveland (U.K.) Fourth
International Drawing Biennale, Cleveland County
Leisure Services, Middlesborough, U.K., 1979.
M. Catto, Art In Ireland, Vol. II, Blackstaff
Press, Belfast, N.I., 1980.
M. Catto, "Making Sense of Ulster",
Art and Artists, South Croydon, Surrey, U.K.,
February, 1980.
M. Archer, "Audio Arts", Art Monthly,
No. 35, London, U.K., 1980.
P. Overy,(introduction), Hibernian Inscape,
catalogue, Douglas Hyde Gallery,
Dublin and Arts Council of N.I., 1980. Cover,
Art About Ireland, Dublin, Eire, April, 1980.
P. Crocker and J. Young, interview "Working
Through", ZX, Winter, No. 6, Sydney College
of the Arts Students Association, Sydney, Australia,
May-June, 1980.
J. Annear & A. Danko, (introduction), Frame
of Reference, catalogue,
George Paton Gallery, Melbourne, Australia,
1980.
R. Rooney, "The Roving Eye of Hall",
The Age, Melbourne, Australia, 8 July, 1981.
T. Howard, "Sound, Sight and Structure",
Farrago, Vol. 59, No. 13, Melbourne, Australia,
17 July, 1981.
M. Holloway, "Diversity masks these personal
messages", The Australian, Sydney, Australia,
24 July, 1981.
D. Bromfield, "Adrian Hall, an artist in
Australia", Art & Text, No. 3, Melbourne,
October, 1981.
P. Zika, (introduction), Landscape (some interpretations),
catalogue,
University of Tasmania, Hobart, Australia, 1981.
C. Gentle, (intro), 8 x 2 x 3, catalogue, Alexander
Mackie C.A.E., Sydney, Australia, 1981.
J. Spalding, (introduction), Fragments against
Ruin: a journey through modern art,
Arts Council of Great Britain, London, U.K.,
1981.
T. Maloon, "Sculpture moves back towards
its long lost middle ground",
The Sydney Morning Herald, Sydney, Australia,
24 April, 1982.
T. Maloon, "Astaire and Jacks: the last
word in suavity", The Sydney Morning Herald,
Sydney, Australia, 16 October, 1982.
E. Lynn, (preface),Vision in Disbelief, catalogue,
Biennale of Sydney, Sydney, Australia, 1982.
Exhibition commentary, triplet illustration,
Art and Australia,
Vol. 19, No. 4, Sydney, Australia, Fine Arts
Press, 1982.
"Avago '81, Art Network, Winter, No. 6,
Sydney, Australia, 1982.
Back cover - commissioned graphic work, Art
Network, Spring, No. 7, Sydney, Australia, 1982.
Illustration, Avago, The Book, T. Coleing &
S. Higson, Sydney, Australia, 1982.
Several references, Australian Art Review, 1983.
T. Maloon, "In Sydney", Domus, No.636,
Milan, Italy, February, 1983.
T. Maloon, Commentary, illustration, Museums
and Galleries, Domus, No. 636,
Milan, Italy, February, 1983.
Review, National Times, Sydney, Australia, May,
1983.
S. McGrath, "Influence and the culling
of worthy survivors", Weekend Australian
Magazine, The Australian, Sydney, Australia,
14 May, 1983.
T. McLachlan, "Shock, horror, outrage'
in Perspecta '83", The National Times,
Melbourne, Australia, 20 May, 1983. Illustration-review,
Art Network, Winter, No. 10, Sydney, Australia,
1983."Australian Art and Ikebana",
Ikebana Ohara, Vol. 8, No. 393, Tokyo, Japan,
August, 1983.
A. Lewis, (foreword), Continuum '83, catalogue,
Japan-Australia Cultural Art Exchange Committee,
Tokyo, Japan, 1983.
J. Holmes, "Anzart in Hobart Art Encounter",
supplement, Island Magazine,
Hobart, Australia, September, 1983.
Commentary, Follow Me, Sydney, Australia, September,
1983.
H. Van de Louw, Kunstbeeld, Amsterdam, The Netherlands,
October, 1983.
Review, Art in New Zealand, Auckland, New Zealand,
October, 1983.
Illustration, Art and Artists, South Croydon,
Surrey, U.K., October, 1983.
"Picks, shovels in exhibition make impact",
The Evening Post, Wellington, NewZealand,1 November,
1983.
T. Maloon, "Adrian Hall brings showmanship
to art", Metro exhibitions,
The Sydney Morning Herald, Sydney, Australia,
18 November, 1983.
Commentary, illustration, "Contemporary
sculpture at the National,
Capital Times, Wellington, New Zealand, November,
1983.
E. Bett, "Encounters with the existential",
The Dominion, Wellington, New Zealand, 6 December,
1983.
J. L. Roberts, "Junk for Art's sake",
New Zealand Listener, Wellington, NZ, 7 April,
1984.
T. Maloon, "Is art really dangerous when
properly understood?", Weekend Arts, The
SydneyMorning Herald, Sydney, Australia, 19
May, 1984.
G. Puster and G. Pollard (editors), Correspondences,
an exhibition of installations, catalogue, Tasmanian
School of Art, U. of Tasmania, Hobart, Australia,
July, 1984.
Criticism, Art Network, Spring, No. 13, Sydney,
Australia, 1984.
T. Maloon, "Recession-look sculpture lingers",
Arts Review, The Sydney Morning Herald, Sydney,
Australia, 3 November, 1984.
Hugh Williamson Prize, catalogue, Ballarat Art
Gallery, Ballarat, Australia, 1984.
S. Britton (editor), A Decade at the EAF, p.47,
The Experimental Art Foundation, Adelaide, Australia,
1984. Commentary, Australian Art Review, 1984.
J. Pryor & R. McDonald, Essay, Terence Maloon,
Final Verse,
Art Unit 1982-85, Art Unit, Sydney, Australia,
1988.
Christopher Allen, " Capturing the Echo
", Sydney Morning Herald, 8 September,
1989.
" A Demonstration of Discretion in the
Face of Their Courage ", Sydney Morning
Herald, 13 October 1989, " On a Search
for Meaning ". Sydney Morning Herald, 20
October 1989.
Jacques Delaruelle, " A Kind of Dialogue
", Sydney Review, October 1989,
" On The Difficulty of Travelling ",
Sydney Review, November, 1989.
Mondo Faxo, Installation Photograph, Artspace
Newsletter, No.24, Nov.-89 - January 1990.
Mars & Venus, Photograph, Art & Australia,
exhibition commentary, Autumn 1990.
Installed & Temporal Works, Tin Sheds Gallery,
Sydney, Australia." About Sculpture ".
Catalogue Essay by Adrian Hall, March 1990.
Jacqueline B. de Jong (ed.) " Addenda &
Errata ", p.142 illustration, 1991. University
of Amsterdam.
Eric Gidney, " Art & Telecommunications
", Commentary and photograph, LEONARDO,
Journal of
the International Society of the Arts, Sciences
and Technology. Pergamon Press, Vol.24 No.2
1991.
Terence Maloon, " From the Empire's End,
Nine Australian Photographers. "
Circulo de Bellas Artes, U.N.S.W., Mar/April
1991.
Angeles Garcia, Circulo de Bellas Artes, - March
1991.
Javier Rubio, Plaza Reyos Magos, ABC. Madrid.
14th. March 1991.
El Independiente, Madrid, 8. March 1991. El
Sol- Edition Madrid, 9 March 1991. Diario 16,
Madrid, 15th. March 1991. El Mundo, Madrid,
15th. March 1991
Radio Interview, Radio Foyle, Derry, N.I. Feb.1991
Derry Journal, Derry, N.Ireland. Photograph.
11th February, 1992.
Tony Green, Modernism & Modernisation. Page
157, Essay, Headlands,
Thinking Through New Zealand Art. Catalogue
essay, M.C.A., Sydney, Australia. March, 1992.
Diane Beatson, Peter Beatson, Robert Leonard,
Making a Scene. P.211, Chronology,
Headlands, Thinking Through New Zealand Art.
Catalogue,
Museum of Contemporary Art, Sydney, Australia.
March, 1992.
Dr. Brian Kennedy, In a Dark Mirror. Essay,
in Hotel Chic; the Gravity of Labour.
Orchard Gallery, Derry, Northern Ireland. April,
1992.
Dr. Diane Losche, Deus et Machina or the Machine
of the Gods. Essay, in Hotel Chic: the Gravity
of Labour. Orchard Gallery, Derry , Northern
Ireland.
Catalogue, Manu et Mente , Ivan Dougherty Gallery,
Sydney, Australia. June, 1992.
John Farrell, A Self-Styled Guru and Patron
of Irish Art, Review of the Lambert Collection
with illustration, The Sunday Press, Dublin,
Eire. 19th. July 1992.
Jennifer Towndrow, Synthesis Review, Architectural
Bulletin, (Royal Institute of Australian Architects.)
P.12, with illustration, December 1992.
Nicholas Baume, Synthetic Syntheses , Art &
Australia, Vol. 30, No. 3, Autumn 93.
Radio Interview, 2BR, Bathurst, Art, Photography,
and the Contemporary World. Australia.
Franny Hopkirk, Sunday Press, Magazine section.
Photos Show Difference in
Two Cultures. May,. 93.
David Bromfield, The Western Australian, 25th.
September 1993.
ABC TV Arts Review, Advance & Retreat -
A matter of Perspective,
Interviews with artists in True Stories , Monday
20th. June 1994.
Felicity Fenner, Review. True Stories, Sydney
Morning Herald, Friday 24th. June 1994.
Micheal Hutak Ed., Surveying A Chosen Few, Sydney
Morning Herald,
RealTime #2, August 1994, 25 Years of Performance
Art, Colin Hood.
Judy Annear Ed., Perspecta Catalogue,. AGNSW,
Sydney , January 1995.
Adrian Hall, Tinnitus, Spectre in our time.
Essay Spectre, Martin Sims Exhibition, May 1995.Tin
Sheds Gallery, Sydney University, Sydney, Australia.
Aus Heiterem Himmel - Bill Seeto ! and P¾on
catalogue essays.
The Viaduct Project, Sydney, Australia. December
1995.
Kelly Burke, Box Office, Sydney Morning Herald,
October 14th. 1996.
Kelly Burke, Box Office, Sydney Morning Herald,
November, 4th. 1996.
Bruce James, Unlocking the Quay. Spectrum Arts,
Sydney Morning Herald,
Sat, Jan. 25th, 1997.
Bruce James, Raising the Temperature. Spectrum
Arts, Sydney Morning Herald, Sat, Feb. 1st,
1997.
Adrian Hall,Boxing the Compass. Essay for Artists
in The House. Elizabeth Bay House catalogue,
Historic Houses Trust, Sydney, Australia.1997.
Bruce James, Editorial Photo-Feature. Photofile
54, published, Sydney, Australia. 1998
David Haines, Camp for Lost Souls. Reveue &
illustration, Log Magazine, pub. Nov. 1998.
Christchurch, South Island, New Zealand.
Bruce James, Spectrum Arts, Sydney Morning Herald,
Sat. 22nd. May, 1999.
Interview, Bricks in Aspic. Adrian Hall Talks
to Wystan Curnow and Robert Leonard.
Art New Zealand, #90, Autumn, 1999.
Otago Times, Photo / Article. Dataflower for
Dunedin. October 2,000.
Radio Interview, Radio Dunedin, October 2,000
Artist Proofs, CD-ROM, Exhibition Catalogue
of Snapshot.
Contemporary Museum, Baltimore, Maryland, U.S.A.
December 2,000 .
Conference Papers, Colloquium, Robert McDougall
Gallery, Christchurch, New Zealand.early 2,001
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