Studio: Scott Street, Bronte (Sydney) January 1999. Photography: Ken Patrick

Born 1965 Penrith NSW Australia.

Kurt Schranzer is a Sydney-based artist and lecturer. Finding aesthetic similitudes with early 20th century European modernism, his practice has drawn widely from both art and literature, including the works of Paul Klee, Jean Arp, de Chirico, Max Ernst, Lorca, Genet, and Cocteau. He is known for a reduced, architectural drawing style that challenges the assertion that gestural and expressive mark-making is drawing’s quintessence. Joe Frost, in his review of Drawings: Kurt Schranzer & Tony Tuckson, speaks of Schranzer’s approach as epitomizing drawing as a controlled process whilst still having a regard for beauty and psychological effect. Christopher Dean writes in The Speculum of the Other Man that Schranzer’s formal line work is both scientific and fetishist, constituting “a boys own journey into modernism.” Steering a course through abstraction and figuration, and from drawing into object-making, Schranzer’s personae and subjects are eclectic and idiosyncratic, traversing the celestial, botanical, nautical, avian alongside the male nude. They are exploited to elaborate upon themes of masculinity and self-identity, the homo-social and the erotic, the psychoanalytic, and the esoteric.

Schranzer’s recent work is underpinned by visual languages, compositions, and themes found in Japanese ‘warrior pictures’ (musha-e) of the late Edo period by Utagawa Kuniyoshi, Yoshitora, Yoshikazu, Sadahide, and Tsukioka Yoshitoshi that depict ocean battles and other legendary scenes, while using conventions and techniques found in Modernist collage practice. Many of these works employ both analogue and digital techniques: the works begin their life as ink drawings with collage elements that are scanned, digitally manipulated and montaged, then printed, and often over-drawn in their final iteration. His practice, therefore, currently sits within the realms of 19th and 20th century fine arts, engineering drawing, and digital graphics conventions, contributing to discourses on the nature of interdisciplinary practices and fusion of high and low art traditions. From a complex psychoanalytic perspective, Schranzer often adopts the alter-ego of Lop-Lop, a reference to the bird-like figure Loplop originally used as an alter-ego by the modernist artist Max Ernst. In many images, Lop-Lop himself takes on the identity of Minamoto Yoshitsune, a commander of the Minamoto clan in the early Kamakura period often described in Japanese literature as a ‘tragic hero’; a great warrior who was deeply flawed. In this regard, there is a complex quotation that is personal, cross-cultural, and art-historical.

2017–present Associate Lecturer, UNSW Art & Design.
2000–2016 Sessional Academic, College of Fine Arts / UNSW Art & Design.
1989–1990 Graduate Diploma Visual Arts, College of Fine Arts, UNSW.
1988–2005 Technical Officer, Painting and Drawing, College of Fine Arts, UNSW.
1984–1987 Bachelor of Education (Art), City Art Institute, SCAE.

SOLO EXHIBITIONS

2015 The Eternal Return, Flinders Street Gallery, Sydney.
2013 Loplop présente Lop-Lop, Flinders Street Gallery, Sydney.
2013 Kurt Schranzer & Terry Burrows: Spirit & Flesh, The University Gallery, The University of Newcastle, NSW (2-person exhibition).
2011 Metaphysische Stilleben, Flinders Street Gallery, Sydney.
2011 The Great Walls, Penrith Regional Gallery & The Lewers Bequest, Emu Plains, NSW.
2008 Phantastische Stilleben and other drawings, Flinders Street Gallery, Sydney.
2006 Le cul mécanique, Esa Jäske Gallery, Sydney.
2004 I Shall Wrap The Sailor, Esa Jäske Gallery, Sydney.
2002 The Great Library, Room 35, Sydney.
2001 The Poetics of Descent, Artspace, Sydney.
2000 Infinite Nostalgia, Room 35, Sydney.
1999 A Gentleman's Fancies, Room 35, Sydney.
1997 Dichter-Zeichner, Room 35, Sydney.
1996 Mysterious Decoys, Gallery 483, Sydney.
1994 Bird-Song-Boat-Song, Gallery 483, Sydney.
1993 Shoot !, Gallery 483, Sydney.
1992 Garden of the Odd-Man-Out, Gallery 483, Sydney.

SELECTED GROUP EXHIBITIONS

2022
Hazelhurst Art on Paper Award 2021, Hazlehurst Arts Centre, Gymea, NSW.

2020
Kedumba Drawing Award 2020, Kedumba Gallery, Blue Mountains Grammar School, Wentworth Falls, NSW.
Gifted: The Birkett Weatherhead Collection, Shoalhaven Regional Gallery, Nowra, NSW.

2019
Hands Across the Pacific Art Exhibition, Ningbo Museum of Art, Ningbo, China.
Poetics of the Line, Kudos Gallery, Sydney.
12@61, Flinders Street Gallery, Sydney.

2017
Expanding Possibilities for the Image, 220 Creative Space, Sydney.

2016
Drawing Conversations, Rayner Hoff Project Space, National Art School, Sydney.
Adelaide Perry Prize for Drawing 2016, Adelaide Perry Gallery, The Croydon Centre for Art, Design & Technology, PLC, Sydney.

2015
City of Hobart Art Prize 2015, Tasmanian Museum and Art Gallery, Hobart, TAS.
Kedumba Drawing Award 2015, Orange Regional Gallery, Orange, NSW.
Drawing Now 2015, AD Gallery, UNSW Art & Design, Sydney.
Bookmarked, Stills Gallery, Sydney.

2014
Kedumba Drawing Award 2014, Wild Valley Art Park, Wentworth Falls NSW, and Orange Regional Gallery, NSW.
2014 Jacaranda Acquisitive Drawing Award, Grafton Regional Gallery, NSW; travelling NSW and QLD regional galleries 2015–2016.
Monochrome, Sheffer Gallery, Sydney.
The Democracy of Drawing, AirSpace Projects, Sydney.

2013
Drawing Now 2013, Ivan Dougherty Gallery, College of Fine Arts, UNSW, Sydney.

2012
Height X Width, Sheffer Gallery, Sydney.
2012 Jacaranda Acquisitive Drawing Award, Grafton Regional Gallery, NSW; travelling NSW and QLD regional galleries 2013–2014.
Black & White & Colour, Flinders Street Gallery, Sydney.

2011
It Began Somewhere Else, Flinders Street Gallery, Sydney.
Art on Paper: 2011 Hazelhurst Art Award, Hazelhurst Regional Gallery and Arts Centre, Gymea, NSW.
Adelaide Perry Prize for Drawing 2011, Adelaide Perry Gallery, The Croydon Centre for Art, Design & Technology, PLC, Sydney.
FSG Composite, Flinders Street Gallery, Sydney.

2010
Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney.
No Right Turn — Drawing from Western Sydney, Penrith Regional Gallery & The Lewers Bequest, Emu Plains, NSW.

2009
City of Hobart Art Prize 09: Drawing and Sculpture, Tasmanian Museum and Art Gallery, Hobart, TAS.
Hazelhurst Art Award 09: Art on Paper, Hazelhurst Regional Gallery and Arts Centre, Gymea, NSW.
Making Our Times, University Gallery, The University of Newcastle, NSW.

2008
VI International Biennial of Drawing Pilsen 2008, The Museum of West Bohemia, Jirí Trnka Gallery, and the University Gallery, Pilsen, Czech Republic.
2008 National Works on Paper, Mornington Peninsula Regional Gallery, VIC.
The Collage, Associazione Culturale Città Studi Milano, Milan, Italy.
Bent Western, Blacktown Arts Centre, Blacktown, NSW.

2007
Kedumba Drawing Award 2007, Kedumba Gallery, Wentworth Falls, NSW.
The Border Art Prize 2007, Gold Coast City Gallery, Surfers Paradise, QLD.

2006
The First Five Hundred Years of Mona Lisa, Galleria D’Arte Contemporanea, Castel S. Pietro Terme, Bologna, Italy.
Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney.
Shelf Life, MOP Gallery + Project Room, Sydney.
La Poesía nos une, ALBIAC Bienal Internacional de Arte Contemporáneo Parque Natural Cabo de Gata Níjar, Almería, Spain.
Post-it: an Exquisite Corpse mail art project, Peloton Gallery, Sydney.
A New Surprise for Our Readers: 4th International Artists’ Book Exhibition 2006, Csók István Gallery and City Gallery Deák Collection, Székesfehérvár, Hungary.
Full Circle/Random Journey: an exhibition of altered & experimental artists’ books, The Gallery, The University of Northampton, England.

2005
Does Peace have a Colour?, Galleria d’Arte Contemporanea, Castel S. Pietro Terme, Bologna, Italy.
Libertando: Homage to Freedom, Galleria di Palazzo del Carmine, Caltanissetta, Sicily, Italy.
Mail Art and Art Project, Galery Seni, Faculty of Art and Design, MARA University of Technology, Shah Alam, Malaysia.
Room 35 turns 8: celebrating 71 exhibitions since 1997, Room 35/Gitte Weise Gallery, Sydney.
Libro D’Artista (Artist’s Books), Villa Maria, Quiliano, Savona, Italy.
Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney.

2004
Living, Gallery SIDAC-Studio, Leiden, Holland.
Prax-is 2004, Kudos Gallery, Sydney.
Summer Show 2004—panoramas opened and closed, Esa Jäske Gallery, Sydney.
2003 Touring Blake Prize, Grafton Regional Gallery, NSW, and travelling.

2003
Small Wonders, Delmar Gallery, Trinity Grammar, Sydney.
52nd Blake Prize for Religious Art, The Sir Hermann Black Gallery, University of Sydney, NSW.
Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney.
Destination Drawing, COFA Exhibition and Performance Space, College of Fine Arts, UNSW, Sydney.
Drawing the Line, Delmar Gallery, Trinity Grammar, Sydney.

2002
A Silver Lining and A New Beginning, Ivan Dougherty Gallery, Sydney.
A4 Refugee Project, Development Space, Metro Arts Building, Brisbane, QLD.
The Shadow, Painters Colony, Baia Mare, Maramures, Romania.
1962-2002: 40 Years of Mail Art from the New York Correspondence School, Sala Cassero, Castel S. Pietro Terme, Bologna, Italy.
Appliance, UNSW SOLARCH Solar Research Centre, Little Bay, NSW.

2001
4th International Meeting of Visual, Sound, and Experimental Poetry, Espacio Giesso Reich, Buenos Aires, Argentina.
Oullim, The Great Harmony, Gallery of KIDP, Korea Institute of Industrial Design Promotion, and Art Gallery of SKKU, Sungkyunkuan University, Seoul, Korea.
Context, Kudos Gallery, Sydney, and Wattspace Gallery, Newcastle, NSW.
That was Now, This is Then, Gitte Weise Gallery, Sydney.
Histories in the Making, Ivan Dougherty Gallery, Sydney.

2000
Desires, The Sir Herman Black Gallery, University of Sydney, NSW.
Het Kunstpaleis, Het Kunstpaleis: Centrum voor Beeldende Kunst, Deventer, Holland.
Réparation en Tout Genre, LE LIEU Centre en Art Actuel, Quebec, Canada.
Nude Salon, Room 32, Sydney.
Out Art, Tin Sheds Gallery, Sydney.

1999
Willoughby City Art Prize, Willoughby Civic Centre, Sydney.
Messages for the New Millenium, The Peace Museum, Chicago, USA.
9" x 12" National Travelling Exhibition 1999-2000, Steps Gallery, Melbourne, VIC, and travelling.
Animal, First Draft Gallery, Sydney.
Out Art, Tin Sheds Gallery, Sydney.

1998
Renegade Library, Art Gallery of South Western Manitoba, Manitoba, Canada.
3rd Artists' Books and Multiples Fair, Brisbane, QLD.
Co-Existence, Hogarth Galleries, Sydney, and Long Gallery, Wollongong University, NSW.
Las Bellas Artes, Cultural Centre of Ceuti, Ceuti, Spain.

1997
13th Biennial Spring Festival of Drawing, Mornington Peninsula Regional Gallery, VIC.
Field of Dreams, AAAR! collaborative art project, S. H. Ervin Gallery, Sydney.
Postcards From the Edge, Soapbox Gallery, Brisbane, QLD.
Mirror of Netland '97, State Gallery Banksá Bystrica, Slovakia.
Kane and Abel, Asyl der Kunst, Häuslingen, Germany.

1996
Future Communication, Post Denmark Headquaters, Copenhagen, and travelling Denmark.
Heaven by a String, Australian Catholic University, Canberra, ACT; Stanthorpe Regional Art Gallery, QLD, 1997.
Central Mandala: The Private Collection of Mr John Marsden, Campbelltown City Art Gallery, NSW.
You and Me, Art Gallery of South Western Manitoba, Manitoba, Canada.

1995
12th Biennial Spring Festival of Drawing, Mornington Peninsula Regional Gallery, VIC.
Here To Go, Stamp Art Gallery De Voet, Deventer, Holland.
No Holds Barred, Airspace, Sydney.
Essence, Queensland College of Art Gallery, Griffith University, and Toowoomba Regional Gallery, QLD.

1994
The Nude, Biblioteca Municipal do Barreiro, Barreiro, Portugal.
Hommage a Kurt Schwitters, PAPA Multimedia Salon, Barcelona, Spain.
New South Wales Travelling Art Scholarship, College of Fine Arts Gallery, UNSW, Sydney.
Seoul International Drawing Exhibition'94, Seoul International Fine Arts Center, Korea.

1992
Crossing Borders, Irvine Fine Arts Centre, California, USA.

1991
The Nude Show, Argyle Gallery, Sydney.

1990
Goodwill, Kent Public Library, Washington, USA.
Block 5, The Works Gallery, Sydney.
Ideal Format, 24 Hr Art, Northern Territory Centre for Contemporary Art, Darwin, NT.
Not Reassessing Normal, 10 Taylor St Gallery, Sydney.

1989
Like is Pleased With Like, The Works Gallery, Sydney.
Stonewall Art Exhibition, Friends of the Earth Gallery, Fitzroy, VIC.

1988
Douglass Art Award Exhibition, Ivan Dougherty Gallery, Sydney.
Mardi Gras Festival Exhibition, Roslyn Oxley 9 Gallery, Sydney.

COMMISSIONS

1992 Cover painting: The Seymour Group, Incredible Floridas, ABC Classics, Australian Broadcasting Corporation.
1991 Cover painting: Frank Moorhouse, Tales of Mystery and Romance, Angus and Robertson Publishers.
1991 Cover illustration/design: Pink Ink: an Anthology of Australian Lesbian and Gay Writers,
Wicked Women Publications, Sydney.

SELECTED BIBLIOGRAPHY

Hands Across the Pacific Art Exhibition, exhibtion catalogue, Chinese People's Association for Friendship with Foreign Countries, and Ningbo Municipal People's Government, 2019, p. 8.
Hands Across the Pacific Art Exhibition: 2019/08/6–16, supplementary exhibition catalogue with essay by Ian Howard, Ningbo Museum of Art, 2019, pp. 8–9.
Andrew Frost, ‘Critics’ Picks’, The Shortlist, The Sydney Morning Herald, December 13, 2013.
Andrew Frost, ‘Loplop presente Lop-lop’, The Art Life, December 6, 2013, http://theartlife.com.au/2013/loplop-presente-lop-lop/.
Moses Langtree, ‘Kurt Schranzer & Terry Burrows: Spirit & Flesh’, Kurt Schranzer & Terry Burrows: Spirit & Flesh, exhibition catalogue, February 2013, The University Gallery, The University of Newcastle, NSW.
Tracey Clement, ‘Kurt Schranzer: The Great Walls’, The Post Post, May 22, 2011, http://thepostpost.wordpress.com/2011/05/22/kurt-schranzer-the-great-walls/.
Kurt Schranzer, No Man is an Island: Reflections on 'The Great Walls', exhibition essay for The Great Walls, 2011, QLD.
Christopher Allen, ‘To express what only drawing will allow’, The Australian, December 14, 2010, Sydney.
Dr Shirley Daborn, ‘The Indefinable Art of Drawing’, exhibition essay for No Right Turn — Drawing from Western Sydney, 2010, Penrith Regional Gallery & The Lewers Bequest, Emu Plains, NSW.
Joseph Brennan, ‘Fairytales: the visual art of gay men’, DNA magazine, No.118, November 2009, NSW.
Daniel Mudie Cunningham, ‘Queer today, gone tomorrow’, Art & Australia, Vol. 46 No.4, Winter 2009, NSW.
Jill Stowell, ‘The medium is the surprise’, The Herald, Saturday 18 April 2009, Newcastle.
Joe Frost, ‘Drawings: Kurt Schranzer & Tony Tuckson’, Artist Profile, Issue 6, Autumn 2009, Sydney.
Tracey Clement, ‘Metro Picks’, Sydney Morning Herald, Metro October 31–November 06, 2008.
Tracey Clement, ‘NSW Wrap’, Australian Art Collector, Issue 46, October–December 2008, Sydney.
Christopher Dean, The Speculum of the Other Man, exhibition essay for Phantastische Stilleben and other drawings, 2008, Sydney.
Craig Judd, ‘Bent Western, Sydney’, Art Monthly Australia, Issue 211, July 2008, ACT.
Jacqueline Miller, ‘Bent Western’, runway, Issue 10, Autumn 2008, Sydney.
Tracey Clement, ‘Bent Western’, Art Gallery Guide Australia, Issue 52, March/April 2008, Victoria.
Daniel Mudie Cunningham, ‘Bent Western’, Bent Western, exhibition catalogue, Blacktown Arts Centre, 2008, Sydney.
Tracey Clement, ‘Metro Picks’, Sydney Morning Herald, Metro October 13–19, 2006.
Moses Langtree, ‘Le cul mécanique’, Le cul mécanique, exhibition catalogue, published by Kurt Schranzer, 2006, Queensland.
Daniel Mudie Cunningham, ‘Shelf Life’, Shelf Life, exhibition catalogue, Cunningham/MOP Projects, 2006, Sydney.
State Library of QLD, ‘Artists’ Books Online: Redefining the Book’, State Library of Queensland, http://www.artistsbooks.slq.qld.gov.au 2005.
Tracey Clement, ‘Critics Pick’, Sydney Morning Herald, Metro October 22–28, 2004.
Kurt Schranzer, I Shall Wrap The Sailor, 2004, published by Kurt Schranzer, Sydney.
Helen Cole, ‘To (G)love and to Hold: Artist’s Books in Australian Libraries’, paper delivered at the National Artists’ Book Forum, Artspace Mackay, QLD, 2004.
Lenny Ann Low, ‘Exhibitions: Mars is all right tonight’, Sydney Morning Herald, Sept 15-16, 2001.
Benjamin Genocchio, 'Smart Art', Australian Art Collector, issue 14, October-December 2000, Sydney.
Karen-Jane Eyre, (ed) 'Nuts, Bolts, and Screws', not only blue, issue 24, December 1999, Sydney.
Sebastian Smee, 'Vanitas Fair', Sydney Morning Herald, Friday 26th September 1997.
Bruce James, 'Galleries', Sydney Morning Herald, Friday 19th September 1997.
Kurt Schranzer, Dichter-Zeichner, 1997, published by Kurt Schranzer, Sydney.
Hudson publishers, Eschergram '95, 1995, Hudson Publishing, Hawthorn VIC.
Meredith Morse, 'The Harlequin, The Box: Conceits of Alienation in the Recent Work of Kurt Schranzer', Out: A Journal of Gay and Lesbian Art, No.1, Spring 1990, Sydney.
Richard Turner, 'Gay Culture: Art and Sensibility', Culture Magazine, March 1990, Sydney.
Kurt Schranzer, 'Like Is Pleased with Like', Outrage Magazine, June 1989, Melbourne.

CITATIONS AND REPRODUCTIONS IN SELECTED PUBLICATIONS

Kedumba Drawing Award 2020, exhibition catalogue, 12 September–04 October 2020, Kedumba Gallery, Blue Mountains Grammar School, Wentworth Falls, NSW.
Daniel Mudie Cunningham (ed), MOP Projects 2003–2016, Formist Edition 16, Formist, Sydney, 2019, p. 93.
Expanding Possibilities for the Image, exhibition catalogue, November 2017, Darkstar Digital Press, Sydney.
City of Hobart Art Prize 2015, exhibition catalogue, 18 September–29 November 2015, Tasmanian Museum and Art Gallery, Hobart, TAS.
Kedumba Drawing Award 2015, exhibition catalogue, 12 September–15 November 2015, Orange Regional Gallery, Orange, NSW.
2012 Jacaranda Acquisitive Drawing Award, exhibition catalogue, 26 October–2 December 2012, Grafton Regional Gallery, Grafton, NSW.
‘Master craftsman evokes ancient architecture at Penrith Regional Gallery’, Penrith Press, May 22, 2011, Penrith, NSW.
‘Great Walls’, Australian Wood Review, Issue 71, 2011, QLD.
Adelaide Perry Prize for Drawing 2011, exhibition catalogue, February 2011, Adelaide Perry Gallery, The Croydon Centre for Art, Design & Technology, PLC, Sydney.
City of Hobart Art Prize 09: Drawing & Sculpture, exhibition catalogue, June 2009, Hobart City Council, Tasmania.
VI. International Biennial of Drawing Pilsen 2008 / VI. Mezinárodní Bienále Kresby Plzen, exhibition catalogue, 2008, The University of West Bohemia in Pilsen and The Professional Association of Legal Entities The Biennial of Drawing Pilsen, Pilsen, Czech Republic.
I primi cinquecento anni di Monna Lisa, exhibition catalogue, 2006, Mailartmeeting Archives/Anna Boschi (ed), Commune di Castel S. Pietro Terme, Assessorata alla Cultura, Castel S. Pietro Terme, Bologna, Italy.
Tracey Clement, ‘Post It: Drawing on the past’, COFA Magazine, Issue 17, Spring 2006, College of Fine Arts, UNSW, Sydney.
La Collina / The Hill, exhibition catalogue, 2006, Gabriele Bertacchini (ed), Atrebates Galleria D’Arte, Dozza, Bologna, Italy.
Artists’ Books Online 2006 Calendar, State Library of Queensland, 2006, Queensland Government.
Does Peace Have a Colour?, exhibition catalogue, 2005, Anna Boschi (ed), Commune di Castel S. Pietro Terme, Assessorata alla Cultura, Castel S. Pietro Terme, Bologna, Italy.
Libro D’Artista, exhibition catalogue, 2005, Bruno Chiarlone (ed), Commune di Quiliano / Fondazione A. de Maria Cassadi Risparmio di Savona / Spazio Arte Contemporanea Sperimentale, Quiliano, Italy.
Prax-is, 2005, exhibition catalogue, 2005, College of Fine Arts/Kudos Gallery, Sydney.
Prax-is, 2004, exhibition catalogue, 2004, College of Fine Arts/Kudos Gallery, Sydney.
Pied Pipers of Today, exhibition catalogue, 2003, Christa Behmenburg, Neufahrn, Germany.
A Silver Lining and A New Beginning, exhibition catalogue, 2002, Ivan Dougherty Gallery, UNSW, Sydney.
1962-2002: 40 Years of Mail Art from the New York Correspondence School, exhibition catalogue, 2002, edited Anna Boschi, Commune di Castel S. Pietro Terme and Assessorato alla Cultura, Bologno, Italy.
Appliance, exhibition catalogue, 2002, edited Helen Sturgess, College of Fine Arts, Sydney.
Dreamboys Volume 2, 2001, Karen-Jane Eyre (ed), Studio Magazines, Sydney.
Prax-is, 2001, College of Fine Arts/Kudos Gallery/Deborah West, Sydney.
'fyi events—what's happening', INSIDEout, October 2000, News Magazines, Sydney.
Der Taubenturm zu Diessen: Vom Tortum zum Kunsturm, 2000, Raff/Rareich, Dussa Verlag, Altenstadt, Germany.
Prax-is, exhibition catalogue, 2000, College of Fine Arts/Kudos Gallery/Deborah West, Sydney.
'Diary', Sydney Star Observer, Thursday 2nd September, 1999.
On Your Own Device, 1998, ColorMii/Koning Willem II College, Tilburg, Netherlands (CD Rom).
Artists' Books and Multiples Fair, Brisbane, exhibition catalogue, 1998, Numero Uno Publications, Brisbane, QLD.
'Lines of Poetry', Capital Q Weekly, Friday 12th September, 1997, Bluestone Publishers, Sydney.
Art Almanac, April 1996, Janice McCulloch, Sydney.
Essence, exhibition catalogue, 1995, Queensland College of Art Gallery, Griffith University, QLD.
Homage a Kurt Schwitters, exhibition catalogue, 1994, Merz Mail, Barcelona, Spain.
Seoul International Contemporary Art Festival, exhibition catalogue, 1994, Seoul International Fine Arts Center, Seoul, Korea.
‘New Gay Art’, Capital Q Weekly, Friday 2nd April, 1993, Bluestone Publishers, Sydney.
Hell Bent, 1992, Wicked Women Publications, Sydney.
Maria Prerauer, ‘Marietta’, The Bulletin, April 21, 1992, ACP Publishing, Sydney.
'Artist's Notebook', Australian Artist, No. 86, August 1991, Elladrent, Sydney.
Campaign Australia, June 1989, Worlander, Sydney.
Words and Images, 1989, Ivan Dougherty Gallery, City Art Institute, Sydney.
Like is Pleased With Like, exhibition catalogue, 1989, The Works Gallery, City Art Institute, Sydney.

COLLECTIONS

Artbank Collection, Sydney, Australia.
Bookmaking Archive, The University of Northampton, England.
Centrum voor Beeldende Kunst, Deventer, Holland.
Commune di Quiliano, Quiliano, Savona, Italy.
Cultural Centre of Ceuti, Spain.
Danish Post Museum, Denmark.
Eraldo di Vita Collection, Milan, Italy.
Florean Museum, Maramures, Romania.
Grafton Regional Gallery, Grafton, Australia.
International Drawing Research Institute Archive, College of Fine Arts, UNSW, Sydney, Australia.
Irvine Fine Arts Centre, California, USA.
James Hardie Library of Australian Fine Arts, State Library of Queensland, Brisbane, Australia.
Kent Public Library, Washington, USA.
Kunstkammer im Schloss Bartenstein, Bartenstein, Germany.
Le Collectif Réparation de Poésie, Quebec, Canada.
Seoul International Fine Arts Center, Seoul, Korea.
Shoalhaven City Art Collection, Shoalhaven Regional Gallery, Nowra, Australia.
SIDAC-Art Archives, Leiden, Holland.
Svent István Király Múzeum (King St. Stephen Museum), Székesfehérvár, Hungary.
The Peace Museum, Chicago, USA.
University of Sydney Union Art Collection, Sydney, Australia.
Vortice Argentina Archives, Buenos Aires, Argentina.

Installation of cartoons, in preparation for drawing Falling Planes September 2001, site specific wall drawing, pigment ink The Poetics of Descent, Artspace, Sydney Photography: Isolde Lennon