Artists
Michael Johnson
In 1960, following the completion of his studies in Sydney at the
Julian Ashton Art School and the National Art School, Michael Johnson
departed for London, where he spent the following seven years. During
this time he painted full time, working periodically as a studio
assistant to the British sculptors Brian Wall and Anthony Caro. In
1967, he returned to Sydney, where he held his first two solo
exhibitions, thus marking the beginning of a long and outstanding
career.
BIOGRAPHY
Solo exhibitions
Selected group exhibitions
Awards and commissions
Collections
National Gallery of Australia, Canberra
Art Gallery of New South Wales, Sydney
Art Gallery of Western Australia, Perth
National Gallery of Victoria, Melbourne
Queensland Art Gallery, Brisbane
Parliament House, Canberra
Ballarat Art Gallery, VIC
Burnie Art Gallery, TAS
Gold Coast City Art Gallery Collection, QLD
Newcastle Region Art Gallery, NSW
New England Regional Art Museum, NSW
Wollongong Art Gallery, NSW
Australian National University, Canberra
James Cook University, Townsville, QLD
Monash University, Clayton, VIC
The University of Melbourne Art Collection, Melbourne
State Library of Western Australia, Perth
Camden Council Art Collection, NSW
Townsville Council Art Collection, QLD
Waverley Council Art Collection, VIC
Artbank
Joye Foundation, NSW
Commonwealth Bank of Australia, NSW
Commercial Union Insurance, VIC
Daryl Jackson, VIC
Holmes à Court Collection, Perth
Hyatt Adelaide, SA
Hyatt on Collins, Melbourne
Medibank, Sydney
National Bank of Australasia, Melbourne
Park Grand Hotel, NSW
Philip Cox and Partners, NSW
Sly and Weigall, NSW
State Bank Australia
Telstra, Sydney
Westfield, NSW
Westpac, NSW
Westpac Collection, Sydney
Yulara Tourist Resort, Northern Territory
Chartwell Collection, Waikato Museum of Art & History, Hamilton, NZ
Chase Manhattan, New York
Croydon Education Committee, London
Selected bibliography
Patrick McCaughey, 'The significance of the Field', Art & Australia, December 1968
Kym Bonython (ed.), Modern Australian Painting 1960–1970, Rigby, Adelaide, 1970
Elwyn Lynn, 'Australian abstractions in the New York melting-pot', The Bulletin, 5 December 1970
Lawrence Campbell, Art News, vol. 69, no. 8, 21 December 1970, p. 8
W. Domingo, Arts Magazine, vol. 45, December 1970, p. 58
Carter Ratcliff, ‘New York Letter’, Art International, summer 1973, pp. 60–62,
Lenore Goldberg, ‘Clear vision’, Arts Magazine, September–October 1973
Peter Frank, ‘He's matured, put on weight in New York’, The Age, 9 February 1972
Peter Frank, Art News, summer, May 1973, p. 92
Mervyn Horton (ed.), Australian Painters of the 70s, Ure Smith, Sydney, 1975
Tony McGillick, ‘A viable future for painting’, Nation Review, 30 June – 6 July 1977, p. 22
Ron Radford, Recent Australian Painting: A Survey 1970–1983, Art Gallery of South Australia, Adelaide, 1983
Paul McGillick, The Subject of Painting, Art Gallery of New South Wales, Sydney, 1985
Michael Johnson Paintings 1968–1986, University Gallery, The University of Melbourne, Melbourne, 1986
Terence Maloon, ‘Thick skin is shed, a butterfly is exposed’, Sydney Morning Herald, 29 March 1986
Gary Catalano, ’Abstracts filled with an emotional substance’, The Age, 20 August 1986
Tony Bond, Surface for Reflection Part s I & II, Art Gallery of New South Wales, Sydney, 1987
Robert Lindsay, Field to Figuration: Australian Art 1960–1986, National Gallery of Victoria, Melbourne, 1987
Minimal Art in Australia, Museum of Contemporary Art, Brisbane, 1988
Victoria Lynn, Michael Johnson Paintings 1968–1988, Art Gallery of New South Wales, Sydney, 1989
Christopher Allen, ‘An exuberant Johnson turns new artist at 50’, Sydney Morning Herald, 11 February 1989
Paul McGillick, 'The abstract in perspective', Australian Financial Review, 17 February 1989
Catharine Lumby, ‘Abstraction’, West, vol. 3, no. 2, 1992
Elwyn Lynn, ‘Capturing the new shape of abstraction’, The Weekend Australian,
20–21 February, 1993
Felicity Fenner, 'Orchestrating virtuosity', Sydney Morning Herald, 20 March 1993
Joanna Mendelssohn, 'Bunch of tens', The Bulletin, December 1993
Felicity Fenner, 'Metaphoric waiting room', Sydney Morning Herald, 1 April 1994
Nevill Drury, Images 2: Contemporary Australian Painting, Craftsman House, Sydney, 1994
John McDonald, 'The origins of the artistic species', Sydney Morning Herald, 16 September 1995
Paul McGillick, 'From luminous fields of pure colour to seething surfaces', Monument, no. 10, 1995
Joanna Mendelssohn, '1968 Primavera', The Australian, 15 September 1995
Carolynne Skinner & Alexandra Morphett, 'Gastronomy as Art', Oz Art, no. 12, September–December 1995
TECCA 2, Joan and Peter Clemenger Triennial Exhibition of Contemporary Australian Art, National Gallery of Victoria, Melbourne 1996, pp. 18–19
Susan McCulloch, 'Triennial Exhibition of Contemporary Art', Asian Art News, May–June 1996
Angela Bennie, 'Another way of seeing', Sydney Morning Herald, 12 September 1997
John McDonald, 'Dreaming in colour', Sydney Morning Herald, 13 September 1997
Sebastian Smee, ‘Colour splendid’, Sydney Morning Herald, 20 July 1999
Bruce James, ‘Order from chaos’, Sydney Morning Herald, 24 July 1999
Eccles, Jeremy, ‘Reflections of the melting pot’, Asia Week, ‘Arts & Sciences Olympic Games’,
21 January 2000, pp. 42–43
‘Contemporary Art in Australia Exhibition’, Elle (Hong Kong), no. 146, December 1999
‘The Rose Crossing: Contemporary Art in Australia’, Esquire (Hong Kong), no. 133,
December 1999
‘13 hybridisation stories’, Hong Kong Economic Journal, 3 December 1999
‘The hybrid rose’, Sing Tao Daily News, 26 November 1999
‘The Rose Crossing: Contemporary Art in Australia’, Ming Pao Weekly, 27 November 1999
‘13 Australian Artists’ Association Art Exhibition’, Ta Kung Pao, 3 December 1999
‘The Rose Crossing: Contemporary Art in Australia’, Youth’s Bi-Weekly, 4 December 1999
‘The Rose Crossing: Contemporary Art in Australia’, W, no. 6, December 1999
‘Symbols full of artificial expression’, Ming Pao Daily News, 9 December 1999
‘The Rose Crossing’, Ming Pao Daily News, 5 December 1999
‘The Rose Crossing: Contemporary Art in Australia’, Sing Tao Daily News, 7 December 1999
‘Hybrid culture = Australian culture?’, Ming Pao Daily News, 9 December 1999
‘The Rose Crossing’, Hong Kong Economic Journal, 15 December 1999
‘The fantasies of immigrant art’, Chinese Newspaper, 26 November 1999
‘Cultural event: The Rose Crossing: Contemporary Art in Australia’, Ming Pao Daily News,
28 November 1999
‘The Rose Crossing exhibition and Dale Barlow Quartet concert’, Ming Pao Daily News,
28 November 1999
‘The Rose Crossing: Contemporary Art in Australia’, Hong Kong Economic Journal,
24 November 1999
‘The Rose Crossing: Contemporary Art in Australia’, Sing Tao Daily News, 29 November 1999
‘Hybridisation: The Rose Crossing: Contemporary Art in Australia’, East Touch,
30 November 1999
Paul McGillick, ‘Canvassing opinions’, Panorama, July 2001
’50 of Australia’s most collectable artists’, Australian Art Collector, no. 27, January–March, 2004
Barry Pearce, Michael Johnson, Beagle Press, Sydney, 2004
Angela Bennie, ‘Eruptions from the volcano’, Metropolitan, Sydney Morning Herald, 13 April 2004, p. 12
Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986–2006, Craftsman House (Thames & Hudson Australia), Melbourne, 2006
Carmel Dwyer, ‘Relaxed and confident’, Australian Art Collector, no. 38, October–December 2006, pp. 189–193
Anthony Huckstep, 'A decorative degustation', Australian Art Review, November 2006 – February 2007, pp. 82–86
Paul McGillick, Australian Art Collector, no. 39, January–March 2007
Karen Pakula, ‘I still have 500 paintings to do’, Spectrum, Sydney Morning Herald, 24–25 March 2007, pp. 18–19
John McDonald, ‘The meaning of colour’, Spectrum, Sydney Morning Herald, 31 March – 1 April 2007, pp. 16–17
Michael Johnson’s work is marked by a metaphysical orchestration of
colour and a muscularity of presence. His paintings (and occasional
works in three dimensions) are romantic in essence; in their
application, they are raw and intuitive, deeply connected to his
intense and complex relationships with nature, natural process and
mood. This is most tangibly so in his works of the past decade, where
ruptured, sinewed application of base, primary colour performs an opera
of gestures and painterly manoeuvres.
Michael Johnson has exhibited widely both nationally and
internationally, and was included in the seminal exhibitions, ‘The
Field’, National Gallery of Victoria, Melbourne, and Art Gallery of New
South Wales, Sydney (1968); the UNESCO Biennale, France (1968); the São
Paulo Bienal, Brazil (1969); and The Australian Biennale, Art Gallery
of New South Wales, Sydney (1988).
Among Johnson’s awards and commissions are works for the Sydney
Conference Centre and the State Bank of New South Wales, Sydney. He is
represented in all major Australian state and regional collections, New
Zealand’s Chartwell Collection, and in numerous significant corporate
and private collections in Australia and overseas. Beagle Press
published a substantial monograph on Michael Johnson’s work in 2004.
| 1938 | Born Sydney, Australia |
| 1953–59 | Studied at Julian Ashton Art School, Sydney Diploma of Art, National Art School, Sydney |
| 1960–67 | Lived in London |
| 1962–63 | Brian Wall (Steel Sculpture), Studio Assistant |
| 1963–64 | Michael Kidner (built and constructed three-dimensional painting), Studio Assistant |
| 1963–64 | Michael Kidner (built and constructed three-dimensional painting), Studio Assistant |
| 1964–65 | Anthony Caro (rebuilt and painted ‘Madam Pompadour' aluminium), worked with Ron Robertson Swann and repainted all steel works of Caro (1960–65), Studio Assistant |
| 1969–75 | Lived and worked in the United States |
| 1963–85 | Lecturer: St Martins School of Art, London; Croydon School of Art, London; Birmingham School of Art, United Kingdom; East Sydney Technical College, Sydney; Alexander Mackie College, Sydney; Sydney College of Arts, Sydney; James Cook University, Townsville; Newcastle College of Advanced Education, NSW; Goulburn College of Advanced Education, NSW; Brisbane Arts Council, QLD; University of New South Wales, Sydney; City Art Institute, Sydney; Crown Lane School of Art, Sydney; Silpakorn University Nakhon, Pathom, Thailand |
| 1980–81 | Collaborated with Robert Klippel (convexed/concaved colour on constructivist steel-type sculpture spray painted) |
| Currently | Lives and works in Sydney |
Solo exhibitions
| 2007 | Sherman Galleries, Sydney |
| 2003 | Sherman Galleries, Sydney Philip Bacon Galleries, Brisbane |
| 2002 | Christine Abrahams Gallery, Melbourne |
| 2001 | Sherman Galleries Goodhope, Sydney |
| 1999 | Sherman Galleries Goodhope, Sydney |
| 1998 | Christine Abrahams Gallery, Melbourne |
| 1997 | Sherman Galleries Goodhope, Sydney |
| 1996 | Christine Abrahams Gallery, Melbourne |
| 1995 | Sherman Galleries Goodhope, Sydney |
| 1994 | Christine Abrahams Gallery, Melbourne |
| 1993 | Sherman Galleries Goodhope, Sydney |
| 1992 | Studio exhibition, Jarocin Ave, Forest Lodge, NSW |
| 1991 | Christine Abrahams Gallery, Melbourne |
| 1989 | Michael Johnson, Survey 1968–1988, Art Gallery of New South Wales, Sydney; travelled to Moree, Wollongong, NSW Forum, Invitational Art Fair, Hamburg, West Germany |
| 1988 | Macquarie Galleries, Sydney |
| 1986 | Macquarie Galleries, Sydney University Gallery, University of Melbourne, Melbourne Christine Abrahams Gallery, Melbourne |
| 1985 | Studio exhibition, Pitt Street, Haymarket, Sydney Gallery 52, Perth |
| 1983-84 | Studio exhibition, Oxford Street, Darlinghurst, Sydney |
| 1982 | Studio exhibition, Greene Street New York, 237 Lafayette, New York Pinacotheca Gallery, Melbourne |
| 1981 | Gallery A, Sydney |
| 1980 | Gallery A, Sydney |
| 1979 | Gallery A, Sydney |
| 1977 | Gallery A, Sydney Max Hutchinson Gallery, New York |
| 1976 | Gallery A, Sydney Institute of Modern Art, Brisbane Abraxor Gallery, Canberra |
| 1975 | Studio exhibition, James Cook University, QLD |
| 1974 | Gallery A, Sydney Studio exhibition, Bowery, New York |
| 1973 | Max Hutchinson Gallery, New York |
| 1972 | Gallery A, Sydney |
| 1970 | Max Hutchinson Gallery, New York |
| 1969 | Gallery A, Melbourne |
| 1968 | Central Street Gallery, Sydney Gallery A, Sydney |
| 1967 | Central Street Gallery, Sydney Gallery A, Sydney |
Selected group exhibitions
| 2004 | Abstracting the Collection, Heide Museum of Modern Art, Melbourne |
| 2002 | 20 Years of Canberra, National Gallery of Australia, Canberra |
| 2001 | Minimal, Holmes à Court Gallery, Perth Five Painters, Sherman Galleries Goodhope, Sydney A Century of Collecting 1901–2001, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney |
| 1999 | The Rose Crossing Contemporary Art in Australia, Sherman Galleries touring exhibition, Brisbane City Gallery, Brisbane; Hong Kong Arts Centre, Hong Kong, Singapore Art Museum, Singapore; Holmes à Court Gallery, Perth; S.H. Ervin Gallery, Sydney; Campbelltown City Bicentennial Art Gallery, NSW |
| 1996-98 | Flagging the Republic, Sherman Galleries Goodhope, Sydney and touring to regional galleries |
| 1997 | Anon, Sherman Galleries Goodhope, Sydney |
| 1996 | La Cité Internationale des Arts, Paris Greg Weight, Artists' Portraits, Manly Art Gallery and Museum, Sydney |
| 1995 | NICAF, Nagoya, Japan Smorgon Collection of Contemporary Art, Museum of Contemporary Art, Sydney Asia & Oceania Influence, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney |
| 1994 | On Paper, Solander Gallery, Canberra |
| 1993 | On Paper, Sherman Galleries Goodhope, Sydney Australian Tapestries, Victoria and Albert Museum, London |
| 1990 | Central Street, Charles Nodrum Gallery, Melbourne; Ray Hughes Gallery, Sydney |
| 1989 | Painters' Visions, Macquarie Galleries, Sydney Joye Art Foundation, Baudoin Lebon Gallery, Paris |
| 1988 | Macquarie Galleries, Sydney Australian Biennale, Art Gallery of New South Wales, Sydney; National Gallery of Victoria, Melbourne |
| 1987 | Field to Figuration 1960–86, National Gallery of Victoria, Melbourne Art/LA 87, Los Angeles Art Fair, USA |
| 1986 | A Resistant Spirit, Roslyn Oxley9 Gallery, Sydney; Realities Gallery, Melbourne |
| 1985 | Subject of Painting, Art Gallery of New South Wales, Sydney Lecturers of East Sydney Technical College Art School, Cell Block, Darlinghurst, Sydney |
| 1984 | The Field Now, Heide Park and Art Gallery, Melbourne Recent Australian Painting, Art Gallery of South Australia, Adelaide |
| 1983 | Survey Australian Painting, Commonwealth Bank, Sydney Recent Australian Painting: A Survey 1973–83, Art Gallery of South Australia, Adelaide Aspects of the Landscape, Gallery 52, Perth Twelve Australian Painters, Art Gallery of Western Australia, Perth The Wrong Place: Five Sydney Painters, Tasmanian School of Art Gallery, University of Tasmania, Hobart |
| 1982 | ANZAAS 82 (Eleven Sydney Artists), Macquarie University Library, Sydney Colour Painting, Jacques Spiess Gallery, Paris The Seventies: Australian Paintings and Tapestries From The National Australia Bank Collection, National Gallery of Victoria, Melbourne |
| 1981 | Survey of the Seventies, Bendigo Art Gallery, VIC |
| 1980 | Opening Show, Axiom Gallery, Melbourne |
| 1979 | Cambodia, Central Street Gallery, Sydney |
| 1978 | Contemporary Australian Art to Indonesia, Landscape and Image, A.D.G.C. |
| 1977 | Australian Colourists, Western Australian Institute of Technology, Perth |
| 1975 | Ten Australians, Gallery A, Sydney |
| 1974 | Young New York Artists, travelling exhibition, USA |
| 1972 | Australian Paintings and Tapestries of The Past 20 Years, NSW House, London |
| 1970 | Max Hutchinson Gallery, New York Colour and Structure, Blaxland Gallery, Sydney |
| 1969 | São Paulo Bienal, Brazil. Gallery A, Sydney. Gallery A, Melbourne |
| 1968 | Renting Collection Exhibition, Pinacotheca Gallery, Melbourne Painters and Sculptors of the Gallery, Central Street Gallery, Sydney |
| 21st | Show, Central Street Gallery, Sydney Georges' Invitation Art Prize Exhibition, Georges Gallery, Melbourne Pinacotheca, Melbourne. UNESCO Biennale, Museum Grimaldi, Cagnes-Sur-Mer, France. The Field, National Gallery of Victoria, Melbourne; Art Gallery of New South Wales, Sydney |
| 1967 | Central Street Gallery, Sydney. New Generation Sydney, Gallery A, Sydney |
| 1963-64 | Young Commonwealth Artists, RBA Galleries, London. New Vision Centre, London. Qantas Gallery, Sydney. Australian Painting and Sculpture in Europe Today, Arts Centre Folkstone, London; Stadtliches Kunstinstitut Frankfurt-am-Main, Germany. John Moore's Gallery, Liverpool, UK |
| 1962-63 | Molton Gallery, London |
| 1962 | Young Contemporaries, RBA Galleries, London. Commonwealth Festival/Biennale, Commonwealth Institute, London |
Awards and commissions
| 1989 | Sydney Conference Centre, NSW |
| 1986 | Visual Arts Board (Artist-in-Residence), The University of Melbourne, Melbourne |
| 1984 | Mural, State Bank of New South Wales, NSW |
| 1983 | Tapestry, Waverley Council Civic Centre, Victoria |
| 1981 | Visual Arts Board (New York Studio), New York |
| 1980 | Camden Art Society (Works on Paper), NSW |
| 1976 | Gold Coast Art Prize (Painting), QLD |
| 1975 | Visual Arts Board (Artist-in-Residence grant), Sydney. James Cook University, Townsville, QLD |
| 1974 | Visual Arts Board (Grant), Sydney |
| 1967 | R. H. Taft's Prize, Contemporary Art Society Annual Exhibition, Sydney |
Collections
National Gallery of Australia, Canberra
Art Gallery of New South Wales, Sydney
Art Gallery of Western Australia, Perth
National Gallery of Victoria, Melbourne
Queensland Art Gallery, Brisbane
Parliament House, Canberra
Ballarat Art Gallery, VIC
Burnie Art Gallery, TAS
Gold Coast City Art Gallery Collection, QLD
Newcastle Region Art Gallery, NSW
New England Regional Art Museum, NSW
Wollongong Art Gallery, NSW
Australian National University, Canberra
James Cook University, Townsville, QLD
Monash University, Clayton, VIC
The University of Melbourne Art Collection, Melbourne
State Library of Western Australia, Perth
Camden Council Art Collection, NSW
Townsville Council Art Collection, QLD
Waverley Council Art Collection, VIC
Artbank
Joye Foundation, NSW
Commonwealth Bank of Australia, NSW
Commercial Union Insurance, VIC
Daryl Jackson, VIC
Holmes à Court Collection, Perth
Hyatt Adelaide, SA
Hyatt on Collins, Melbourne
Medibank, Sydney
National Bank of Australasia, Melbourne
Park Grand Hotel, NSW
Philip Cox and Partners, NSW
Sly and Weigall, NSW
State Bank Australia
Telstra, Sydney
Westfield, NSW
Westpac, NSW
Westpac Collection, Sydney
Yulara Tourist Resort, Northern Territory
Chartwell Collection, Waikato Museum of Art & History, Hamilton, NZ
Chase Manhattan, New York
Croydon Education Committee, London
Selected bibliography
Patrick McCaughey, 'The significance of the Field', Art & Australia, December 1968
Kym Bonython (ed.), Modern Australian Painting 1960–1970, Rigby, Adelaide, 1970
Elwyn Lynn, 'Australian abstractions in the New York melting-pot', The Bulletin, 5 December 1970
Lawrence Campbell, Art News, vol. 69, no. 8, 21 December 1970, p. 8
W. Domingo, Arts Magazine, vol. 45, December 1970, p. 58
Carter Ratcliff, ‘New York Letter’, Art International, summer 1973, pp. 60–62,
Lenore Goldberg, ‘Clear vision’, Arts Magazine, September–October 1973
Peter Frank, ‘He's matured, put on weight in New York’, The Age, 9 February 1972
Peter Frank, Art News, summer, May 1973, p. 92
Mervyn Horton (ed.), Australian Painters of the 70s, Ure Smith, Sydney, 1975
Tony McGillick, ‘A viable future for painting’, Nation Review, 30 June – 6 July 1977, p. 22
Ron Radford, Recent Australian Painting: A Survey 1970–1983, Art Gallery of South Australia, Adelaide, 1983
Paul McGillick, The Subject of Painting, Art Gallery of New South Wales, Sydney, 1985
Michael Johnson Paintings 1968–1986, University Gallery, The University of Melbourne, Melbourne, 1986
Terence Maloon, ‘Thick skin is shed, a butterfly is exposed’, Sydney Morning Herald, 29 March 1986
Gary Catalano, ’Abstracts filled with an emotional substance’, The Age, 20 August 1986
Tony Bond, Surface for Reflection Part s I & II, Art Gallery of New South Wales, Sydney, 1987
Robert Lindsay, Field to Figuration: Australian Art 1960–1986, National Gallery of Victoria, Melbourne, 1987
Minimal Art in Australia, Museum of Contemporary Art, Brisbane, 1988
Victoria Lynn, Michael Johnson Paintings 1968–1988, Art Gallery of New South Wales, Sydney, 1989
Christopher Allen, ‘An exuberant Johnson turns new artist at 50’, Sydney Morning Herald, 11 February 1989
Paul McGillick, 'The abstract in perspective', Australian Financial Review, 17 February 1989
Catharine Lumby, ‘Abstraction’, West, vol. 3, no. 2, 1992
Elwyn Lynn, ‘Capturing the new shape of abstraction’, The Weekend Australian,
20–21 February, 1993
Felicity Fenner, 'Orchestrating virtuosity', Sydney Morning Herald, 20 March 1993
Joanna Mendelssohn, 'Bunch of tens', The Bulletin, December 1993
Felicity Fenner, 'Metaphoric waiting room', Sydney Morning Herald, 1 April 1994
Nevill Drury, Images 2: Contemporary Australian Painting, Craftsman House, Sydney, 1994
John McDonald, 'The origins of the artistic species', Sydney Morning Herald, 16 September 1995
Paul McGillick, 'From luminous fields of pure colour to seething surfaces', Monument, no. 10, 1995
Joanna Mendelssohn, '1968 Primavera', The Australian, 15 September 1995
Carolynne Skinner & Alexandra Morphett, 'Gastronomy as Art', Oz Art, no. 12, September–December 1995
TECCA 2, Joan and Peter Clemenger Triennial Exhibition of Contemporary Australian Art, National Gallery of Victoria, Melbourne 1996, pp. 18–19
Susan McCulloch, 'Triennial Exhibition of Contemporary Art', Asian Art News, May–June 1996
Angela Bennie, 'Another way of seeing', Sydney Morning Herald, 12 September 1997
John McDonald, 'Dreaming in colour', Sydney Morning Herald, 13 September 1997
Sebastian Smee, ‘Colour splendid’, Sydney Morning Herald, 20 July 1999
Bruce James, ‘Order from chaos’, Sydney Morning Herald, 24 July 1999
Eccles, Jeremy, ‘Reflections of the melting pot’, Asia Week, ‘Arts & Sciences Olympic Games’,
21 January 2000, pp. 42–43
‘Contemporary Art in Australia Exhibition’, Elle (Hong Kong), no. 146, December 1999
‘The Rose Crossing: Contemporary Art in Australia’, Esquire (Hong Kong), no. 133,
December 1999
‘13 hybridisation stories’, Hong Kong Economic Journal, 3 December 1999
‘The hybrid rose’, Sing Tao Daily News, 26 November 1999
‘The Rose Crossing: Contemporary Art in Australia’, Ming Pao Weekly, 27 November 1999
‘13 Australian Artists’ Association Art Exhibition’, Ta Kung Pao, 3 December 1999
‘The Rose Crossing: Contemporary Art in Australia’, Youth’s Bi-Weekly, 4 December 1999
‘The Rose Crossing: Contemporary Art in Australia’, W, no. 6, December 1999
‘Symbols full of artificial expression’, Ming Pao Daily News, 9 December 1999
‘The Rose Crossing’, Ming Pao Daily News, 5 December 1999
‘The Rose Crossing: Contemporary Art in Australia’, Sing Tao Daily News, 7 December 1999
‘Hybrid culture = Australian culture?’, Ming Pao Daily News, 9 December 1999
‘The Rose Crossing’, Hong Kong Economic Journal, 15 December 1999
‘The fantasies of immigrant art’, Chinese Newspaper, 26 November 1999
‘Cultural event: The Rose Crossing: Contemporary Art in Australia’, Ming Pao Daily News,
28 November 1999
‘The Rose Crossing exhibition and Dale Barlow Quartet concert’, Ming Pao Daily News,
28 November 1999
‘The Rose Crossing: Contemporary Art in Australia’, Hong Kong Economic Journal,
24 November 1999
‘The Rose Crossing: Contemporary Art in Australia’, Sing Tao Daily News, 29 November 1999
‘Hybridisation: The Rose Crossing: Contemporary Art in Australia’, East Touch,
30 November 1999
Paul McGillick, ‘Canvassing opinions’, Panorama, July 2001
’50 of Australia’s most collectable artists’, Australian Art Collector, no. 27, January–March, 2004
Barry Pearce, Michael Johnson, Beagle Press, Sydney, 2004
Angela Bennie, ‘Eruptions from the volcano’, Metropolitan, Sydney Morning Herald, 13 April 2004, p. 12
Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986–2006, Craftsman House (Thames & Hudson Australia), Melbourne, 2006
Carmel Dwyer, ‘Relaxed and confident’, Australian Art Collector, no. 38, October–December 2006, pp. 189–193
Anthony Huckstep, 'A decorative degustation', Australian Art Review, November 2006 – February 2007, pp. 82–86
Paul McGillick, Australian Art Collector, no. 39, January–March 2007
Karen Pakula, ‘I still have 500 paintings to do’, Spectrum, Sydney Morning Herald, 24–25 March 2007, pp. 18–19
John McDonald, ‘The meaning of colour’, Spectrum, Sydney Morning Herald, 31 March – 1 April 2007, pp. 16–17