Writing on Lyndell Brown/ Charles Green

Amelia Barikin, Lyndell Brown, and Charles Green, “The Museum in Hiding: Framing Conflict,” in A. Whitcomb and K. Message (eds.), The International Handbooks of Museum Studies: Museum Theory (Boston: Wiley, 2015): pp. 485-510.

Veronica Tello, “The Aesthetics and Politics of Aftermath Photography,” Third Text, vol. 28, no. 6 (Dec. 2014), pp. 555-562.

Veronica Tello, “The Nexus of Self & History: Australian Refugee Histories and Lyndell Brown and Charles Green’s Memory Atlas (1998-ongoing),” in The Aesthetics of Counter-Memory: Contemporary Art and Australian Refugee Histories After Tampa, PhD dissertation, University of Melbourne (June 2013), pp. 138-196.

Timothy Morrell, “Lyndell Brown and Charles Green”, Art Collector, no. 61 (September 2012), pp. 142-148. An extended essay and interview including discussion of the current project and illustration of studio production from current project.

Nola Anderson, Australian War Memorial: Treasures from a Century of Collecting (Canberra and Melbourne: Australian War Memorial and Murdoch Books, 2012), pp. 544, 545, 548, 564, 570-573, 580-581. Extended discussion of the national significance of the CIs’ art and war research projects, past and current.

Maggie Finch, “Lyndell Brown and Charles Green,” in Kelly Gellatly (ed. and curator), 101 Contemporary Australian Artists (Melbourne: National Gallery of Victoria, October 2012), pp. 38-39.

Mary Machen, “Exhibition presents harsh realities for Aussies at War,” The Examiner (Launceston), 17 August 2012, pp. 8-9.

Lana Best, “War art: studies in grey and vastness,” Unitas, no. 363 (October 2012), p. 12.

Maggie Finch, “Lyndell Brown and Charles Green,” in Maggie Finch (ed. and curator), Looking at Looking: The Photographic Gaze (Melbourne: National Gallery of Victoria, October 2011), pp. 38-39.

Amelia Douglas, “The viewfinder and the view,” Broadsheet, 38/1 (Sept. 2009), 200-205.

 Stephen Matchett, “The Art of War,” Weekend Australian, 25 April 2009, Review cover & 6-7.

Beverley Johanson, “Home of War Artists,” The Age, 29 August 2009, Domain 2.

Jennifer Sexton, “2 of us: Lyndell Brown and Charles Green,” Good Weekend, December 6 2008, 14.

Andrew Stephens, “Once Were Witnesses,” The Age, 29 November 2008, A2, 16-17.

Warwick Heywood, Framing Conflict: Iraq and Afghanistan; Lyndell Brown and Charles Green (Canberra: Australian War Memorial, 2008).

Andrew Stephens, “Grasping the past imperfect,” The Age, 18 October 2008, A2, 14-15.

Maggie Finch, Order and Disorder: Archives in Photography, exh. catalogue, National Gallery of Victoria, Melbourne, October 2008.

Warwick Heywood, “Lyndell Brown and Charles Green,” War, exh. catalogue, GrantPirrie Gallery, Sydney, 2008.

Modern Painters editors, “Portfolio: What does it mean to make art during wartime,” Modern Painters 20/3 (April 2008), 62-69.

Warwick Heywood, “Obscure Dimensions of Conflict: Lyndell Brown and Charles Green,” Artlink 28/1 (March 2008), 52-55.

Ashley Crawford, “Interview: Lyndell Brown and Charles Green in the war zone,” Photofile 83 (Winter 2008), 20-25.

Judy Annear, “The Map of Atlantis,” Photography: Art Gallery of New South Wales Collection (Sydney: Art Gallery of New South Wales, 2007), 334.

Gabriella Coslovich, “New Additions to a rich tradition of art and war,” The Age, 3 November 2007, Insight 2.

Yuko Narushima, “The quest to capture life at the front,” The Sydney Morning Herald, 29 June 2007, 14.

Natasha Rudra, “Artists record images of conflict,” Canberra Times, 29 June 2007, 6.

Silvia Dropulich, “Politically powerful artists chosen to portray complex war,” The University of Melbourne Research Review, 2007, 8-9 & cover.

Lorna Edwards, “Artists Charged with Capturing Hues and Cries of Conflict,” The Age, 27 Feb. 2007, 5.

Nikos Papastergiadis, “Trompe l’Oeil: Under the Signs of Everything,” in Spatial Aesthetics: Art Place and the Everyday (London: Rivers Oram Press, 2006), 60-67.

Sue Smith, “Other Dimensions: Body, Speed and Time,” and Sally Butler, “Darkroom of the Soul,” in Other Dimensions: Contemporary Photomedia from Australia, China and Japan, curated Sue Smith, Rockhampton Art Gallery, Rockhampton (2006).

Victoria Hynes, “Two Up: Victoria Hynes Interviews Lyndell Brown and Charles Green,” Australian Art Review, 10 (March-June 2006), 56-59.

Shaun Wilson, “Remixing Memory,” Photofile 77 (Autumn 2006), 34-37.

Lyndell Brown and Charles Green, In Defense of Nature, ARC One Gallery, Melbourne, exh. catalogue with essay by the authors (September 2005), n.p.

Blair French, “Tranquility”, in Natasha Bullock (curator), Tranquility, exh. catalogue (Sydney: Art Gallery of New South Wales, May 2005), 2-4.

Laura Murray Cree, “The Waves,” in Bridget Pirrie (curator), The Waves, exh. catalogue (Sydney: GrantPirrie Gallery, 2003), 3.

Alex Miller, “The Artist as Magician,” Meanjin, vol. 62, no. 2 (2003), Special Issue: Portraits of the Artist, 41-58.

Lyndell Brown and Charles Green, “Self-Portrait: Sanctuary,” Art and Australia, vol. 40, no. 2 (Summer 2002), 248-249.

Anthony White, “Technique and Memory,” in Eldorado, exh catalogue (Melbourne: Arc 1 Gallery, 2003), 3.

Peter Conrad, At Home in Australia (Canberra: Thames & Hudson and the National Gallery of Australia, 2003), 246-247.

Lyndell Brown, “Arcadia,” in Anurendra Jagadeva (curator), Arcadia, exh. catalogue (Melbourne: Monash University Faculty Gallery, 2003), 2-4.

Samela Harris, “Lyndell Brown and Charles Green,” Australian Art Collector 21, July 2002, 48-51.

Deborah Hart, “Illusory worlds,” in Deborah Hart, Tales of the Unexpected, curated exh. (Canberra: National Gallery of Australia, July 2002), 20-25.

M.A. Greenstein, “Lyndell Brown/Charles Green,” Atlas, exh. catalogue, (Sydney: GrantPirrie Gallery, 2002).

Alex Miller, “Sanctuary,” in Sanctuary—and other island fables, exh. catalogue (Melbourne: Herring Island Gallery, Parks Victoria, 2002), 1-22.

Alex Miller, “Art and Other Worlds,” The Age Saturday Extra, 9 February 2002, 5-6.

M.A. Greenstein, “20 July 2001; Los Angeles, California, U.S.A.,” Indicium: Contemporary Australian Photomedia (Seoul: Insa Art Centre and Sydney: Penrith Regional Gallery, 2001), 6-13.

Helen McDonald, Erotic Ambiguities: The Female Nude in Art (London and New York: Routledge, 2001), 207-210.

Megan Dunn, “Time after time,” Pavement 42 (New Zealand), Aug.-Sept. 2000, 60.

Peter Nagy, “Boundlessly Various and Everything Simultaneously” exhibition catalogue, (New York: Bose Pacia Modern, 2000).

Jeanette Hoorn, “Lyndell Brown and Charles Green,” in Laura Murray Cree (ed.) Australian Painting Now (Sydney: Craftsman House, 2000), 72-75 and cover.

Nikos Papastergiardis, “Trompe l’oeil: under the signs of everything,” Towards a Theory of Everything, Sydney: Australian Centre for Photography, 1999, 2-10.

“Days of their lives,” The Australian Review of Books, vol. 4, no. 9, cover illustration.

Tom Nicholson, “Archives after the seventies and after,” Artlink 19/1, March 1999, 63-65.

Jeanette Hoorn, “The Desiring Phantom: Contemplating the Art of Lyndell Brown and Charles Green,” Art and Australia, vol. 35, no. 3, April 1998, 374-381.

Elizabeth Cross, Robert Nelson, Southern Reflections, exhibition catalogue essays, Stockholm: Kulturhuset, 1998. Elizabeth Cross, “Southern Reflections,” 7-13; Robert Nelson, “Lyndell Brown/Charles Green,” 32-33.

Juliana Engberg, “The Lovers,” catalogue essay, Museum of Modern Art, Heide, Melbourne, November 1995

Natalie King, “Constructed City,” catalogue essay, Plimsoll Gallery, Hobart, October 1995

Alan Krell, catalogue essay, Annandale Galleries, Sydney, September 1993

Artists’ statement, 13 Verity Street Gallery, Melbourne, April 1993

Robert Nelson, “Una Selva Lucida,” catalogue essay, Annandale Galleries, Sydney, March 1992