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Organised by Plimsoll Gallery Committee, Tasmanian School of Art. Funding ministry for Education and the Arts through Arts Tasmania. An exhibition of prints that resulted from collaborations by the artist with other artists, including Robin Wallace-Crabbe, Garry Shead, Helen Eager, Bruce Latimer, Shayne Higson and Kevin Sheehan.
Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
Plimsoll archive
Exhibition Catalogue:
Tony Coleing: collaborative prints. Hobart, Tasmania: The artists and the University of Tasmania, 1993
6p. : ill. : bio., bib
Organised and toured by EAF in 1976- based on the notion of communication within a uniform format the exhibition included work by Micky Allan, Alex Danko, Sue Ford, Imants Tillers, Robin Wallace Crabbe, Tim Burns, Tony Coling, Phil Dadson, Virginia Coventry and others
Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
Institute of Modern Art exhibition archive
Australia Council Visual Arts Board, Funded by Australia Council of the Arts. Australia’s exhibition at the 40th Venice Biennale, 1980.
Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
UTAS catalogue
Exhibition Catalogue:
Australia Council, Venice Biennale 1980 : art from 1968-1980, Australia : Mike Parr, Kevin Mortensen, Tony Coleing. [Sydney] : Visual Arts Board, Australia Council, 1980.
ISBN 0642894450
Recent International Forms in Art : The 1976 Biennale of Sydney …
Curated by Terry Smith and Donald Brook, The Situation Now: Object and Post Object Art, was a survey exhibition of conceptual and experimental works in Australia, sponsored by the Contemporary Art Society (CAS) held at Central Street. David Aspden’s work listed in the catalogue was replaced by a work by James Doolin in the exhibition itself.
ALSO: National Gallery of Victoria, Melbourne, Victoria, with additional installation by Mike Brown
The Field was the first temporary exhibition in the newly opened National Gallery of Victoria building in St Kilda Road. Its curators, John Stringer and Brian Finemore, proudly proclaimed its partisanship as it celebrated the work of a new generation of Australian abstract artists.
“It is not impartial and comprehensive. It is biassed to define one particular direction in contemporary Australian art,” they wrote.
The Field was held a year after MoMA’s Two Decades of American Painting travelled to Sydney and Melbourne, and both its content and its catalogue were significantly influenced by that exhibition. Its professional production as much as the content of the lively hard edge abstract works encouraged the perception that this was the avant garde in Australia in 1968.
In 2018, the 50th anniversary of The Field, the National Gallery of Victoria recreated the exhibition at Federation Square.