Books

 

Kit Messham-Muir & Uroš Čvoro.  The Trump Effect in Contemporary Art and Visual Culture: Populism, Politics, and Paranoia, New York: Bloomsbury (Forthcoming 2022)

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Kit Messham-Muir & Uroš Čvoro.  Images of War in Contemporary Art: Terror and Conflict in the Mass Media. New York: Bloomsbury, 2021

 

Kit Messham-Muir, Double War: Shaun Gladwell, visual culture and the wars in Afghanistan and Iraq, Port Melbourne: Thames & Hudson (2015)

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Beyond Region: Public Galleries in New South Wales, ed. Kit Messham-Muir, Sydney: Arts NSW & Australia Council (2007)

 

Book Chapters

 

‘Between the Walls: The Return of Post 1989 and the Art of Mladen Miljanović’. Afterstorm. Melbourne: Art + Australia, 2022 

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‘Conflict and Compromise: Australia’s Official War Artists and the “War on Terror”’, The Palgrave Handbook of Artistic and Cultural Responses to War – Volume 1: Australasia, the British Isles, and the United States.  Edited by Martin Kerby.  Melbourne: Palgrave Macmillan, 2019: 467-483. [582 pages]

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‘Double Looking: The Political Sublime in Shaun Gladwell’s Behind Point-of-View Series’, Perception and Agency in Shared Spaces of Contemporary Art. Edited by Cristina Albu and Dawna Schuld.  Oxford: Routledge (2017): 95-106 [252 pages]

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‘The Silent Centaur: Shaun Gladwell’s 1,000 Horses’, 1,000 Horses, Tel Aviv:  Tel Aviv Museum of Art, 2017: 23-30 (Hebrew); 108-116 (English) [134 pages]

 

'Three questions not to ask about art - and four to ask instead', A Year in the Life of Australia, Edited Paul Dalgarno, Sydney: Future Leaders (2014), 276-280

 

Invention at the Social Scale (Social Configurations): Melting into the Texture of Everyday Life, in Ecologies of Invention, eds. Buckley, Conomos & Dong, Sydney: Sydney University Press (2013): 70-77

 

Double Looking: Shaun Gladwell in Afghanistan', in Point-of-View - Afghanistan: Shaun Gladwell, eds. Robert Nichols and Emma Crimmings, Canberra: The Australian War Memorial, (2013): 8-15

 

‘Beneath the Pavement’, in Back to the City: Strategies for Informal Urban Interventions. Ostfildern: Hatje Cantz Verlag, (2009): 120-123

 

Scholarly Journal Articles

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‘Art & Text: the rise and fall of theory.’ Artlink: Contemporary Art of Australia & Asia Pacific 42:2 (2022) 16-21.

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‘The war itself: Cornelia Parker’s official Election Art, post-2016 democracy and the weaponisation of social media’, Australian and New Zealand Journal of Art 21:2 (2021) 176-191

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Kit Messham-Muir and Uroš Čvoro.  ‘After Aftershock: The Affect–Trauma Paradigm One Generation After 9/11.’ Australian and New Zealand Journal of Art 20:1 (2020) 125–140.  

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‘The BADFAITH machine: The Phantom Point-of-View in Virtual Reality’. Artlink: Contemporary Art of Australia & Asia Pacific (December 2018): 12-19

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‘Conflict, Complicity and Ben Quilty’s After Afghanistan portraits’. Australian and New Zealand Journal of Art 18:1 (2018): 71-89

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‘It’s not that I’m afraid to die…’, Art Monthly 304 (Summer 2017/18), 2017: 64-67

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‘Dani Marti: New York, Sydney, Cessnock’, Artlink: Contemporary Art of Australia & Asia Pacific, 36:3, September 2016: 72-75

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‘Into Darkness: Affect and Darkness in Museums of the Holocaust’, Journal of Curatorial Studies 4:3, (2015): 434-457

 

‘Impossible Empathy: The Non-Documentary War Art of Shaun Gladwell’, On Journal: On Objects, Issue 1, Number 1, September 2014. URL: http://onjournal.org/paper/125

 

‘History’s Actors in the Theatre of War: Images, Myths and the Frame in the War on Terror’. antithesis 22, (2012): 143-155

 

‘From Tinkering to Meddling: Notes on engaging first year art theory students’.  Journal of University Teaching and Learning Practice, 9:2 (2012)

‘Affect, Interpretation and Technology.’ Open Museum Journal. 7 (2005)

‘Dark Visitations: The Possibilities and Problems of Experience and Memory in Holocaust Museums.’ Australian & New Zealand Journal of Art: Art and Ethics. 4:2, 5:1 (2004): 97-111

‘Here We Are! National Museums of Postcolonial Australasia in a Post-Nation-State World’, World Literature Written in English: A Journal in Postcolonial and Commonwealth Writing 39:2 (2003): 71-83

‘Reconciling the Local and the Global in the Art of Adam Cullen.’ Australian Studies. 17:1 (2002): 45 – 64

 

Exhibition Catalogue Texts
 

‘Shaun Gladwell’, HOTA Collects, Gold Coast: HOTA Home of the Arts

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'Adam Cullen: Grunge and Rage', Newcastle: Cooks Hill Galleries, 2017

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‘What is Studio Practice?’, 2017 SoDA Research Celebration Exhibition, Perth: Curtin University, 2017

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‘Shifting Thresholds: Charting and Changing What Divides Us’, SPAN, Fremantle Art Centre, Fremantle, 2017

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‘Who are you, and what are you doing here?: Intersubjectivity and the Phantom Subjective Image in Shaun Gladwell’s War Art Works’, Traces of War, London: Kings College London (2016): 47-53

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‘Introduction by Kit Messham-Muir’, James Kearns and Nick Osmond, Cooks Hill Galleries, Newcastle NSW, 2016: 1

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‘Trauma and the Political Sublime in Claudia Parducci's The Space Between Us, Claudia Parducci: The Space Between Us, Los Angeles: Ochi Projects, 2016

 

‘Shaun Gladwell’ (five texts), Shaun Gladwell – The Lacrima Chair, Sydney: Sherman Contemporary Art Foundation, (2015): 22-23, 36-37, 82-83, 118-119, 144-145

 

'Art Excludes the Unnecesssary', Carl Andre: Steel Σ 16, Newcastle Art Gallery, 2014

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'Three Artists, Six Lives', A Trio of Trespassers, Maitland: Maitland Art Gallery, 2014

 

‘Riding with Death Redux: The Artist as an Allegory of Death’, Shaun Gladwell: Riding with Death Redux, Sydney: Anna Schwartz Gallery, 2011

‘Hybrid Memories’, Victoria Lobregat and Susan Ryman, 29 July – 25 August 2009, University Gallery, University of Newcastle, 2009

‘Radically Affirmative: Match Box Projects 19 - 29 March 2009’. Match Box Projects, Newtown: At the Vanishing Point, 2009

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‘Affect and the Archive’, Art and the Archive, Newcastle: Arts Health Research Centre and The Lockup, 2008

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‘Equilibrium: Shaun Gladwell’s Double Voyage, 2006.’ Melbourne: Anna Schwartz Gallery, 2008



‘VIBGYOR: Victor Gordon’s art from 1977 to 2003.’ Vanitas.  Broken Hill: Broken Hill City Gallery, 2003

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‘Sex Differential’, mothertrucker. Campbelltown: Campbelltown City Bicentennial Gallery, 2001

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‘Practices of the City and the Kickflipping Flaneur’ Shaun Gladwell: Kickflipping Flaneur. Sydney: Artspace, 2000

 

‘No Gold For Gargantua.’ The Liminal Body. Sydney Australian Centre for Photography, 2000

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‘The Politics of Culture versus the politics of culture.’ S___Hot, Sydney: Artspace, 1999

'Victoria Lobregat'. Victoria Lobregat. Sydney: Pendulum, 1996

 

‘Critical Dys-course.’ Critical Spaces. Sydney: Artspace, 1995

 

‘Modus Operandi: Aesthetics and Practice.’ Modus Operandi. Sydney: Allen St. Gallery, 1993: 2

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Articles and Critical Reviews (Selected)

 

‘It’s not that I’m afraid to die…’, Art Monthly 304 (Summer 2017/2018), 2017: 64-67

 

‘Taking a VR trip in Shaun Gladwell’s floating planetoid skull’, The Conversation, 18 January 2017

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‘Sydney: Matthys Gerber, Museum of Contemporary Art Australia’, Artforum, January 2016: 266-267

 

‘The Walking Dead: why that final point-of-view shot tells us nothing’, The Conversation, 6 April 2016

 

‘Art and terror: a new kind of memorial’, The Conversation, 23 March 2016

 

‘What 2015 Looked Like in Visual Art’, The Conversation, 14 December 2015

 

‘Here’s Looking At: Blue Poles by Jackson Pollock’, The Conversation, 10 December 2015

 

‘Painting a new path in life – Art’s redemptive power has great appeal’, Newcastle Herald, 31 October 2015: 19

 

'Vivid Sydney: contemporary art -- or just a bright night out?', The Conversation, 22 May 2014

 

‘Review: ‘I Am Still Alive’: On Kawara at the Guggenheim, New York’, NY Arts magazine, 28 March 2015)

 

‘Review: ‘I Am Still Alive’: On Kawara at the Guggenheim, New York’, The Conversation,10 March 2015

 

‘Shaun Gladwell is returning to Sydney, and may not shed tears’, The Conversation, 4 March 2015

 

‘‘You start with the image’: Marlene Dumas at the Tate Modern’, The Conversation, 19 February, 2015

 

‘Review: Activating space, a little – Sarah Sze in London’, The Conversation, 10 February, 2015

 

‘Why is Ben Quilty supporting two convicted drug smugglers?’, The Conversation, 29 January, 2015

 

‘Three simple steps to understand art: look, see, think’, The Conversation, 21 October 2014

 

‘It's too hard to love Primavera 2014 at Sydney's MCA’, The Conversation, 20 October 2014

 

'A Manifesta without a manifesto: contemporary art in St Petersburg', The Conversation, 14 October 2014

 

'Wim Delvoye’s astonishing art shows what’s lurking in the banal', The Conversation, 3 October 2014

 

'Review: The Life and Death of Adam Cullen by Erik Jensen', The Conversation, 15 September 2014

 

'Three questions not to ask about art - and four to ask instead', The Conversation, 22 August 2014

 

'Two artists go to war - Shaun Gladwell and Ben Quilty', The Conversation, 1 August 2014

 

'Jeff Koons - a spectacle on the way to respectable', The Conversation, 25 July 2014

 

'Ben Quilty at the Saatchi Gallery - Things Just Got Interesting', The Conversation, 9 July 2014

 

‘TOUCH: The Portraiture of Dani Marti’, Art & Australia 49.3 (2012): 504

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‘In the MIME-Network’, Broadsheet 40.2 (2011), 123-125
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‘Book review: South Pacific Museums.’ Museums Australia Magazine (2007)

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‘Tony Clark at Roslyn Oxley9.’ Eyeline 51 (2003): 60

 

‘Practices of the City.’ Kerb: Journal of Landscape Architecture. Sydney: University of NSW (2001): 6 – 11

 

‘David Griggs and Shaun Gladwell.’ Eyeline 46 (2001)

 

‘Franz Ehmann: Open Panorama & Soapbox, Installation Practices & Artists.’ Globe Online Arts Magazine (2000)

 

‘Dale Frank: Social Realism.’ Eyeline 31 (1996): 31-32

 

‘Review: Mishka Borowski.’ Art + Text 49 (1994): 75

 

‘Adam Cullen: Soft Material Facts.’ Eyeline 25 (1994): 42

 

‘Fresh Art Review.’ Eyeline 25 (1994): 50

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‘Mishka Borowski at Pendulum.’ Eyeline 24 (1994): 43-44

 

Government Reports

Messham-Muir, Kit, & White, Peter, Art NSW's Submission to the Senate Inquiry into the Indigenous Visual Arts and Craft Sector, Arts NSW, November 2006

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