Kalli Rolfe Contemporary Art

Born 1946 in Santiago, Chile
Moved to Australia in 1974
Lives in Melbourne
Artist, Editor of Art and Criticism Monograph Series in Melbourne

STUDY

1951-1963 Colegio Verbo Divino, Santiago
1965-1969 Law School of the University of Chile
1970-1972 Fine Arts School of the University of Chile

INDIVIDUAL EXHIBITIONS

1974 Latinamerican Artistic Coordination, CAL Gallery, Santiago
1977 Tolarno Galleries, Melbourne
1979 Latinamerican Artistic Coordination, CAL Gallery, Santiago
1981 Tolarno Galleries, Melbourne
1981 Hot Art, Video-Performance, Melbourne City Square
1982 Roslyn Oxley9 Gallery, Sydney
1983 Fable of Australian Painting, Tolarno Galleries, Melbourne
1983 Ned Kelly,Praxis, Fremantle
1983 Fable of Chilean Painting 1973/83, Sur Gallery, Santiago
1984 Adelaide Festival, Experimental Art Foundation, Adelaide
1984 Pieta, Performance Space, Sydney
1984 The Studio, Sydney College of the Arts, Painted by Penis
1984 Davila, Paintings 1980/84, Sur Gallery, Santiago
1985 Roslyn Oxley9 Gallery, Sydney
1986 op. cit., Power Gallery of Contemporary Art, University of Sydney
1986 Picasso Theft, Avago Gallery, The Arts Workshop, University of Sydney
1987 Tolarno Galleries, Melbourne
1987 Bellas Gallery, Brisbane
1988 Roslyn Oxley9 Gallery, Sydney
1988 Centro Cultural de la Municipalidad de Miraflores, Lima
1988 Galeria Ojo de Buey, Santiago
1989 Tolarno Galleries, Melbourne
1990 Large Prints, Cannibal Pierce Gallerie Australienne, St.Denis, France
1991 Mexicanismo, Bellas Gallery, Brisbane
1991 Centre for Contemporary Art of South Australia, Adelaide
1991 Tolarno Galleries, Melbourne
1991 Roslyn Oxley9 Gallery, Sydney
1992 Plimsoll Gallery, Tasmanian School of Art, Hobart
1992 Popular Art, Graphic Work 1958-1992, Tolarno Galleries, Melbourne
1993 Welcome to Australia, Roslyn Oxley9 Gallery, Sydney
1994 3-D Semblance, Tolarno Galleries, Melbourne
1994 Joy Radio, Trish’s Coffee Place, North Melbourne
1994 Imperfect Drawings, Greenaway Gallery, Adelaide
1994 Juanito Laguna, Chisenhale Gallery, London
1995 Juanito Laguna, Tolarno Galleries, Melbourne
1995 Juan Davila, Recent Jet Sprays, Plug In Inc, Winnipeg, Canada
1996 Rota, Galeria Gabriela Mistral, Santiago
1997 ARCO 97, Greenaway Art Gallery, Madrid
1997 Rota, Tolarno Galleries, Melbourne
1998 Rota, Greenaway Gallery, Adelaide
1998 Verdeja, Project Room, ARCO 98, Greenaway Gallery, Madrid
1998 Schreber’s Semblance, Freud in North Queensland Conference, Townsville, Australia
1999 Recent Drawings, Kalli Rolfe Contemporary Art, Melbourne
2000 Greenaway Art Gallery, Adelaide
2000 Love’s Progress, Kalli Rolfe Contemporary Art, Art Fair 2000, Melbourne
2001 The Ruins of Adelaide, Greenaway Art Gallery, Adelaide, Australia
2002 Woomera, Kalli Rolfe Contemporary Art, Melbourne, Australia
2002 Juan Davila: Works 1988-2002, Australian National University Drill Hall Gallery, Canberra
2003 Recent Works, “Courbet’s Origin of the World Renamed”, Kalli Rolfe Contemporary Art, Melbourne, Australia
2005 Juan Davila, Prints and Drawings, 1980s-2005, Kalli Rolfe Contemporary Art, Melbourne, Australia
2006 Juan Davila Retrospective, Museum of Contemporary Art, Sydney,
2006 Juan Davila Retrospective, National Gallery of Victoria, Melbourne, Australia
2007 Paintings and Works on Paper, L.A. Galerie Lothar Albrecht, Frankfurt, Germany,
2009 Juan Davila: A Panorama of Melbourne, Cowen Gallery, State Library of Victoria, Melbourne, Australia

GROUP EXHIBITIONS

1970 Museum of Contemporary Art, Santiago
1972 Leon, Davila, Borquez, Gana, Latin American Art Institute, Santiago
1972 Annual Exhibition, Fine Arts Museum, Santiago
1973 Six Young Artists, Carmen Waugh Gallery, Santiago
1975 The Sun, Fine Arts Museum, Santiago
1975 Six Approximations to Surrealism in Chile, Chilean-French Institute of Culture, Santiago
1975 7th International Festival of Painting, Cagnes-Sur-Mer, France
1977 Five Expressions of Figurative Art in Chile, Cromo Gallery, Santiago
1981 Spectres of Our Time, Art Gallery of South Australia, Adelaide
1982 Vision in Disbelief, 4th Biennale of Sydney
1982 Nelly Richard, Carlos Leppe, Juan Davila, Video- Performance, Chilean-French Institute of Culture, Santiago
1982 POPISM, National Gallery of Victoria, Melbourne
1982 Art in the Age of Mechanical Reproduction, George Paton Gallery, University of Melbourne
1982 Sexual Imagery in Art, Tasmanian School of Art, Unversity of Tasmania, Hobart
1982 Artist’s Proof, Leppe, Cardenas, Davila, performance, XII Biennale of Paris, Museum of Modern Art, Paris
1982 Nu-View, Australian Video, State Film Centre, Melbourne
1983 Fringe Network Festival, Melbourne
1983 Open Video Festival, Artspace, Sydney
1983 Pirates & Mutineers, Roslyn Oxley9 Gallery, Sydney
1983 Australian Perspecta, Art Gallery of New South Wales, Sydney
1983 Comic Stripping, George Paton Gallery, University of Melbourne
1983 Continuum, video, Japan
1983 Anzart, Hobart
1983 Metro TV Video Event, Sydney
1983 From Another Continent: Australia, the Dream and the Real, Museum of Modern Art, Paris
1983 Recent Australian Painting: a Survey 1970-1983, Art Gallery of South Australia, Adelaide
1983 Vox Pop, into the Eighties, National Gallery of Victoria, Melbourne
1984 Form-Image-Sign, Art Gallery of Western Australia, Perth
1984 Private Symbol: Social Metaphor, 5th Biennale of Sydney
1984 Selections from the 5th Biennale of Sydney, George Paton Gallery, University of Melbourne
1984 The Romance Show, Lake MacQuarie Community Gallery, Newcastle
1984 The Politics of Picturing, Tasmanian School of Art, University of Tasmania, Hobart
1984 Three Artists, Three Rooms, Australian Centre for Contemporary Art, Melbourne
1985 Isolaustralia, Bevilacqua La Masa Foundation, Venice
1985 Close Remarks, Placing Art and Theory, Artspace, Sydney
1985 Fuera de Serie, Sur Gallery, Santiago
1986 Art in Chile, an Audio-visual Documentation, Experimental Art Foundation, curated by Juan Davila and Nelly Richard, Adelaide Festival
1987 Australian Art 1960-1986, Field to Figuration, National Gallery of Victoria, Melbourne
1987 Power Gallery of Contemporary Art, In Retrospect and

    Prospect, Australian Centre for Contemporary Art, Melbourne  

1987 Contemporary Art in Australia, MOCA Museum of Contemporary Art, Brisbane
1987 Sighting References, Ciphers, Systems and Meaning in Recent Australian Visual Art, National Art Gallery, Wellington, New Zealand
1987 Sighting References, Art Gallery of New South Wales, Sydney
1987 The Australian Bicentennial Perspecta, Art Gallery of New South Wales, Sydney
1988 1968-1988 Selected Works, Roslyn Oxley9 Gallery, Sydney
1988 Stories of Australian Art, Commonwealth Institute, London
1989 Prospect 89, Frankfurter Kunstverein, Frankfurt
1989 Vollbild, NGBK, Kunstlerbahnhof Westend, Berlin
1989 The Australian Exhibition, Frankfurter Kunstverein, Frankfurt
1989 Australian Prints, Australian National Gallery, Canberra
1989 Australian Watercolours, Drawings, Prints, 1935-1989, Charles Nodrum Gallery, Melbourne
1989 Moral Censorship and the Visual Arts in Australia, Australian Centre for Contemporary Art, Melbourne
1990 The Complex Picture, College Gallery, Adelaide
1990 Transcontinental, 9 Artists from Latinamerica, Cornerhouse Gallery, Manchester and Ikon Gallery, Birmingham
1990 The Oedipus Variations, Australian Centre for Photography, Sydney, George Paton Gallery, University of Melbourne and Experimental Art Foundation, Adelaide
1990 Australian Self-Portraits, Cannibal Pierce Gallerie Australienne, St. Denis, France
1990 Add Magic, a Billboard Project, Australian Centre for Photography, Sydney
1991 Blue Chip, The Instant Decorator, a Room by Howard Arkley and Juan Davila, Tolarno Galleries, Melbourne
1991 El desafio a la colonizacion, 4th Biennale of Havana, Cuba
1991 La cita transcultural, ICI, Buenos Aires
1992 America, Bride of the Sun, Royal Fine Arts Museum, Antwerp
1992 My Head is a Map, Australian National Gallery, Canberra
1992 You Are Here, IMA Institute of Modern Art, Brisbane
1993 Cartographies, Winnipeg Art Gallery, Canada
1993 Cartographies, Museo de Artes Visuales Alejandro Otero, Caracas, Venezuela
1993 Cartographies, Biblioteca Luis Angel Arango, Bogata, Colombia
1993 You Are Here, Australian Centre for Contemporary Art, Melbourne
1993 Currents ‘93 Dress Codes, ICA, Boston
1993 Dislocations, National Gallery of Victoria, Melbourne
1993 Art from Latin America, La Cita Transcultural, Museum of Contemporary Art, Sydney
1993 States of Loss, Jersey City Museum, USA
1993 The Body in Question, Monash University Gallery, Melbourne
1993 You Are Here, The Contemporary Art Centre of South Australia, Adelaide
1994 Unbound: Possibilities in Painting, Hayward Gallery, London
1994 Cartographies, National Gallery of Canada, Ottawa, Canada
1994 Cartographies, The Bronx Museum of the Arts, Bronx, New York
1994 Works from the Monash University Collection – a Selection, Monash University Gallery, Melbourne
1994 The Baillieu Myer Collection of the 80s, Museum of Modern Art at Heide, Melbourne
1994 Power Works from the MCA Collection, Museum of New Zealand Te Papa Tongarewa, Wellington
1994 Cocido y Crudo, Centro de Arte Reina Sofia, Madrid
1994 Group.J.F.K., Juan Davila, Fiona Macdonald, Constanze Zikos, 194 Commercial Road, Prahran, Melbourne
1994 Theoretical Vogueing, National Gallery of Victoria, Melbourne
1994 Photosynthesis, Roslyn Oxley Gallery, Sydney
1994 Don’t Leave Me This Way, Art in the Age of AIDS, Australian National Gallery, Canberra
1995 ARCO 95, International Contemporary Art Fair, Greenaway Gallery, Madrid
1995 Aspects of Australian Printmaking 1984-1994, National Gallery of Victoria, Melbourne
1995 Tableaux, Works from the Monash University Collection, Monash University Gallery, Melbourne
1995 Cartographies, Fundacion “la Caixa”, Madrid
1995 XI Print Show, City of Curitiba, Brasil
1996 Intolerance, Walter Phillips Gallery, Banff Centre for the Arts, Canada
1996 Tolarno Galleries, Cologne Fair, Cologne
1997 Power, Corruption and Lies, Institute of Modern Art, Brisbane
1997 What’s New, Waverley City Gallery, Melbourne
1997 Large Scale Painting from the Holmes a Court Collection, Cullity Gallery, School of Architecture and Fine Arts, The University of Western Australia, Perth
1997 39 Paintings and 2 Sculptures, Charles Nodrum Gallery, Melbourne
1997 1st Bienal de Artes Visuales del Mercosur, Porto Alegre, Brasil
1998 Sao Paulo Biennale, Roteiros, Roteiros, Roteiros
1998 Drawing is Dead?, Renard Wardell Gallery, Melbourne
1998 Melbourne Contemporary Art Fair, Greenaway Art Gallery
1999 On the Road, the Car in Australian Art, Heide Museum of Modern Art, Melbourne
1999 A sangre y fuego, EACC Espai d’Art Contemporani de Castello, Spain
2000 Chile 100 Anos de Artes Visuales, Segundo Periodo (1950- 1973), Museo de Bellas Artes, Santiago, Chile
2001 William Buckley: Rediscovered, Geelong Art Gallery, Australia
2001 A Bush Burial-variations on a theme, Geelong Art Gallery, Australia
2001 A person looks at a work of art… the Michael Buxton Contemporary Australian Art Collection, Heide Museum of Modern Art, Melbourne
2001 Collection of the Museo de Arte Moderno de Chiloe, Comodoro Rivadavia, Chile
2001 Our Place, Issues of Identity in Australian Art, Monash University Museum of Art at Prato, Italy
Icon Interior, Howard Arkley and Juan Davila, Drill Hall Gallery, Australian National University, Canberra
People, Places + Ideas, celebrating four decades of the Monash University Collection, Monash University Museum of Art, Melbourne
Fieldwork, Australian Art 1968-2002, National Gallery of Victoria, The Ian Potter Centre: NGV

Melbourne, Australia  

2003 Kelly Culture, Reconstructing Ned Kelly, State Library of Victoria, Melbourne
2003 onpaper, Australian Prints and Drawings in the National Gallery of Victoria, The Ian Potter Centre: NGV Australia, Melbourne
2003 see here now, Vizard Foundation Art Collection of the 1990s, The Ian Potter Museum, University of Melbourne
2003 Sex & Sexuality, Selected Works from the Alex Mackay Collection of Erotic Art, Noosa Regional Gallery, Queensland, Australia
2003 Witnessing to Silence, Art and Human Rights, ANU Drill Hall Gallery, Canberra, Australia
2003 MCA Unpacked II, Museum of Contemporary Art, Sydney, Australia
2003 Home and Away, Place and Identity in Recent Australian Art, Monash University Museum of Art, Melbourne, Australia
2004 ANU Art Collection, Acquisitions from the Past Ten Years, Australian National University Drill Hall Gallery, Canberra, Australia
2004 Flesh, Noosa Regional Gallery, Noosa, Queensland, Australia
2005 This & Other Worlds, Contemporary Australian Drawing, National Gallery of Victoria, The Ian Potter Centre: NGV Australia, Melbourne, Australia
2006 Arte Contemporaneo Chile: Desde el Otro Sitio/Lugar, National Museum of Contemporary Art, Seoul, Korea and Museo de Arte Contemporaneo, Santiago, Chile
2006 Travelling Works from the Benalla Art Gallery’s Collection, Queensland Art Gallery, Brisbane, Australia; Art Gallery of New South Wales, Sydney Australia; Museum of Contemporary Art, Sydney, Australia; National Gallery of Victoria, Melbourne, Australia; RMIT Gallery, Melbourne Australia; National Gallery of Australia, Canberra, Australia
2006 Pie de Pagina, Fundacion Cultural Gil de Castro, Plaza Mulato, Santiago, Chile
2006 Home Goal: Diversity in Australian Contemporary Art from the Collection of Dr Dick Quan, Bathurst Regional Art Gallery, Bathurst, Australia
2007 Documenta 12, Kassel, Germany
2007 Andy and Oz: Parallel Visions, The Andy Warhol Museum, Pittsburgh, USA
2007 Masters of Emotion, Mornington Peninsula Regional Gallery, Mornington, Victoria, Australia
2008 Primary Views, Artists curate the Monash University Collection, Monash University Museum of Art, Melbourne, Australia
2008 Highlights from the Ararat Regional Gallery Textile Fibre Collection, Ararat Regional Gallery, Ararat, Victoria, Australia
2008 The Naked and the Nude, Ballarat Art Gallery, Ballarat, Victoria, Australia
2008 Premonitions: Monash University Collection 1961-2007, McClelland Gallery and Sculpture Park, Langwarrin, Victoria, Australia

BIBLIOGRAPHY BY THE ARTIST

1979 ‘El desnudo en arte contemporaneo’, CAL Magazine, Santiago
1980 ‘Tod/Etcetera/Ratman’, Papers of the Freudian School of Melbourne
1981 ‘Spider Woman in Australia’, Art & Text 4, Melbourne
1981 Cover Art & Text 4, Melbourne
1982 ‘Amor de Chile’, La Separata, Santiago
1982 ‘Love of Australia’, Art Network, Sept., Sydney
1982 ‘Leppe: sala de espera Latinoamericana’, unpublished
1983 ‘Photo Romance’, Virgin Press 22, Melbourne
1983 Cover Virgin Press 22, Melbourne
1983 Cover Australian Art Review 2, Sydney
1983 ‘POPISM Transgresses’, letter to Art Network 8, Sydney
1983 ‘Interview with Nelly Richard’, Art & Text 8, Melbourne
1983 ‘Jenny Watson’, catalogue Roslyn Oxley9 Gallery, Sydney
1983 ‘Good Luck’, Stuff, May, Melbourne
1983 ‘Comic Stripping’, catalogue George Paton Gallery, University of Melbourne
1983 ‘Landscape Art in Western Australia’, Praxis M, Fremantle
1983 ‘Fable of Australian Art’, Art Press 74, Paris
1983 ‘From Another Continent: Australia, the Dream and the Real’, catalogue Museum of Modern Art, Paris
1983 ‘Fabula de la pintura chilena’, catalogue Sur Gallery, Santiago
1984 Cover Outrage 13, Melbourne
1984 ‘Photo-Strip’, Art Network 12, Sydney
1984 ‘What’s Happening to Painting?’, Artlink 4/2, Adelaide
1984 ‘Pieta’, Art & Text 15 (‘Double Trouble’ with ZG), Melbourne and New York
1984 Cover Express, Special Edition on Australia, New York
1984 ‘On Eclecticism’, Art Network 13, Sydney
1984 Record Cover for ‘I’m Talking’ Band, Trust Me, Regular Records, Melbourne
1985 ‘The Brady Bunch’, Review of Exhibition ‘Visual Tension’, On The Beach 7, Sydney
1985 The Mutilated Pieta, Juan Davila and Paul Foss, Artspace Publication, Sydney
1985 ‘A Question of Im-pertinence’, Interview between Juan Davila and Paul Foss, Hysterical Tears, Greenhouse Publications, Melbourne
1986 Preface for ‘Margins and Institutions, Art in Chile since 1973’, Juan Davila and Paul Foss, Art & Text 21, Melbourne
1986 ‘Domus’, Art Network 19/20, Sydney
1986 Cover ‘Constructing the History of Australian Art: Eight Critiques’, Edited by Terry Smith, Power Institute of Fine Arts, University of Sydney
1987 ‘Aboriginality: A Lugubrious Game?’, Art & Text 23, Sydney
1987 ‘L'Image Photographique’, +/o Revue d'art contemporain 46, Brussels
1988 Cover The Pirate’s Fiancee, Meaghan Morris, Verso, London
1988 Cover Island on the Stream, Edited by Paul Foss, Pluto Press, Sydney
1990 Cover The Witness, Juan Jose Saer, Serpents Tail, London
1990 ‘Letters to Guy Brett’, Transcontinental, Nine Latin American Artists, Guy Brett, Verso, London and New York
1991 ‘Deathwatch’, Art & Text 40, Sydney
1991 Cover CD Risky Business, David Chesworth, Natural Symphonies, Sydney
1992 Cover Agenda 23, Melbourne
1992 Popular Art, Roy Davila and Self-Portrait (Remembering Fanon), Maria Davila, catalogue Popular Art: Graphic Work 1958-1992, Tolarno Galleries, Melbourne
1992 Cover Rethinking Sex, Edited by R.W. Connell and G. W. Dowsett, Melbourne University Press
1993 ‘Self-Portrait’, Pataphysics, Melbourne
1993 ‘Self-Portrait (Remembering Fanon)’, Maria Davila, catalogue States of Loss, Jersey City Museum, USA
1994 Cover Southerly 1, The English Association, University of Sydney
1995 ‘Dear A & D Reader’, Art and Design, Art and Cultural Difference issue, London
1995 Cover Clean, Box of Anger band, Bent Records, Benalla
1995 ‘The Art Curator, Our Cultural Transponder’, Transgression and the Culture Industry, The Gordon Darling Foundation Seminars, Melbourne, Australian Centre for Contemporary Art
1996 Cover Revista de Critica Cultural 13, Santiago
1997 ‘Friends of the People’, catalogue Power, Corruption and Lies, Institute of Modern Art, Brisbane
1998 ‘Friends of the People’, Aedon, Melbourne University
2000 Cover Santo Roto, Juan Pablo Sutherland, LOM publisher, Santiago, Chile
2001 ‘Art or Mart?’, Meanjin 60, 4, 128-132, Melbourne
2001 ‘Art or Mart?’, Meanjin 60, 4, cover image, Melbourne
2001 ‘The Ruins of Adelaide’, catalogue, Greenaway Gallery, Adelaide
2002 ‘Woomera’, catalogue, Kalli Rolfe Contemporary Art, Melbourne
2002 ‘A Brief Commentary by the Artist’, catalogue Juan Davila: Works 1988-2002, Australian National University Drill Hall Gallery, Canberra
2003 ‘Woomera’, Artlink, vol 23 n.1, pp 18-19, Adelaide
2003 Courbet’s “Origin of the World” Renamed, catalogue, Kalli Rolfe Contemporary Art, Melbourne
2004 ‘Courbet’s Curtain’, Meanjin 63 (1) pp 211-218, Melbourne
2004 ‘Edwardian Mirage’, Meanjin 63 (3) pp 33-36, Melbourne
2006 ‘Juan Davila’, with Guy Brett and Roger Benjamin, Melbourne: The Miegunyah Press
2008 ‘A Panorama of Melbourne’, Primary Views, Clayton: Monash University Museum of Art, p20

CATALOGUES AND PUBLICATIONS

1977 The Mechanism of Illusion in Davila, Nelly Richard, catalogue Tolarno Galleries, Melbourne
1979 El cuerpo en/de la pintura de Davila/fragmentos (The Body in/of the Painting of avila/Fragments), Nelly Richard, catalogue MFV Mario Fonseca, Santiago
1979 ‘La irrupcion del deseo en la pintura de Davila’ (The Irruption of Desire in the Painting of Davila), Nelly Richard, Bravo, Santiago
1980 Davila: la ofensiva liberalidad' (Davila: the Offensive Liberality), Fernando Balcells, La Bicicleta, Santiago
1980 ‘Ethnic Double Issue’, Aspect Vol 5/1-2, Rudi Krausmann Editor, Sydney
1981 De semiotica y pintura: un analisis de un representante de la nueva generacion de arte chileno despues del golpe de estado por la Junta Militar en Chile (On Semiotics and Painting: an Analysis of a Representative of the New Generation of Chilean Art after the Coup D'Etat by the Military Junta in Chile), Rafael del Villar, unpublished
1982 La historia de la pintura chilena (The History of Chilean Painting), Gaspar Galaz and Milan Ivelic, Catholic University of Valparaiso Ed.
1982 ‘Hysterical Public Masturbation’, Ian Hunter, Outrage 12, Melbourne
1982 POPISM, Paul Taylor, catalogue National Gallery of Victoria Melbourne
1982 ‘Popism’, Paul Taylor, Real Life 9, New York
1982 The Visual Arts and the Law, Shane Simpson, The Law Book Co., Sydney
1983 ‘On the Use of Certain Words’, Patricio Marchant, Art & Text 9, Melbourne
1983 ‘La disputa de la cita biblica’ (The Dispute of the Biblical Quotation), Justo Mellado, Cuadernos de/para el analisis, Santiago and catalogue Galeria Sur, Santiago
1983 ‘Australian Perspecta’, Bill Wright, Studio International 196/1002, London
1983 ‘Australische Kunst der Gegenwart in Paris’, Anna Bock, Kunstforum 69, Germany
1983 ‘Vox Pop, an Iconography of Popular Beliefs’, Robert Lindsay, catalogue National Gallery of Victoria, Melbourne
1983 ‘Recent Australian Painting: a Survey 1970-1983’, Ron Radford, catalogue Art Gallery of South Australia, Adelaide
1983 ‘Popism’, Alison Fraser, Australian Art Review 2, Sydney
1983 ‘Form-Image-Sign’, Tony Bond, catalogue Art Gallery of Western Australia, Perth
1983 ‘Plastica neo-vanguardista, antecedentes y contexto’ (Neo-Avantgarde Visual Arts, Antecedents and Context), Osvaldo Aguilo, Ceneca Ed., Santiago
1983 ‘On the Photo-Romance’, Rolando Caputo, Virgin Press 22, Melbourne
‘Acerca del mecanismo de la cita en el materialismo pictorico de Juan Davila (About the Quotational Mechanism in the Pictorial Materialism of Juan Davila), Nelly Richard, Cuadernos de/para el analisis 1, Santiago
1983 '40 ans d'art en Australie’, Nancy Underhill, Art Press 74, Paris
1983 ‘The Success of Juan Davila’, David Bromfield, Praxis M 2, Fremantle
1983 ‘A Statement from the Artist, Juan Davila’ Volker Beilharz, Melbourne University Fine Arts Student’s Society Broadsheet Vol 12 No3, Melbourne
1983 ‘Reply to Discussion Evening Report’, Lorena Mazzoco, Melbourne University Fine Arts Student’s Society Broadsheet Vol 12 No4, Melbourne
1983 ‘Chile en la XII Bienal de Paris’, Nelly Richard, La Separata 6, Santiago
1984 ‘Body Without Soul’, Nelly Richard, Art & Text 12/13, Melbourne
1984 ‘The Sydney Biennale’, Ann van der Bosch, Art Monthly 77, London
1984 ‘Shooting Down the Myth’, Martin Munz, Express (Special Australian Edition), New York
1984 ‘Black Hole: Red Desert’ (Sound and Vison in Australia), Judy Annear, Express (Special Australian Edition), New York
1984 Catalogue Adelaide Festival, Exhibition Juan Davila, Adelaide
1984 ‘Art is Homosexual’, Paul Taylor, Outrage 13, Melbourne
1984 ‘Sydney Biennale Private Symbol: Social Metaphor’, Judy Annear, Studio International 197/1006, London
1984 ‘Juan Davila at the Adelaide Festival’, Paul Taylor, Studio International 197/1006, London
1984 ‘The Sydney Biennale’, Annelie Pohlen, Artscribe 47, London
1984 ‘Private Symbol: Social Metaphor, 5 Biennale von Sydney, Australien’, Annelie Pohlen, Kunstforum 73/74, Germany
1984 ‘A New Internationalsm’, Gordon Bull, Domus 77, Italy
1984 ‘POPISM: The Art of White Aborigines’, Paul Taylor, Flash Art 112, Italy
1984 ‘The Nation and its Post-Modern Critics’, Paul James, Arena 69, Melbourne
1984 La Cita Amorosa, Nelly Richard, Francisco Zegers Ed., Santiago
1984 ‘South American Contemporary Art’, John Stringer, Diversion Vol. 12 No2, New York
1984 ‘The Subject of Romance’, Gary Sangster, On The Beach 5, Sydney
1984 ‘Survey of Ethnic Visual Arts in Australia’, Aspect 29/30, Rudi Krausmann Ed., Sydney
1984 ‘Australische Kunst der Gegenwart in Paris’, Anna Bock, Kunstforum Bd.69 1/84, Germany
1984 ‘Keith Haring’, Ziggy, Crowd 3, Melbourne
1984 The Affectionate Punch, The Object of Desire', Peter McCarthy, On The Beach 6, Sydney
1984 ‘Body Social’, Robert Thirwell, Artlink Vol.4 No2/3, Adelaide
1984 A Decade at the E.A.F., Stephanie Britton Ed., Experimental Art Foundation, Adelaide
1985 ‘Close Remarks, Placing Art and Theory’, Gary Sangster, On The Beach 9, Sydney
1985 ‘Isolaustralia’, Judith Blackall, catalogue Bevilacqua La Masa Foundation, Venice
1985 ‘The Mutilated Pieta’, David Bromfield, Praxis M 10, Fremantle
1985 ‘The Eternal Smile of Advance Australia Fair’, Pierre Restany, Domus 663, Italy
1985 ‘In Transit: The Work of Juan Davila in Chile’, Nelly Richard, Art Network, Sydney
1985 ‘Love in Quotes, on the Painting of Juan Davila’, Nelly Richard, Hysterical Tears, Greenhouse Publications, Paul Taylor Ed., Melbourne
1986 ‘Australia’s Juan Davila’, Paul Taylor, The Advocate 438, Los Angeles
1986 ‘Showcase: Juan Davila’, Advocate Men, Los Angeles
1986 ‘Close Remarks: On Art and Theory’, John McDonald, Art Network 18, Sydney
1986 ‘A Blatant Rip-off’, Paul Carter, The Age Monthly Review Vol.5 No9, Melbourne
1986 ‘Tackling Patriarchal Super-Egos’, Noel Purdon, Artlink Vol.6 No1, Adelaide
1986 ‘The Mutilated Pieta’, George Alexander, Art Network 18, Sydney
1986 ‘Stencil and Strip-tease’, Lucy Ellmann, The Times Literary Supplement (July), London
1986 ‘The Underworld Wonderworld’, George Alexander, Follow Me 9, Sydney
1986 ‘Margins and Institutions, Art in Chile since 1973’, Nelly Richard, Art & Text 21, Melbourne
1986 ‘Lagrimas Histericas’, Seccion Creacion, Apsi 172, Santiago
1986 The Australian Scapegoat, Peter Fuller, University of Western Australia Press, Perth
1986 ‘Critical Possibility, Here and Now: The Practicalities of Art Writing Today’, Terry Smith, Art Association of Australia
1987 ‘Australian Art 1960-1986, Field to Figuration’, Robert Lindsay, catalogue National Gallery of Victoria, Melbourne
1987 ‘Juan Davila’, George Alexander, +/o Revue d'art contemporain 46, Brussels
1987 ‘Brushes with the Law. Juan Davila: Painter as a Comedian’, Ian Britain, Studio International 199/1015, London
1987 ‘Art in Chile’, Guy Brett, Art Monthly 104, London
1987 ‘The Doubling of Davila’, Rex Butler, On The Beach 11, Sydney
1987 ‘The Doubling of Davila, Part Two’, Rex Butler, On the Beach 12, Sydney
1987 ‘Sighting References’, Gary Sangster, catalogue Artspace, Sydney
1987 ‘The Australian Bicentennial Perspecta 87’, Jacques Delaruelle, Art Monthly 7, Australian and International, Sydney
1987 ‘Tyndall, Davila, Lines of Force’, Juliana Engberg, Art Monthly 5, Australian and International, Sydney
1987 ‘Tacit Tactics’, Paul Carter, Art Monthly, June, Sydney
1988 ‘Beyond Aesthetics, Readings in Cultural Intervention’, Lita Barrie, Art in New Zealand, Auckland
1988 ‘The Vice Squad, the Artist and the Community – Whose Morality?’, Lesley Power, Art Monthly 11, Australian and International, Sydney
1988 ‘The Avanzada’, Charles Merewether, The Age Monthly Review Vol.7 No8, Melbourne
1988 ‘Rehearsing’, Laleen Jayamanne, Cantrills Filmnotes 56/56, Melbourne
1988 ‘Provincialism Refigured’, Terry Smith, Art Monthly 13, Australian and International, Sydney
1988 Chile, Arte Actual, Gaspar Galaz and Milan Ivelic, Universidad Catolica de Valparaiso Ed., Chile
1988 Art in Australia, Donald Richardson, Longman Cheshire, Australia
1988 ‘The Margins Strike Back’, Daniel Thomas, Art in Australia Vol.26 No1, Sydney
1988 ‘The Corpse of Modernism and the Blood of Jackson Pollock’, Philip Brophy, Art in Australia Vol.26 No1, Sydney
1988 ‘Vi®ajes’, Gustavo Buntinx, El fulgor de lo obsceno, Francisco Zegers Ed., Santiago
1988 ‘De la pintada promiscuidad’, Carlos Perez, El fulgor de lo obsceno, Francisco Zegers Ed., Santiago
1988 ‘Love o la cita infectada’, Nelly Richard, El fulgor de lo obsceno, Francisco Zegers Ed., Santiago
1988 ‘The World, the Flesh and Davila’, George Alexander, Art & Text 30, Sydney
1988 ‘Stories of Australian Art’, Jonathan Watkins, Catalogue Commonwealth Institute, London
1988 ‘Provincialism Refigured or Culture Disfigured’, Bernice Murphy, Art Monthly 15, Australian and International, Sydney
1988 ‘The Australian Bicentennial Perspecta’, Julie Ewington, Art in Australia 100th Issue, Sydney
1988 ‘On The Beach’, John Forbes, The Stunned Mullet, Sydney:Hare & Iremonger
1988 Chile Art Actual, Milan Ivelic and Gaspar Galaz, Valparaiso, Ediciones Universitarias de Valparaiso, Universidad Catolica de Valparaiso
1989 ‘El triunfo de la nausea’, Gonzalo Arqueros, Ojo de Buey 3, Santiago
1989 ‘A History of Moral Censorship and the Visual Arts in Australia’, Alison Carroll, catalogue Australian Centre for Contemporary Art, Melbourne
1989 God, Country and Self. Transgression on the Work of Imants Tillers and Juan Davila, Stephen O'Connell, Honours Thesis, Visual Arts Department, Monash University, Melbourne
1989 A Pictorial History of Australian Painting, Peter Quartermaine and Jonathan Watkins, Bison Books, London
1989 ‘The Australian Exhibition, Australian Art in Frankfurt and Stuttgart’, Anna Bock, Art in Australia Vol.27 No2, Sydney
1990 Images of God, Peter Fuller, The Hogarth Press, London
1990 ‘Australian Self-Portraits’, Ken Shepherd, catalogue Cannibal Pierce Galerie Australienne, St. Denis, France
1990 ‘Juan Davila, Large Prints’, Ken Shepherd, catalogue Cannibal Pierce Galerie Australienne, St. Denis, France
1990 ‘Transcontinental, Ikon/Cornerhouse’, Adrian Searle, Artscribe, Summer, London
1990 ‘Transcontinental, Ikon Gallery and Cornerhouse, Manchester’, Andrew Renton, Flash Art Vol.XXIII No153, International Ed., Italy
1990 ‘Transcontinental, Cornerhouse, Ikon Gallery’, Desa Phillipi, Artforum, Summer, New York
1990 Transcontinental, Nine Latin American Artists, Guy Brett, Verso, London – New York
1990 ‘From Leantime to Dreamtime, the Eighties’, Charles Green, Chris McAuliffe, Catharine Lumby, Ashley Crawford and Ray Edgar, Tension 19, Melbourne
1990 ‘Juan Davila, Tolarno Galleries’, Charles Green, Artforum, May, New York
1990 ‘The Culture of Confusion’, Sacha Craddock, The Guardian 11.4.90, London
1990 ‘Juan Davila, Buggering the Beautiful’, Stephen O'Connell, Agenda 10, Melbourne
1990 Slag, Keith Klancy, Thesis for Fine Arts IV (Honours), University of Sydney
1990 ‘The Survival of Realism in the Avant-Garde’, Tony Bond, Contemporary Australian Painting, Eileen Chanin Ed., Craftsman House, Sydney
1991 Australian Painting 1785-1990, Bernard Smith with Terry Smith, Oxford University Press, Melbourne
1991 ‘Living Without Aswers’, Paul Greenaway, Artlink Vol.11 No4, Adelaide
1991 ‘De la pintada promiscuidad’, Carlos Perez, Punto de Fuga1, Santiago
1991 ‘La cita transcultural’, Nelly Richard, catalogue ICI, Buenos Aires
1991 Artes Visuales 20 Anos 1970-1990, Ernesto Saul, Ministerio de Cultura Ed., Santiago
1991 The Hypothesis of Imitation, Rex Butler, catalogue Bellas Gallery, Brisbane
1991 ‘Art v Pornography, the Thin Blue Line’, Beatrice Faust, Sydney Morning Herald, 28.9.91
1992 ‘Juanito Laguna in the Banana Republic’, Paul Foss, Art &Text 41, Sydney
1992 ‘Nothing if not Abnormal’, Terry Smith, The Independent Monthly, April, Sydney
1992 ‘Gay Crossover’, James Waites, The Independent Monthly, January, Sydney
1992 ‘Thomas Sokolowsky’, interview by Peter Hill, Art Monthly, June, Sydney
1992 ‘America, Bride of the Sun’, Charles Merewether, Art Nexus international edition of Arte en Colombia 4, April, Colombia
1992 America novia del sol, Charles Merewether, Arte en Colombia, Spanish edition
1992 ‘La Cita Viciosa’, Nelly Richard, catalogue America, Bride of the Sun, Royal Fine Arts Museum, Antwerp
1992 ‘The Migration of Images: Inscriptions of Land and Body in Latin America’, Charles Merewether, catalogue America, Bride of the Sun, Royal Fine Arts Museum, Antwerp
1992 ‘Rhetorical Silence’, David Phillips, Eyeline, Autumn, Brisbane
1992 The Purulence of Painting, Stephen O'Connell, unpublished
1992 Ecstasy and Economics, Meaghan Morris, EmPress, Sydney
1992 ‘Colaboration Between Artists’, Merryn Gates, catalogue Domino I, Melbourne University Museum of Art
1992 ‘The Bride Stripped Bare. Even So…’, Jean Fisher, Artforum, November, New York
1992 ‘The Undiscovered America’, Guy Brett, Art & Text 43, Sydney
1992 ‘Fabricating Mythologies: the Art of Bricolage’, Charles Merewether, catalogue 9th Biennale of Sydney The Boundary Rider, Sydney
1992 Ecstasy and Economics, Meaghan Morris, EMPress, Sydney
1992 New and Selected Poems, John Forbes, Collins Angus & Robertson, Pymble
1993 ‘You Are Here’, Sam Schoenbaum, Art & Text 44, Sydney
1993 ‘It Is a Violence From Within’, Terence Maloon, catalogue You Are Here, Institute of Modern Art, Brisbane
1993 ‘The Ends of Migration’, 9th Sydney Biennale Keynote Lecture, Nikos Papastergiadis, Agenda 29, Melbourne
1993 ‘Uncertain Positions’, Marcus O'Donnell, catalogue Dislocations, National Gallery of Victoria, Melbourne
1993 ‘The Vicious Quotation’, Nelly Richard, catalogue Art From Latin America, La Cita Transcultural, Museum of Contemporary Art, Sydney
1993 Masculino/Femenino, practicas de la diferencia y cultura democratica, Nelly Richard, Francisco Zegers Ed., Santiago
1993 ‘You Are Here and Dislocations, Body, Memory, Place’, Robert Schubert, Agenda 30/31, Melbourne
1993 ‘You Are Here, David Phillips, Eyeline 21, Brisbane
1993 'Translating La Cita Transcultural’, Denise Robinson, Photofile 39, Sydney
1993 ‘Wonder Villa, The Frame…The Obscene…The Art of Juan Davila’, Eloise Lindsay, Binocular, Melbourne
1993 ‘Currents '93: Dress Codes’, Francine Koslow Miller, Artforum, November, New York
1993 ‘Juan Davila’, Evelyn Juers, Art & Text 45, Sydney
1993 ‘States of Loss, Migration, Displacement, Colonialism and Power’, Gary Sangster, catalogue Jersey City Museum, USA
1993 ‘La Culture Planetaire: hegemonie et resistance’, Guy Brett, Le Grand Atlas de L'Art II, Encyclopaedia Universalis, Paris
1993 ‘Vi®ages’, Gustavo Buntinx, quote from El fulgor de lo obsceno, Francisco Zegers Ed., Santiago, in catalogue Cartographies, Winnipeg Art Gallery, Canada
1993 Concise Dictionary of Australian Artists, Gwenda Robb and Elaine Smith, Edited by Robert Smith, Melbourne: Melbourne University Press
1994 ‘The Politics of Purulence’, Stephen O'Connell, Arena 10, Melbourne
1994 ‘Unbound: Possibilities in Painting’, Adrian Searle, catalogue Hayward Gallery, London
1994 ‘Power Works from the MCA Collection’, Stephen O'Connell, catalogue Govett-Brewster Art Gallery, New Zealand
1994 ‘Works from the Monash University Collection – a Selection’, Zara Stanhope, catalogue Monash University Gallery, Melbourne
1994 ‘Charting a Mirage: the Decade of the 80s’, Robert Lindsay, catalogue The Baillieu Myer Collection of the 80s, Museum of Modern Art at Heide, Melbourne
1994 ‘Cult Figures’, Victoria Lynn, HQ Magazine 33, Sydney
1994 ‘Flesh and Blood Imagination’, Andrea Goldsmith, Australian Book Review 160, May, Melbourne
1994 ‘Juan Davila’, Wayne Baerwaldt, Art + Text 48, Sydney
1994 ‘Unbound’, Michael Archer, Art + Text 48, Sydney
1994 ‘Sting Ray’, Peter King, Art and Australia Vol 32 No.1, Sydney
1994 ‘Not Seeing Straight’, Martin Terry, Art and Australia Vol 32 No.1, Sydney
1994 The Encyclopedia of Australian Art, Alan McCulloch and Susan McCulloch, Allen & Unwin, St Leonards
1994 ‘Cartografias’, Maria Elvira Iriarte, Art Nexus 13, Colombia
1994 ‘La Escuela de Santiago’, Claudia Donoso, Caras Ano 7 Edicion Extraordinaria 18 de Julio de 1994, Santiago
1994 ‘Polymorphous Pizzazz’, Richard Grayson, Artlink Vol 14 No.3
1994 ‘Grief and the Gay Community’, Ted Gott, Artlink Vol 14 No. 4, Adelaide
1994 Photosynthesis, Nicholas Baume, catalogue Roslyn Oxley Gallery, Sydney
1994 Don’t Leave Me This Way, Art in the Age of AIDS, Ted Gott, Australian National Gallery, Canberra
1994 ‘Montage as Mestizaje’, Guy Brett, catalogue Chisenhale Gallery, London
1994 ‘Identity and Scatology’, Carlos Perez Villalobos, catalogue Chisenhale Gallery, London
1994 ‘Identidad y Escatologia’, Carlos Perez Villalobos, catalogue Greenaway Gallery, ARCO 95 International Contemporary Art Fair, Madrid
1994 Cocido y Crudo, Dan Cameron, catalogue Centro de Arte Reina Sofia, Madrid
1994 ‘Sistemas de referencia y de filiacion de la plastica infractora’, Justo Pastor Mellado, Piel de Leopardo 5, Santiago
1994 Art Now, Contemporary Art Post 1970, Donald Williams and Colin Simpson, McGraw Hill Book Co., Sydney
1994 ‘El caso “Simon Bolivar” o el arte como zona de disturbios’, Nelly Richard, in El caso “Simon Bolivar” y la polemica del Fondart/Dossier de prensa, Revista de Critica Cultural, No. 9, Santiago
1994 ‘Reversos Postales’, Diamela Eltit, in El caso “Simon Bolivar” y la polemica del Fondart/Dossier de prensa, Revista de Critica Cultural, No. 9, Santiago
1994 ‘La dimension cultural de la democracia’, Nivia Palma, in El caso “Simon Bolivar” y la polemica del Fondart/Dossier de prensa, Revista de Critica Cultural, No. 9, Santiago
1995 ‘Algunas nociones sobre la escena plastica chilena/emergente en los noventa’, Carlos Navarrete, unpublished
1995 Who’s Who of Australian Visual Artists, Thorpe, Port Melbourne
1995 ‘De Cameron al Decameron’, Bernardo Pinto de Almeida, Lapiz III, Spain
1995 ‘Juan Davila, Chisenhale Gallery’, Michael Archer, Artforum, February, New York
1995 Tableaux, Works from the Monash Unversity Collection, Zara Stanhope and Natalie King, catalogue Monash University Gallery, Melbourne
1995 ‘The Latin Phallus’, Ilan Stavans, Transition 65, USA
1995 ‘Representations and Rum Justice: Juan Davila 1946-’, Brian Snowden, unpublished
1995 ‘Juan Davila’, Wayne Baerwaldt, catalogue Plug In Inc, Winnipeg, Canada
1995 ‘Fragments of Juan Davila’, Marcus O'Donnell, Outrage 146, July, Melbourne
1995 ‘Waiting for Postmodernism’, Richard Haese, Art Monthly 78, Canberra
1995 ‘20 Anos de produccion pictorica en Chile’, Guillermo Machuca, Estilo ano 5 No 20, Caracas
1995 Contemporary Australians 1995/96, Reed Reference Australia
1995 Who’s Who of Australian Writers, Thorpe, Melbourne
1995 Peripheral Vision, Contemporary Australian Art 1970-1994, Charles Green, Craftsman House, NSW
1995 ‘Juan Davila’s Theatre of Excess’, Gavin Butt, Versus, London
1995 ‘Identidad y Escatologia’, Carlos Perez Villalobos, catalogue XI Mostra da Gravura de Curitiba, Brasil
1995 ‘Juana La Loca’, Francisco Casas, El Canelo 66, Santiago
1996 ‘Art & Text in the '90s’, Rex Butler, An Uncertain Smile, Artspace, Sydney
1996 ‘Leaving Nothing to Imagination: Obscenity and Postmodern Subjectivity’, Jill Bennett, The Rhetoric of the Frame, Ed. Paul Duro, Cambridge University Press
1996 The 20th Century Art Book, Phaidon Press, London
1996 ‘Lastima que seas una rota’, Diamela Eltit, Rota, catalogue Galeria Gabriela Mistral, Ministry of Education, Santiago
1996 ‘Identidad y Escatologia’, Carlos Perez V., Rota, catalogue Galeria Gabriela Mistral, Ministry of Education, Santiago
1996 ‘Generation X: the Impacts of the 1980S’, Terry Smith, What is Appropiation?, Edited by Rex Butler, Power Publications and IMA, Sydney and Brisbane
1997 ‘Three Ages of Man: Masculine Sexuality in Australian Art’, Terry Smith, Transformations in Australian Society, Ed. Paul Patton and Diane Austin-Broos, The University of Sydney
1997 ‘Juan Davila. The Horror of Crossbreeding’, Catalina Mena, Art Nexus 23, Colombia
1997 ‘Shame you are a Rota’, Diamela Eltit, catalogue Rota, Tolarno Galleries, Melbourne
1997 ‘Identity and Scatology’, Carlos Perez V., catalogue Rota, Tolarno Galleries, Melbourne
1997 Art in Australia, Christopher Allen, Thames and Hudson, London
1997 ‘Racism and Postmodernism: Australian Art and its Institutions’, Ian McLean, Art Monthly 103, Canberra
1997 Spray, The Work of Howard Arkley, Ashley Crawford and Ray Edgar, Craftsman House, Sydney
1997 Construcciones Imaginarias de la Identidad, La “novela epica” del dictador en el debate identitario latinoamericano, Mercedes F. Duran-Cogan, PhD Thesis, Simon Fraser University, Canada
‘Mancha, taxonomia, corte y confeccion: tres claves para el arte chileno de la ultima treintena’, Justo Pastor Mellado, catalogue of 1st Biennale of Visual Arts of Mercosur, Porto Alegre, Brasil
1997 ‘Cinzano, Seagrass Matting and the Art of the Deal’, Terry Ingram, The Europeans, Émigré Art in Australia 1930-1960, Roger Butler Editor, National Gallery of Australia, Canberra
1998 ‘The Art of Recycling: The Loti and Victor Smorgon Collection and Appropriation’, Pamela Hansford, Museum of Contemporary Art, Sydney
1998 ‘The Loti & Victor Smorgon Gift of Contemporary Australian Art, an Overview’, Linda Michael, Museum of Contemporary Art, Sydney
1998 ‘Memory and Reconciliation in Gordon Bennett’s Art’, Ian Mclean, paper delivered at Trauma and Memory Conference, COFA, Sydney
1998 ‘Turbiedad, anacronismo y degeneraciones’, Nelly Richard, in Residuos y Metaforas (Ensayos de critica cultural sobre el Chile de la Transicion), Editorial Cuarto Propio, Santiago, Chile
1998 Dos Textos Tacticos, Justo Pastor Mellado, Ediciones Jemmy Button Ink., Santiago, Chile
1998 ‘Roteiros РLatin America’, Rina Carvajal, catalogue Sao Paulo XXIV Biennale
1998 White Aborigines, Ian McLean, Cambridge University Press, Cambridge UK
1999 ‘Quotation and Iconoclasm in the Work of Juan Davila’, Benjamin Genocchio, Collapse 4, Vancouver, Canada
1999 ‘A sangre y fuego, imatges de la violencia a l’art contemporani’, Juan Vicente Aliaga, catalogue A sangre y fuego, EACC Espai D’Art Contemporany de Castello, Spain
1999 ‘Monumentos, Museos Conmemorativos, imagenes vaciadas de representaciones de la historia’, Sandra Accatino, Revista de Critica Cultural 19, Santiago, Chile
‘From a softer silence: readings of erasure’, Kate Briggs, catalogue Love’s Progress, Kalli Rolfe Contemporary Art
2001 The Art of Transition, Latin American Culture and Neoliberal Crisis, Francine Masiello, Duke University Press, USA, cover image
2001 ‘William Buckley: Rediscovered. A Curator’s perspective’, Brian Hubber, William Buckley: Rediscovered, catalogue Geelong Art Gallery
The Art of Transition, Latin American Culture and Neoliberal Crisis, Francine Masiello, Duke University Press, USA
2001 Elwyn Lynn’s Art World, Patricia Anderson, Pandora Press, Sydney, pp 279-280
2002 ‘Icon Interior 1994-2001’, John Gregory, catalogue, Kalli Rolfe Contemporary Art, Melbourne
‘Arte o bano de sol’, M A Greenstein, Lapiz 179/180, Madrid pp 130-136
2002 Origenes, the presence and contribution of Victorian Spanish and Latin American origins 1901-2001, Rafaela Lopez, CELAS, Melbourne, pp 188, 189
Collection: The Benalla Art Gallery, John Jones, Benalla Art Gallery, Victoria, Australia
Monash University Collection, Four decades of collecting, Monash University Museum of Art,

Melbourne  

2002 ‘Into the 1990s, the decay of postmodernism’, Charles Green, Fieldwork, Australian Art 1968-2002, National Gallery of Victoria, Melbourne
2003 ‘Contemporary Print Collecting, Melbourne Print Workshops and Publishers’, Katherine McDonald, Art & Australia, Summer, vol 40 n.2, pp289-301, Sydney
2003 ‘Kelly Culture, Reconstructing Ned Kelly’, Allison Holland and Claire Williamson, catalogue State Library of Victoria, Melbourne, Australia
2003 Australian Art in the National Gallery of Victoria, 1790-2000, Isobel Crombie, catalogue, Melbourne, Australia
2003 ‘Gordon Bennett: Sparring with History’, Ian McLean, Synergies, catalogue Drill Hall Gallery, pp 54-56, Australian National University, Canberra
2003 ‘Beyond the White Cube, Melbourne’s New Galleries’, Peter Anderson, Art & Australia Vol 40/4 Winter, Sydney
2003 At Home in Australia, Peter Conrad, Canberra: National Gallery of Australia, p 164
2003 ‘Juan Davila: Panorama of Santiago, Chile: 1973-2003’, Roger Benjamin, Witnessing to Silence, Art and Human Rights, Caroline Turner and Nancy Sever (eds). Canberra: Australian National University
2003 ‘Artists and Human Rights: Witnessing to Silence’, Caroline Turner, Witnessing to Silence, Art and Human Rights, Caroline Turner and Nancy Sever (eds). Canberra: Australian National University
2003 ‘Juan Davila’, Roger Benjamin, see here now, catalogue, Vizard Foundation Art Collection of the 1990s, The Ian Potter Museum, University of Melbourne
2003 ‘Juan Davila’, Kirsty Grant, onpaper, Australian Prints and Drawings in the National Gallery of Victoria, The Ian Potter Centre: NGV Australia, Melbourne
2003 Nous avons mal au Chili, Roland Husson, Paris, Editions Syllepse
2003 Juan Domingo Davila: resistencias contra una nocion de identidad, Lily Duffau Morales, Thesis University of Barcelona Doctorate in Theory, History and Critique of the Arts
2004 ‘Montage as Mestizaje: Juan Davila’, Guy Brett, Carnival of Perception. Selected Writings on Art, London: Institute of International Visual Arts
2004 ANU Art Collection, Acquisitions from the Past Ten Years, Nancy Sever, catalogue, Australian National University Drill Hall Gallery, Canberra
2004 Masculine/Feminine. Practices of Difference(s), Nelly Richard, pp 44-48, Durham, Duke University Press
2004 ‘Beyond Adelaide’, Donald Brook, Artlink 24 (1), Adelaide
2004 Body Culture, Isobel Crombie, Mulgrave, Peleus Press
2005 ‘Australian Art: Examining its Past, Re-imagining its Future (a Partial Itinerary, 1970-2000)’, Bernice Murphy, Art and Social Change, Contemporary Art in Asia and the Pacific, Caroline Turner (ed.). Canberra: Pandanus Books, The Australian National University
2005 ‘Of Love and Modernity: The Lament of Joshua Smith’, Kate Briggs, Radical Revisionism, an Anthology of Writings on Australian Art, Rex Butler (ed.). Brisbane: Institute of Modern Art
2005 ‘Australian Art: Examining its Past, Re-examining its Future (a Partial Itinerary, 1970-2000)’, Bernice Murphy, Art and Social Change ed Caroline Turner, Canberra Australian National University Pandamus Books, pp460-482
2006 ‘Haranguing the Nation’, Justin Clemens, The Monthly December 2006-January 2007 pp62-64
2006 ‘Half-breeds and Go-betweens’, David Hansen, Australian Book Review November 2006, 286, p33
2006 ‘Carnival in Suburbia, the Art of Howard Arkley’, John Gregory, New York: Cambridge University Press
2006 ‘Seduction, Confrontation and Surprise’, Russell Storer, Gallery, NGV, November-December 2006, pp44-46
2006 ‘[sic] Juan Davila in Sydney’, David Hansen, Art Monthly, December 2006 – February 2007, 196, pp3-7
2006 ‘Juan Davila, Guy Brett and Roger Benjamin with the Writings of Juan Davila’,

Art Monthly, December 2006 – February 2007, 196, pp9-10  

2006 ‘Of Love and Modernity: the Lament of Joshua Smith’, Kate Briggs, Radical Revisionism ed Rex Butler, Brisbane: Institute of Modern Art, pp264-271
2006 ‘The Ecstasy of St Juan’, Adam Geczy, Broadsheet, December 2006-February 2007, 35, No. 4, pp228-231
2007 ‘Juan Davila, Museum of Contemporary Art’, Charles Green, Art Forum USA, January 2007, pp269-270
2007 ‘Reprise, Juan Davila’s Miss Sigmund 1981’ Dr Shaune Lakin, Brought to Light II: Contemporary Australian Art 1966-2006, Brisbane: Queensland Art Gallery
2007 ‘Masters of Emotion’, Irena Zdanowicz, Mornington: Mornington Peninsula Regional Gallery
2007 ‘Juan Davila, Queering the Trans-Pacific South’, Paul Allatson, Artlink, 27 No 2, pp16-20
2007 ‘Andy and Oz Parallel Visions’, Deborah Hart, Canberra: National Gallery of Australia
2008 ‘Painting has not Died: the Post-modernist Battlefield of Juan Davila’, Nicole Chen, Art Map, China, 2008.1, pp82-95
2008 ‘Monument to Memory: Woomera in Australian Contemporary Art’, Veronica Tello, Art Monthly April 2008, 208 , pp29-32
2008 ‘The Naked and the Nude’, Elizabeth Gross, The Naked and the Nude, Ballarat: Ballarat Art Gallery, p28
2008 ‘Das Sagt Mir Was’, Christian Saehrendt, Steen T Kittl, Koln: Dumont
2008 ‘El Arte de la Cita, Velazquez en la Obra de Bru y Cienfuegos’, Claudia Campana, Santiago: Fine Art Museum

PUBLIC COLLECTIONS

Ararat Gallery, Ararat, Victoria, Australia
Art Gallery of New South Wales, Sydney, Australia
Art Gallery of South Australia, Adelaide, Australia
Art Gallery of Western Australia, Perth, Australia
Australian National Gallery, Canberra, Australia
Australian National University Collection, Canberra, Australia
Benalla Art Gallery, Benalla, Australia
Bendigo Art Gallery, Victoria, Australia
Edith Cowan University Collection, Perth, Australia
Flinders University Collection, Adelaide, Australia
Geelong Art Gallery, Victoria, Australia
Heide Museum of Modern Art, Melbourne, Australia
Holmes a Court Collection, Perth, Australia
Lady Cruthers Collection, Perth, Australia
McClelland Gallery, Langwarrin, Australia
Melbourne State College, Melbourne, Australia
Metropolitan Museum of Art, New York, USA
Michael Buxton Contemporary Australian Art Collection, Australia
Monash University Museum of Art, Melbourne, Australia
Mornington Peninsula Gallery, Mornington, Australia
Museo Extremeno e Iberoamericano de Arte Contemporaneo, Spain
Museum of Contemporary Art, Sydney, Australia
National Gallery of Victoria, Melbourne, Australia
Queensland Art Gallery, Brisbane, Australia
Queensland University of Technology Art Collection, Brisbane, Australia
Silvester Stallone Collection, Los Angeles, USA
Smorgon Family Collection, Melbourne, Australia
State Library of Victoria, Melbourne, Australia
University of Melbourne Collection, Melbourne, Australia
University of Sydney Collection, Sydney, Australia
Waverley City Art Gallery, Melbourne, Australia