IMANTS TILLERS CV

Currently lives and works in Cooma, NSW
1950 Born Sydney, Australia
1969-72 Bachelor of Science in Architecture (First Class Hons, University Medal) The University of Sydney
1976 Cité Internationale des Arts Residency, Paris; Owen Tooth Cottage Residency, Venice
1977-83 Lecturer, Sydney College of the Arts, Sydney
2001 Visiting Fellow, Fine Art Research Centre, Southampton Institute, UK
Co-curator with Marketta Seppala, Empathy: Beyond the Horizon, Pori Art Museum, Finland
Appointed Trustee of the Art Gallery of New South Wales, Sydney
2003 Awarded the Prize for Excellence by the Organising Committee of the First Beijing International Art Biennale, China
2005 Awarded a Doctor of Letters (Honoris Causa) from the University of New South Wales, Sydney
2006 Major solo exhibition at the National Gallery of Australia, Canberra (curated by Deborah Hart)

SELECTED SOLO EXHIBITIONS
2009 Imants Tillers: The Long Poem, Lawrence Wilson Art Gallery, University of Western Australia
2008 The Tears of Things, Roslyn Oxley9 Gallery, Sydney
Melancholy Landscape, Arc One Gallery, Melbourne
Michael Nelson Jagamara: from the studio, experimentations and collaborations 1996-2008, Fireworks Gallery, Brisbane
2007 In Two Minds, Greenaway Art Gallery, Adelaide
2006 Imants Tillers, Jan Manton Art, Brisbane
Hereafter, Chapman Gallery, Canberra
Imants Tillers: one world many visions, National Gallery of Australia, Canberra
2005 Land Beyond Goodbye, Sherman Galleries, Sydney
2004 Imants Tillers, Greenaway Art Gallery, Adelaide
Transmissions: From here and there, Monash University Museum of Art, Melbourne
Local Knowledge, Raglan Gallery and Cultural Centre, Cooma, NSW
2003 Imants Tillers, Australian Art Resources, Melbourne
Recent Works, Sherman Galleries, Sydney
2002 Chapman Gallery, Canberra
Greenaway Art Gallery, Adelaide
Not yet post-Aboriginal, Hazelhurst Regional Gallery, Sydney
2000 Imants Tillers, Greenaway Art Gallery, Adelaide, 21 June – 16 July
Imants Tillers, Sherman Galleries Hargrave, Sydney, 18 June – 29 July
1999 Towards Infinity: Works by Imants Tillers, Museo de Arts Contemporaneo de Monterrey, Mexico, 24 September 1999 – 7 January 2000
Accompanying 47th Australian Latvian Arts Festival, Span Galleries, Melbourne
Home Visitation, Chapman Gallery, Canberra, 13 August – 6 September
Nature Speaks, Sherman Galleries Goodhope, Sydney, 26 May – 12 June
Not yet post-Aboriginal, SPAN Galleries, Melbourne, 12 May – 22 May
1998 Imants Tillers 1997 Lowenstein Sharp Arts 21 Fellow, Museum of Modern Art at Heide, Melbourne, 28 November – 29 December
Prayer for Rain, Raglan Gallery and Cultural Centre, Cooma, 9 May – 24 May
1997 Michael Milburn Gallery, Brisbane
Karen Lovegrove, Melbourne
The Enigma of Arrival, Sherman Galleries Goodhope, Sydney, 10 July – 2 August
1996 Imants Tillers, Gow Langsford Gallery, Auckland
1995 Diaspora in Context: Connections in a Fragmented World, Pori Art Museum, Pori, Finland, 18 June – 20 August; Museum of Contemporary Art, Sydney, 1 September – 30 November; Govett-Brewster Art Gallery, New Plymouth, New Zealand, 17 December 1995 – 25 February 1996; Waikato Museum and Art Gallery, Hamilton, New Zealand, 16 March – 5 May
via Paradiso, Karyn Lovegrove Gallery, Melbourne, 15 Mar – 15 April
1994 Telepathic Music, Michael Milburn Gallery, Brisbane, 27 October – 19 November
Imants Tillers: Jump, Sherman Galleries Goodhope, Sydney, 12 May – 11 June
Diaspora, Institute of Modern Art, Brisbane
1993 Imants Tillers: Within the Cleft, Michael Milburn Gallery, Brisbane, 12 November – 4 December
Five Pollock Paintings, Peter McLeavey Gallery, Wellington, New Zealand
Diaspora: Imants Tillers, National Museum of Art, Riga, 30 April – 28 May
1992 Imants Tillers, Karyn Lovegrove, Melbourne, 6 November – 5 December
A Life of Blank, Plimsoll Gallery, Hobart, 28 February – 22 March; Monash University Gallery, Melbourne, 13 May – 6 June; Orange Regional Gallery, New South Wales; Queen Victoria Museum and Art Gallery, Launceston
1991 Journey: 33486, Deutscher Brunswick Street, Melbourne, 12-31 December
Imants Tillers, Peter McLeavey Gallery, Wellington, New Zealand, 19-31 August
Action Paintings, Yuill/Crowley, Sydney, 24 May – 19 June
1990 The Shining Cuckoo, Yuill/Crowley, Sydney, 3 October – 24 October
Imants Tillers: Recent Paintings, Peter McLeavey Gallery, Wellington, New Zealand, 19 June – 14 July
The Bridge of Reversible Destiny, Yuill/Crowley, Sydney, 11 April – 9 May
One Painting, Cleaving: Imants Tillers, Wollongong City Art Gallery, Wollongong, 9 March – 20 May
Imants Tillers: Poem of Ecstasy, Deutscher Brunswick Street, Melbourne, 27 February – 24 March
1989 Tomorrow will be the same but not as this is, Yuill/Crowley, Sydney, 8 July – 2 August Bess Cutler Gallery, New York
Imants Tillers: 19301 or as of October, National Art Gallery, Wellington, 25 February – 9 April; Govett-Brewster Gallery, New Plymouth, 13 May – 11 June
1988 To the Fatherland, with Marianne Baillieu, Yuill/Crowley, Sydney, 11 November – 7 December
Imants Tillers, Bess Cutler Gallery, New York, 19 October – 20 November
Imants Tillers: works 1978-1988, Institute of Contemporary Arts, London, 7 April – 22 May; The Third Eye Centre, Glasgow 11 June – 10 July; Orchard Gallery, Derry, Northern Ireland
1987 Yuill/Crowley, Sydney
Galerie Susan Wyss, Zurich
Bess Cutler Gallery, New York
Australian Appropriations: The Recent Paintings of Imants Tillers, Vollum College Center Gallery, Reed College, Portland, Oregon, United States
1986 Paintings for Venice: Australia at the 42nd Venice Biennale, Queensland Art Gallery, Brisbane; Australian Centre for Contemporary Art, Melbourne; Art Gallery of South Australia, Adelaide
42nd Venice Biennale: Imants Tillers, Corderie at the Arsenale, Venice, 29 June – 28 September
1985 Bess Cutler Gallery, New York
Yuill/Crowley, Sydney
1984 Bess Cutler Gallery, New York
Pandemonium, Yuill/Crowley, Sydney
1983 Reconnaissance, Melbourne
White Aborigines, Matt’s Gallery, London, 23 October – 30 October
Yuill/Crowley, Sydney
1982 Honour + Glory, with John Nixon, Art Gallery of South Australia, Adelaide
The Deluge, with John Nixon, Press 4, Melbourne
The Bridge, with John Nixon, Art Gallery of New South Wales, Sydney
Composition with 3 equal and parallel rectangles (unit 1), with John Nixon, Yuill/Crowley, Sydney
The Field, Art Projects, Melbourne
A Painting which is a Souvenir (with John Nixon), QED, One Central Street, Sydney
Documenta 7, with John Nixon, Art Projects, Melbourne
The Church + the Cross, with John Nixon, n-space, Kassel, West Germany
The Church + the Cross, with John Nixon, V Space, Melbourne
One Painting: One Horizon, Institute of Modern Art, Brisbane
1981 Two Maps (A Local Mirage), Art Projects, Melbourne
The Triangle, The Door: One Room, One Painting (left/centre/right), Watters Gallery, Sydney
Visible Suspension: One Room, Two Paintings, n-space, Sydney
52 Displacements, n-space, Sydney
Q Space Annex, Brisbane
1980 Worlds in Collision, Avago Gallery, Sydney
Q Space Annex, Brisbane
Survey 13: Imants Tillers, National Gallery of Victoria, Melbourne
Institute of Modern Art, Brisbane
Other Realities, Realities, Melbourne
1979 52 Displacements (of Image, of Time, of Water, of Feeling: One Year’s Work), Watters Gallery, Sydney
1978 Have you ever been taken the same way, Royal Melbourne Institute of Technology, Melbourne, 5 July – 26 July
1977 The Property of Being Found, Watters Gallery, Sydney
1975 Conversations with the Bride, Watters Gallery, Sydney
1974 Link Exhibition No. 1: Imants Tillers, Art Gallery of South Australia, Adelaide
1973 Moments of Inertia, Watters Gallery, Sydney
Still Life 2, Watters Gallery, Sydney

SELECTED GROUP EXHIBITIONS
2010 Dual Worlds : Views of the Landscape, Jan Manton Art, Brisbane, Australia
2007 New Horizons: The Collection of the Ishibashi Foundation, Bridgestone Museum of Art, Tokyo
The John McCaughey Memorial Prize: 50 Years, National Gallery of Victoria, Melbourne
Summer ’07 ’08, Roslyn Oxley9 Gallery, Sydney, 21 November – 15 December
Poets Paint Words, Newcastle Region Art Gallery, 24 March – 17 June
Prelude 2008, Art One Gallery, Melbourne, 6 June – 7 July
2006 Prism: Contemporary Australian Art, Bridgestone Museum of Art, Tokyo, Japan
2006 Clemenger Contemporary Art Award, National Gallery of Victoria, Melbourne, 24 August – 22 October
Zones of Contact: 15th Biennale of Sydney, Museum of Contemporary Art, Sydney
2005 A Sense of Place, Tarrawarra Museum of Art, Yarra Valley, Melbourne
Pitch Your Own Tent: Art Projects / Store 5 / First Floor, Monash University Museum of Art, Melbourne
Unscripted: Language in Contemporary Australian Art, Art Gallery of New South Wales, Sydney
Shoosh! A History of the Campfire Group, Institute of Modern Art, Brisbane
A Partial View: Australian Art in the UWA Art Collection, Lawrence Wilson Art Gallery, Perth
Arts de la Table, ANU Drill Hall Gallery, Canberra
2004 One Of: Festivus 04, Sherman Galleries, Sydney
ANU Art Collection: Acquisitions from the Last Ten Years, ANU Drill Hall Gallery, Canberra
Sharjah Project: Artcard, Sharjah Art Museum, United Arab Emirates
Shanghai Art Fair, Australian Art Resources, Melbourne
The Joseph Brown Collection, National Gallery of Victoria, Melbourne
Imants Tillers, John Nixon and Louise Forthun, Conny Dietzschold Gallery, Sydney
Landscape in Me: Windows on Australian Art, Museum and Art Gallery of the Northern Territory, Darwin
2003 Bushfire, National Gallery of Victoria, Melbourne
Fieldwork, National Gallery of Victoria, Melbourne
Synergies: A Fusion Event, Australian National University, Drill Hall Gallery, Canberra
Austral-Asia Zero Three, Sherman Galleries, Sydney
Empathy: Beyond the Horizon, Artspace, Sydney
Intergrafia: World Award Winners Gallery, International Print Triennale, Krakow, Poland
MCA Unpacked II, Museum of Contemporary Art, Sydney
First Beijing International Art Biennale, Beijing, China (awarded Prize for Excellence)
2002 Kunst Nach Kunst (Art After Art), Neues Museum Weserburg, Bremen, Germany, 18 August – 3 November
The Big River Show, Wagga Wagga Regional Art Gallery, NSW
Lines II, Fire-Works Gallery, Brisbane
Deeper Places, Casula Powerhouse, Sydney
Mindscapes, Newcastle Region Art Gallery, NSW
Discomfort, Fire-Works Gallery, Brisbane
2001 MCA Unpacked, Museum of Contemporary Art, Sydney
Empatia (Empathy: Beyond the Horizon), Pori Art Museum, Pori, Finland
Southern Exposure: Centenary of Federation, Hazelhurst Regional Gallery and Arts Centre, Gymea, Sydney
Art Chicago 2001, Chicago, Illinois ARCO 01, Greenaway Art Gallery, Madrid
A Studio in Paris: Australian Artists at the Cité Internationale des Arts 1967-2000, S.H. Ervin Gallery, Sydney
Colin McCahon: A Time for Messages, National Gallery of Victoria, Melbourne
Osaka Triennale 2001: 10th International Contemporary Art Competition, Contemporary Art Space, Osaka, Japan (awarded Silver Prize)
Bennett, Nain, Parr, Tillers, Sherman Galleries Goodhope, Sydney, 23 November – 21 December
7th NICAF: International Contemporary Art Festival 2001 Tokyo, Tokyo International Forum, Chiyoda-ku, Tokyo, 28 March – 1 April
A Selection of Important Twentieth Century Australian and New Zealand Paintings, Martin Browne Fine Art, Potts Point 20 March – 22 April
Group Exhibition, Sherman Galleries Goodhope, Sydney, 28 February – 17 March
2000 Art and Furniture, Charles Nodrum Gallery, Melbourne
Spitting and Biting: Ten Contemporary Artists and the Print, Monash University Gallery, Melbourne, 19 September – 28 October
Artists in Focus – Iconography: Traditions and Influence, Holmes à Court Gallery, Perth, June
Restricting the Palette: Colour and Land, Canberra School of Art Gallery, Canberra, 31 March – 6 May
Australian Latvian Artists’ Society, Latvian House, Strathfield, Sydney, summer exhibition, 25 March
From Appreciation to Appropriation: Indigenous Influences and Images in Australian Visual Art, Flinders Art Museum, Adelaide, 5 March – 16 April
1999 The Rose Crossing: Contemporary Art in Australia, Sherman Galleries touring exhibition, Brisbane City Gallery, Brisbane, 8 September – 23 October 1999; Hong Kong Arts Centre, Hong Kong, 29 November – 20 December 1999; Singapore Art Museum, Singapore, 10 February – 28 March 2000
Cinderella’s Gems: Art and the Intellectual Mission. 20th Century Australian Art Selected from University Collections in New South Wales, Macquarie University, Sydney, touring to regional galleries, Noosa, 26 March – 25 April 1999, Toowoomba, Orange, Mosman, Bathurst, Lismore, Tamworth, La Trobe, Mildura, Horsham, 22 August 1999- 1 October 2000
1999 Visy Board Art Prize, Richmond Grove Winery, Tanunda, South Australia
Parr, Sachs, Tillers, Young, Orange Regional Gallery, Orange
Snowy! Power of a Nation: 50 years of the Snowy Mountains Scheme, Powerhouse Museum, Sydney
WORD, Museum of Contemporary Art, Sydney, 9 September – 29 November
Home and Away: Contemporary Australian and New Zealand Art from the Chartwell Collection, Auckland Art Gallery Toi o Tamaki, Auckland, 4 June – 22 August
Art 1999 Chicago: at Navy Pier, Festival Hall, Navy Pier, Chicago, 7 May – 11 May
1998 Cinco continentes y una ciudad, Museo de la Ciudad de Mexico, Mexico City, November 1998 – February 1999
Ways of Being, Ivan Dougherty Gallery, Sydney, 22 October – 21 November 1998, touring to regional galleries in New South Wales and Gold Coast City Art Gallery through 1999
Remanence: Melbourne Festival 1998, Former Melbourne Magistrates’ Court and City Watch House, Melbourne, 17 October – 1 November
Expanse: Aboriginalities, Spatialities and the Politics of Ecstasy, University of South Australia Art Museum, Adelaide, 4 September – 3 October
On the ashes of the stars … STÉPHANE MALLARMÉ a celebration, Monash University Gallery, Melbourne, 24 August – 26 September
Proscenium, Artspace, Auckland, 9 June – 4 July
Landscape, Charles Sturt University, Wagga Wagga
1997 In Place (Out of Time): Contemporary Art in Australia, Museum of Modern Art, Oxford
The Real Thing, Museum of Modern Art at Heide, Melbourne
Coded, Waikato Museum and Art Gallery, Hamilton, New Zealand
Visy Board Art Prize, Barossa Vintage Festival, South Australia (awarded First Prize)
Power, Corruption and Lies, Institute of Modern Art, Brisbane
The Archibald Prize, Art Gallery of New South Wales, Sydney; Victorian Arts Centre, Melbourne (exhibited portrait of Murray Bail)
A Thing of Beauty Is, Museum of Contemporary Art, London
Tokyo International Art Festival, Tokyo International Forum, Tokyo
Mike Parr, Imants Tillers, John Young, Sherman Galleries Goodhope, Sydney
Anon, Sherman Galleries Goodhope, Sydney
Objects and Ideas: Reinventing Minimalism, Museum of Contemporary Art, Sydney
1996 Spirit and Place: Art in Australia 1861-1996, Museum of Contemporary Art, Sydney, 21 November 1996 – 3 March 1997
Viewing an Era: Monash University Collection, Monash University Gallery, Melbourne
Greg Weight Artists’ Portraits, Manly Art Gallery and Museum, New South Wales
12th Biennial Prints Acquisitive Exhibition, Mornington Peninsula Gallery, Victoria; Karyn Lovegrove Gallery, Melbourne
Imants Tillers, Tracey Moffatt, Dale Frank, Geoff Lowe, Karyn Lovegrove Gallery, Melbourne
Osaka Painting Triennale, Osaka Mydome, Osaka
Rosalie Gascoigne, Robert MacPherson, Jacky Redgate, Rover Thomas, Imants Tillers: Some works from their present and their past, National Gallery of Australia, Canberra
Perceptions and Perspective, Next Wave Festival, National Gallery of Victoria, Melbourne
The World Over/Under Capricorn: Art in the Age of Globalisation, City Gallery, Wellington; Stedelijk Museum, Amsterdam
Colonial Post Colonial, Museum of Modern Art at Heide, Melbourne
The John Kaldor Collection, Museum of Contemporary Art, Sydney
Systems End: Contemporary Art in Australia, Oxy Gallery, Osaka, 19 April – 19 May; Hakone Open-Air Museum, Tokyo, 31 May – 28 July; Dong-Ah Gallery, Seoul, 20 September – 16 October; Kaohsiung Museum of Fine Arts, Taiwan (with separate catalogue), November 1996
1995 Exhibition of works on paper, Milburn Gallery, Brisbane
Atkins, Blackman, Borgelt, Firth-Smith, Jones, Lanceley, Mitelman, Parr, Partos, Storrier, Tillers, Guan Wei, Wolfhagen, Sherman Galleries Hargrave, Sydney, 30 August – 14 October
Text & Art, Logan Art Gallery, Logan City, Queensland, 19 May – 18 June
Smorgon Collection of Contemporary Art, Museum of Contemporary Art, Sydney
Australian Art 1940-1990. From the Collection of the National Gallery of Australia, The Museum of Fine Arts, Gifu, Japan, 28 July – 3 September
Baltic Presence, Latvian Centre, Strathfield, Sydney, 11 June – 17 July
The French Embrace, Alliance Francaise, Sydney, 14 June – 8 July
Australian Art: Colonial to Contemporary, Deutscher Fine Art, Melbourne, 19 May – 10 June
In Tandem, Sherman Galleries Goodhope, Sydney
Patrick Pound, Jacky Redgate, Imants Tillers, Milburn Gallery, Brisbane, 20 April – 6 May 1995
1994 Seoul 600 International Art Festival, National Museum of Contemporary Art, Seoul, 16 December 1994 – 14 January 1995
Humanism and Technology: The Human Figure in Industrial Society, National Art Museum, Seoul, 16 December 1994 – 14 January 1995
Virtual Reality, National Gallery of Australia, Canberra, 10 December 1994 – 5 February 1995Antipodean Currents: Ten Contemporary Artists from Australia, John F. Kennedy Center for Performing Arts, Washington, DC, 9-16 October 1994; Guggenheim Museum SoHo, New York, 21 June – 6 August 1995
25 Years of Performance Art in Australia, Ivan Dougherty Gallery, Sydney, 4 June – 16 July 1994; Institute of Modern Art, Brisbane, 4-27, August 1994; Perth Institute of Contemporary Arts, 17 November – 19 December 1994; Experimental Art Foundation, Adelaide, February-March 1995; Australian Centre for Contemporary Art, Melbourne, April-May 1995
Power Works – from the MCA Collection, Museum of New Zealand, Wellington, 19 February – 15 May 1994; Govett-Brewster Art Gallery, New Plymouth, 18 July – 4 September 1994; Waikato Museum of Art & History, Hamilton, 17 September – 13 November 1994; Dunedin Public Art Gallery, Dunedin, 11 February – 10 April 1995
Photosynthesis, Roslyn Oxley9 Gallery, Sydney, 18 November – 17 December
Sweet Damper and Gossip: Colonial Sightings from the Goulburn and North East, Monash University Gallery, Melbourne, 17 February – 26 March; Benalla Art Gallery, Benalla, 8 April – 8 May
Osaka Print Triennale, Mydome, Osaka, 28 November – 11 December 1994
Valsts, Soros Centre for Contemporary Arts, Riga, Latvia
Logan Art Award, Community Arts Centre, Kingston, Queensland
Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne, 29 September – 2 October
Prime Television Painting Prize, Newcastle Region Art Gallery, Newcastle, 23 September – 23 October
The King’s School Art Prize, The King’s School, Sydney, 12 August – 14 August
Un/Peeled Art, Ballarat Fine Art Gallery, Ballarat, 29 July – 4 September
Faces of Hope: Amnesty International Art, Art Gallery of New South Wales, Sydney, 28 July – 10 August; auction 5 August
Virtuosi (limited edition print portfolio), Sherman Galleries Hargrave, Sydney, 30 March – 16 April
1993 Identities: Art from Australia, Taiwan Museum of Art, Taipei, Taiwan, 11 December 1993 – 29 February 1994; Wollongong City Art Gallery, Wollongong, 29 April -5 June 1994
Collective Space: Works from the Monash University Collection, Monash University Gallery, Melbourne, 5 November 1993 – 12 February 1994
Looking at Seeing and Reading, Ivan Dougherty Gallery, Sydney, 1-31 July 1993; Institute of Modern Art, Brisbane, 31 March – 30 April 1994; Monash University Gallery, Melbourne, 19 May – 25 June 1994)
Osaka Painting Triennale ’93, Osaka, Japan, 29 November – 11 December (awarded Grand Prize)
Arts Extraordinaire – The Cigar Box auction: for Accessible Arts, The ABC Centre, Ultimo, Sydney, 1-10 November
Dale Frank, Brent Harris, Mathys Gerber, Robyn Stacey, Imants Tillers, Karyn Lovegrove, Melbourne, 13 October – 13 November
Commitments, Institute of Modern Art, Brisbane, 9 September – 2 October; Artspace, Sydney
The Eye, Art Gallery of New South Wales, Sydney
Shaman Summer in Finland, Aineen Taidemuseo, Tornio, 1 June – 30 September
Imants Tillers, John Young, Dale Frank, Sherman Galleries Goodhope, Sydney
March, Michael Milburn Gallery, Brisbane, 10-27 March
Sight Regained, Ivan Dougherty Gallery, Sydney, 6-27 March
Installation and Objecthood, Martin Browne Fine Art, Sydney, 12 January; Michael Milburn, Brisbane, 2 April; Perc Tucker Regional Gallery, Townsville, June
1992 Works on Paper, Michael Milburn Galleries, Brisbane
Sight Regained: Collaboration between Artists and Architects, Westpac Gallery, Melbourne
Inherited Absolute: Artists with Children, Australian Centre for Contemporary Art, Melbourne, 24 July – 23 August
20th Century Australian and New Zealand Painting, Martin Browne Fine Art at McDonald Street Galleries, Sydney
Domino 1: Collaborations between Artists, The University of Melbourne Museum of Art, Melbourne, 1 July – 15 August
The Selective Eye, Peter McCleavey Gallery, Wellington
The Living Mandala, Access Gallery, National Gallery of Victoria, Melbourne, 25 April – 11 May
Imants Tillers, Colin McCahon, Charles Tole, Peter McCleavey Gallery, Wellington
Distraction, Yuill/Crowley, Sydney, 5-29 February
Light Sensitive, Artspace, Sydney, 11 February – 6 March
1991 Cologne Art Fair, Cologne
Opening Transformations, Museum of Contemporary Art, Sydney
41st Latvian Cultural Festival Art Exhibition, RSAS Gallery, Kintore, Adelaide, December 1991 – January 1992
Contemporary Art Archive Exhibition, Museum of Contemporary Art, Sydney
Contemporary Landscapes, Institute of the Arts, Deakin University, Geelong, 16 October – 22 November
Off the Wall/In the Air: A Seventies Selection, Monash University, Melbourne, 28 June – 10 August
Aberdare Art Prize, Ipswich City Council Regional Gallery, Ipswich, July (winner)
Preview Exhibition, Bess Cutler Gallery, Santa Monica
Porkkana Collection, The Museum of Contemporary Art, Helsinki
Selected Contemporary Australian Art, Deutscher Brunswick Street, Melbourne
Artists of the Gallery, Yuill/Crowley, Sydney, 23 February – 20 March
Tokyo International Art Show, Tokyo
1990 Latvian Artists Side by Side, Australia Council, Canberra, 26 December 1990 – 19 February 1991
Art from Australia: Eight Contemporary Views, Gedung Seni Rupa Nasional, Jakarta, 30 Aug – 16 Sept 1990; National Art Gallery, Bangkok, 4 October 1990; Metropolitan Museum of Manila; National Art Gallery, Kuala Lumpur, April 1991; National Gallery, Singapore, June 1991
Osaka Painting Triennale ’90, Mydome Osaka, Osaka
Inland: A Spatial Heritage, Australian Centre for Contemporary Art, Melbourne, 1 November – 2 December
Conventional Practice: Still Life & The Model, from the Twenties to Tillers, Robyn Brady Pty Ltd at D.C. Art, Woollahra, Sydney, 6 October – 13 October
À rebours, Yuill/Crowley, Sydney, 5 September – 29 September
Shifting Parameters: Australian Artists Who Employ Photographic Images and Techniques in Their Prints, Queensland Art Gallery, Brisbane
Fakes, Galerie Nikolaus Sonne, Berlin
Artists for Greenpeace, Linden Gallery, St Kilda, Melbourne, 18 July – 29 July
Art with Text, Monash University Gallery, Melbourne, 10 July – 18 August
Latvian Art, National Art Gallery, Riga, 30 June – 6 October
L’été Australien à Montpellier, Musée Fabre, Montpellier, 30 June – 13 September
Australian Contemporary Art Fair, Royal Exhibition Buildings, Melbourne, 21-24 June
Fluctua, Art Dock, Noumea, New Caledonia, 8 June – 8 July
The Complex Picture: Australian Painting in the 1980s, College Gallery, South Australian College of Advanced Education, Adelaide, 22 February – 18 March
Balance 1990: Views, Visions, Influences, Queensland Art Gallery, Brisbane, 22 February – 29 April
Artists of the Gallery, Yuill/Crowley, Sydney, 21 February – 17 March
Institute of Contemporary Arts, Sotheby’s Benefit Auction, Nigel Greenwood Gallery, Marlene Eleni, Nicola Jacobs, Victoria Miro, London, 17-18 February
Strange Harmony of Contrasts, Roslyn Oxley9, Sydney, 24 January – 10 February; Canberra School of Art Gallery, Canberra, 22 March – 14 April
Information, Terrain Gallery, San Francisco, 4 January – 3 February
1989 The Archibald Prize, Art Gallery of New South Wales, Sydney, 15 December 1989 – January 1990
Yuill/Crowley, Sydney, 4-22 November
Porkkana Collection, The Old Student House, Helsinki; Titanik Galeria, Turku; The Art Museum of Hyvinkaa; The Art Museum of Mikkeli; The Art Museum of Kuopio
Freestyle: Australian Art 1960s to Now, National Gallery of Victoria, Melbourne
Artists’ Flowers, Ballarat Fine Art Gallery, Ballarat
ICI Contemporary Art Collection, Ballarat Fine Art Gallery, Ballarat, (touring)
Modern Muses: Classical Mythology in Australian Art, S.H. Ervin Gallery, Sydney
`Captive Nations Council of N.S.W. 25th Anniversary’. Commonwealth Savings Bank Head Office, Martin Place, Sydney, 23 August – 1 September
Installation #2: The Skin Area, 200 Gertrude Street, Melbourne
American Pi(e), Bess Cutler Gallery, New York, 29 June – 28 July
1988 Edge to Edge: Australian Contemporary Art to Japan, National Museum of Art, Osaka; Hara Museum of Contemporary Art, Tokyo, 23 October 1988; Nagoya City Art Museum, Nagoya, 20 February – 25 March 1989; Hokkaido Museum of Modern Art, Sapporo
Images of Religion in Australian Art, National Gallery of Victoria, Melbourne
The Archibald Prize, Art Gallery of New South Wales, Sydney; Westpac Gallery, Melbourne
After McCahon: Some Configurations in Recent Art, Auckland City Art Gallery, Auckland
Australian Art Post 1960, Deutscher Gertrude Street, Melbourne
Pro Museum of Contemporary Art Collection in Finland, Vanhan Galleries, Helsinki
Italo Scanga, Imants Tillers, Robin Winters, Dorothy Goldeen Gallery, Los Angeles
Federation Pavilion, Yuill/Crowley, Sydney, 24 August – 14 September 1988
Yuill/Crowley, Sydney, 22 July – 17 August 1988
A Changing Relationship: Aboriginal Themes in Australian Art 1938-1988, S.H. Ervin Gallery, Sydney, June-July 1988
Redux: Michael Bidlo, Sherrie Levine, Doug Huebler, Phillip Taaffe, Richard Pettibone, Imants Tillers, Maloney Gallery, Los Angeles
Australian Biennale: From the Southern Cross, Art Gallery of New South Wales, Sydney, 19 May 1988, National Gallery of Victoria, Melbourne
Stories of Australian Art, Commonwealth Institute, London
Advance Australian Painting, Auckland City Art Gallery, Auckland; National Art Gallery, Wellington
Creating Australia: 200 Years of Art 1788-1988, Queensland Art Gallery, Brisbane; Art Gallery of Western Australia, Perth; Art Gallery of New South Wales, Sydney, 21 October – 27 November 1988; Tasmanian Museum and Art Gallery, Hobart; National Gallery of Victoria, Melbourne; Art Gallery of South Australia, Adelaide)
1987 The Australian Bicentennial Perspecta, Art Gallery of New South Wales, Sydney, 14 October – 29 November 1987; Art Gallery of Western Australia, Perth, 5 March – 17 April 1988; Frankfurter Kunstverein, Frankfurt, September 1997 – October 1988; Wurttembergische Kunstverein, Stuttgart, March – April 1989
The Loti and Victor Smorgan Collection of Contemporary Australian Art, Australian Centre for Contemporary Art, Melbourne
Heroics: A Critical View, Walter Philips Gallery, The Banff Centre, School of Fine Arts, Banff, Alberta, Canada
Hybrid Products, S.L. Simpson Gallery, Toronto
What is this Thing called Science?, University Gallery, The University of Melbourne, Melbourne
In Print vol. 1 Artists’ Books, Power Gallery of Contemporary Art, The University of Sydney, Sydney
Field to Figuration: Australian Art 1960-1986, National Gallery of Victoria, Melbourne
Contemporary Australian Art, Museum of Modern Art, Saitama, Japan
Painters and Sculptors: Diversity in Australian Art, Queensland Art Gallery, Brisbane
Art and the West, Art Gallery of New South Wales, Sydney
Avant Garde in the Eighties, Los Angeles County Museum, Los Angeles, 23 April – 12 July
State of the Art, Institute of Contemporary Arts, London
`New Concept’ and the will to Misfit: Modern Art since 1984, Nexus Contemporary Arts Center, Atlanta, Georgia
1986 Five Years On: A Selection of Aquisitions 1981-1986, Art Gallery of New South Wales, Sydney
Group Show, Stavaridis Gallery, Boston
When Attitudes Become Form, Bess Cutler Gallery, New York (with Richard Artschwager, Jennifer Bolande, Steven Parrino, Allen Ruppersburg, Philip Taaffe, Julia Wachtel and others)
Investigations, McIntosh-Drysdale, Washington, DC
6th Biennale of Sydney: Origins, Originality and Beyond, Art Gallery of New South Wales, Sydney
Contemporary Issues III: Works from the Collection of Robert and Nancy Kaye, Holman Hall Art Gallery, Trenton State College, New Jersey
How much beauty can I stand?, Australian Centre for Contemporary Art, Melbourne
Pharmakon, Yuill/Crowley, Sydney
1985 Seeing is Believing: Travelling Art Exhibition 1985, Art Gallery of New South Wales, Sydney
Still Life, Art Gallery of New South Wales, Sydney
Little Works by Big Thinkers, Bess Cutler Gallery, New York
Group Show, Svetlana Achatz, Munich
Dot and Circle: A Retrospective Survey of the Aboriginal Acrylic Paintings of the Western Desert, Royal Melbourne Institute of Technology Gallery, Melbourne
Two Worlds Collide: Cultural Convergence in Aboriginal and White Australian Art, Artspace, Sydney
Visual Tension, Australian Centre for Contemporary Art, Melbourne; Institute of Modern Art, Brisbane
Production: Re-Production, Gallery 345, New York
1984 New Work, Bess Cutler Gallery, New York
Architectura Picta, Ewing and George Paton Gallery, The University of Melbourne, Melbourne
Synthetic Art, Harm Bouckaert Gallery, New York
Drawing Sex, Yuill/Crowley, Sydney
Accents/Expressions, The Corcoran Gallery of Art, Washington, DC
An Australian Accent: Three Artists from Australia, P.S.1, New York, 15 April – 10 June; Art Gallery of Western Australia, Perth; Art Gallery of New South Wales, Sydney
Form> Image> Sign: Survey of Contemporary Art, No. 3, Art Gallery of Western Australia, Perth
1983 Animal Imagery, Ballarat Fine Art Gallery, Ballarat
Tribute to Mervyn Horton, Art Gallery of New South Wales, Sydney
George Baldessin: Sculpture and Etchings: A Memorial Exhibition, National Gallery of Victoria, Melbourne
Artists’ Books, Artspace, Sydney
Mattara Purchase Prize, Newcastle Art Gallery, Newcastle
The Ciminiera, n-space, Sydney
VOX POP: Into the Eighties, National Gallery of Victoria, Melbourne
Recent Australian Painting: A Survey 1970-1983, Art Gallery of South Australia, Adelaide
The Life of Energies, Artspace, Sydney
Minimalism x Six, Institute of Modern Art, Brisbane
Tall Poppies: An Exhibition of Five Pictures, University Gallery, The University of Melbourne, Melbourne
`Masterpieces’: Out of the Seventies, Monash University Gallery, Melbourne
Project 40: Australian Artists at Venice and Kassel, Art Gallery of New South Wales, Sydney
1982 3 Offset Attitudes, Sydney City Library, Sydney
Art in the Age of Mechanical Reproduction, Ewing and George Paton Gallery, The University of Melbourne, Melbourne
The Temple of the Winds, n-space at The Temple of the Winds, Royal Botanic Gardens, Melbourne
Documenta 7, Kassel, West Germany
Popism, National Gallery of Victoria, Melbourne
Eureka! Artists from Australia, Serpentine Gallery, London; Institute of Contemporary Arts, London
1981 The Beacon, n-space at Cremorne Point, Sydney
Three Rejected Entries: Wynne, Sulman and Archibald Prizes, Art Projects, Melbourne
John McCaughey Memorial Prize (winning entry), National Gallery of Victoria, Melbourne
Australian Perspecta 1981: A Biennial Survey of Contemporary Australian Art, Art Gallery of New South Wales, Sydney
1980 Australian Art in Prints, Queen Victoria Museum and Art Gallery, Launceston
Avago 1980, Experimental Art Foundation, Adelaide
1979 3rd Biennale of Sydney: European Dialogue, Art Gallery of New South Wales, Sydney
The Work and its Context, Australian Embassy, Paris
1978 Roadshow Exhibition 1: Works on Paper, Regional Development Program, touring regional galleries in New South Wales
Artists’ Books: Book Works, Ewing and George Paton Gallery, The University of Melbourne, Melbourne; Experimental Art Foundation, Adelaide; Institute of Modern Art, Brisbane; Franklin Furnace, New York
1977 Sets, Series, Sequences, Watters Gallery, Sydney
Watters at Pinacotheca, Pinacotheca, Melbourne
1976 Post-Object Art in Australia and New Zealand, Experimental Art Foundation, Adelaide
1975 Conversations with the Bride, South American tour of Australian works in Bienal de São Paulo
13th Bienal de São Paulo, Brazil
Phillip Morris Arts Grant, National Gallery of Victoria, Melbourne
1974 The Wynne Prize, Art Gallery of New South Wales, Sydney
Ten Years, Watters Gallery, Sydney
Artists for Whitlam, Hogarth Galleries, Sydney
Boxes, Ewing and George Paton Gallery, The University of Melbourne, Melbourne
Gifts from Patrick White, Art Gallery of New South Wales, Sydney
1973 Recent Australian Art, Art Gallery of New South Wales, Sydney.
Sculpture scape ’73 (Fifth Mildura Sculpture Triennial), Mildura Arts Centre, Mildura
Object and Idea: New Work by Australian Artists, National Gallery of Victoria, Melbourne
1972 The Joe Bonomo Show: A Show of Strength), Watters Gallery, Sydney
Contemporary Art Society Annual Art Exhibition, The Blaxland Gallery, Sydney (joint winner, Hunter Douglas Prize)
Young Contemporaries Exhibition, Central Street Gallery, Sydney
1971 Young Contemporaries Exhibition, The Blaxland Gallery, Sydney
Open Wide, Contemporary Art Society, Central Street Gallery, Sydney
1970 Contemporary Art Society Annual Exhibition, The Blaxland Gallery, Sydney
1969 Wrapped Coast, one million square feet, Little Bay, Australia, with Christo, Sydney

AWARDS
2005 Doctor of Letters (Honoris Causa), University of New South Wales, Sydney
2003 Prize for Excellence, First Beijing International Art Biennale, China
2001 Silver Prize, Osaka Triennial 2001, Osaka, Japan
1999 First Prize, 1999 Visy Board Art Prize, Barossa, South Australia
1997 Lowenstein Sharp Arts 21 Fellowship, Melbourne
1996 Bronze Prize, Osaka Painting Triennial, Osaka Triennial, Osaka
SCEGGS Redlands Inaugural Prize, Sydney
1994 Sakai City Prize, Osaka Print Triennial, Osaka Triennial, Osaka
First Prize, Prime Television Painting Prize, Newcastle Region Art Gallery, NSW
1993 Grand Prize, Osaka Painting Triennial, Osaka Triennial, Osaka
1991 First Prize, Aberdare Art Prize, Ipswich City Council Regional Gallery, Ipswich
1981 First Prize, John McCaughey Memorial Prize, National Gallery of Victoria, Melbourne

COMMISSIONS
2001-2002 The Attractor and Eight Women, Overflow Park, Sydney Olympic Park, NSW (collaboration with Alec Tzannes)
1999-2000 Terrain I and Terrain II, Westin Hotel, Melbourne
1991 Founding Donors Commission, entrance lobby, Museum of Contemporary Art, Sydney
1985-1987 The Dome of the Federation Pavillion, Centennial Park, Sydney (collaboration with Alec Tzannes)

BIBLIOGRAPHY
Monographs
2006 Deborah Hart, Imants Tillers: one world many visions, Canberra: National Gallery of Australia, 2006
2002 Graham Coulter-Smith, The postmodern art of Imants Tillers: appropriation `en abyme’, 1971 – 2001, London: Fine Art Research Centre, Southampton Institute and Paul Holberton Publishing, 2002
1998 Wystan Curnow, Imants Tillers and the `Book of Power’, Sydney: Craftsman House, 1998
Books, Group Catalogues and Articles
2009 Ric Spencer, “Spaces to engulf the eye” The West Australian, February 20, 2009.
2008 Shimada Norio, New Horizons: The Collection of the Ishibashi Foundation, Bridgestone Museum of Art, Tokyo
Australian Latvian Artists, Australian Latvian Artists Association, Sydney
Jake Townsend, `Cultural Impressions’, Aston Martin Magazine, Issue 4 Spring 2008, London
Maudie Palmer (ed.), Encounters with Australian Modern Art, Macmillan Publishers, Melbourne and Hermann Éditeurs, Paris
Ron Radford (ed.), Collection Highlights, National Gallery of Australia, Canberra
Ashley Crawford, `The Shock of the Independent: Imants Tillers and Tony Clark in Melbourne,’ Art Monthly Australia, number 209, pp.17-20
2007 Lynne Seear and Julie Ewington, Brought to Light II: Contemporary Australian Art 1966 – 2006 from the Queensland Art Gallery Collection, Queensland Art Gallery Publishing, Brisbane
Sonia Payes, Untitled: Portraits of Australian Artists, Macmillan Art Publishing, Melbourne
Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986 – 2006, Craftsman House, Melbourne
John MacDonald, Studio: Australian Painters on the Nature of Creativity, R. Ian Lloyd Productions, Singapore.
Bernard Smith, The Formalesque: A Guide to Modern Art and its History, Macmillan Publishers, Melbourne.
2006 Kris Carlon, Interview with Imants Tillers, Machine Magazine, Issue 2.3, 2006, pp. 1-5
Michael Desmond, “The head and the heart”, The Australian Financial Review, Friday 4 August 2006, p. 9
Michele Helmrich, “Good Grief”, Brisbane News, December 2006
Anthony Bond and Wayne Tunnicliffe (eds), Contemporary: Art Gallery of New South Wales Contemporary Collection, Art Gallery of New South Wales, Sydney
Michael Fitzgerald, “Both Sides Now”, Time Magazine, 30 October 2006, pp. 64 – 66.
Prism: Contemporary Australian Art, Bridgestone Museum of Art, Tokyo, 2006
Charles Merewether, 2006 Sydney Biennale: Zones of Contact, Sydney: Biennale of Sydney, 2006
Sarah Thomas, “Imants Tillers: The Unpromised Land”, Clemenger Contemporary Art Award, Melbourne: National Gallery of Victoria, 2006, p. 23.
John McDonald, “From Japan with love”, Sydney Morning Herald, 16 – 17 September 2006, pp. 16 – 17 (Arts & Entertainment Section).
2005 Michael Eather (ed), Shoosh!: the history of the Campfire Group, Fortitude Valley: Institute of Modern Art, 2005
Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Books, Canberra, 2005
Leta Keens & Jean Wright, `Mountain frame’, Belle Magazine, April-May 2005, pp. 108-111
2004 Ivor Indyk, `Imants Tillers’ expresstionism’, in Transmissions from here and there – works by Imants Tillers, Melbourne: Monash University Museum of Art, 2004.
Alan Cruickshank, `Fragmented and fabricated: A biennial of what?’, Broadsheet, June – August 2004, vol. 33, no. 2, pp. 14-15
2003 Ann Stephen (introduction), `Ian Burn and Imants Tillers in conversation’, Art Monthly Australia, no. 159, May 2003, pp. 16-19
Peter Hill, `The timing is appropriate’, Spectrum, The Sydney Morning Herald, 10-11 May 2003, pp. 12-13
John Kavanagh, `Tillers sampler, with wit and mischief’, Business Review Weekly, 8-14 May 2003, p. 89
`A serious crush on high-powered art’, The Sydney Morning Herald, 26-27 April 2003, p. 18
`the week’s best’, Metro, The Sydney Morning Herald, 2-8 May 2003
Daphne Guinness, `Chance and the art of paradox’, Spectrum, The Sydney Morning Herald, 18-20 April 2003, p. 3
Howard Morphy, `Imants Tillers and the dislocation of the avant-garde’, in Howard Morphy and Nigel Lendon (eds), Synergies, exhibition catalogue, The Australian National University Drill Hall Gallery, Canberra, 2003, pp. 43-50
2002 Anna Gray (ed), Australian art in the National Gallery of Australia, Canberra: National Gallery of Australia, 2002
Ian North, `Imants Tillers and positive value’, Artlink, vol. 21, no. 4, 2002
Lenny Ann Low, `Size does matter’, The Sydney Morning Herald, 15-16 June 2002
Katrina Schwarz, `Art as Theatre’, Reviews, Monument, 46, February-March 2002
Benjamin Gennochio, `The reign in Spain’, The Weekend Australian, 2-3 February 2002
2001 Charles Green (ed.), Postcolonial + art: where now?, Sydney: Artspace Visual Art Centre, 2001.
Andrew Sayers, Australian Art, Oxford History of Art Series, Oxford University Press, Oxford, 2001
Helen Armstrong, `Shifting meaning: Multicultural Sydney’s public realm’, in Elizabeth Mossop and Paul Walton (eds), City Spaces: Art and Design, Craftsman House, Sydney, 2001
2000 Martin Kemp (ed.), The Oxford History of Western Art, Oxford University Press, Oxford, 2000
1999 Nicholas Thomas, Possessions: Indigenous art/colonial culture, London: Thames and Hudson, 1999
James, Bruce, `Tillers goes bush’, The Sydney Morning Herald, 5 June 1999
Benjamin Genocchio, `Grid tease from the Tillers man’, The Australian, 4 June 1999
Reid, Michael, `Bird-fanciers expected to flock to exhibition’, The Australian, 24-25 April 1999, p. 4
Dutkiewicz, Adam, `Democratic success’, The Advertiser, 14 April 1999
`Visy Board Art Prize’, The Leader, 31 March 1999
Millard, Russell, `Lightning visit worth $40,000′, The Advertiser, 29 March 1999
Katrina Strictland, `Work for labour’s sake’, The Australian, 26 March 1999, p. 18
Andrew Frost, `Australia’s 50 most collectable artists’, Australian Art Collector, January-March 1999
1998 Ian North, Expanse: aboriginalites, specialities, and the politics of ecstasy, Adelaide: University of South Australia Art Museum, 1998.
Stephen Radok, `The figure ground relationship’, Art Monthly Australia, 1998
Leon Paroissien, `The Book of Power’, Art and Australia, vol. 36, 1998
Tom Middlemost and Mary Eagle, Landscape, exhibition catalogue, Charles Sturt University, New South Wales, 1998
Helen Greenwood, `A love of objects from the exotic to the everyday, dictated the style of this Rose Bay house’, Sydney Morning Herald, 8 October 1998
Peter Wood, `Homing in on explorations of identity and landscape’, The Australian, 2 October 1998
Joanne Harris, `Merging pragmatism with spirituality’, The Advertiser, 12 September 1998
Joyce Morgan, `A brush with greatness’, The Sydney Morning Herald, 3 April 1998
John McDonald, ‘Notes from the margin’, The Sydney Morning Herald, 14 February 1998
Joanna Mendelssohn, ‘Cerebral copies: The power of Imants Tillers in 50,000 pieces’, The Weekend Australian, 31 January – 1 February 1998
1997 Michael Newman, `Imants Tillers’ in In place (our of time): contemporary art in Australia, Oxford: Museum of Modern Art, 1997.
Christopher Allen, Art in Australia: From Colonisation to Postmodernism, Thames & Hudson, London, 1997
Michael Archer, Art since 1960, Thames & Hudson, London, 1997
Jason Smith, `The John McCaughey Memorial Art Prize 1997′, Gallery, December 1997 – January 1998
Myfanwy Warhurst, ‘Mid-career in high country’, The Age, Melbourne, 12 December 1997
Robyn Usher, `Artsbeat: McCaughey Prize’, The Age, Melbourne, 2 December 1997
Dixie Gibson, ‘Artist honours Monaro, Snowy’, Cooma-Monaro Express, 27 November 1997
Lauren Hill, `Eight who have designs on city’, The Sydney Morning Herald, 21 November 1997
Robert Rooney, The Australian, 21 November 1997
Ben Hopkinson, ‘Cash to “forgotten” artist’, Diamond Valley News, 19 November 1997
Ben Hopkinson, ‘Not so young at art but full of ideas’, Doncaster Templestowe News, 19 November 1997
Maria Prerauer, ‘Where art meets industry’, The Bulletin, 18 November 1997
‘High country work rewarded’, The Bendigo Advertiser/Weekender, 15 November 1997
Susan McCulloch, ‘More than land for Tillers’s brush’, The Australian, 14 November 1997
Rebecca Lancashire, ‘Heading for the hills’, Metro Arts, The Age, Melbourne, 11 November 1997
Helen Musa, ‘Country project wins city approval’, The Canberra Times, 11 November 1997
Damien Woolnough, ‘Alpine lover’s triumph’, Herald Sun, 11 November 1997
‘Artists in line for a $40,000 fellowship’, The Bendigo Advertiser/Weekender, 8 November 1997
Usher Robin, ‘Artists shortlisted’, Metro Arts, The Age, Melbourne, 5 November 1997
Morgan Joyce, ‘Yen for the big league’, The Sydney Morning Herald, 31 October 1997
Susan McCulloch, ‘No boundaries in our sense of space’, The Weekend Australian, 2-3 August 1997
Judith White, `Australia’s most wanted’, Australian Art Collector, issue 1, July-September 1997
Giles Auty, ‘Exuberance truncated’, The Weekend Australian, 19-20 July 1997
‘Exhibit eh? How selling art to Asia raised eyebrows in Sydney’, Metro, The Sydney Morning Herald, 16 May 1997
1996 Rex Butler (ed), What is appropriation?: an anthology of crital writings on Australian art in the `80s and `90s, Sydney: Power Institute of Fine Arts and Institute of Modern Art, Brisbane, 1996
Angela Bennie, ‘Spirit and Place’, Spectrum, The Sydney Morning Herald, 23 November 1996
Akihiko Takami, `Compounding Australian identity’, Bijutsu-Techo, August 1996
The Twentieth Century Art Book, Phaidon, London, 1996
Tamaki Harada, `Probe into the present contemporary art in the southern hemisphere’, Mainichi Gravure Amuse, no. 14, 24 July 1996
Joanna Mendelssohn, ‘Perennial exile comes home at last’, The Australian, 11 July 1996
Miki Yoda , `Strong aspect of multicultural society’, The Sankei Shimbun Newspaper, 7 July 1996
T. J. McG uire, ‘Down under Asia’, Asahi Evening News, 27 June 1996
Neilton Clarke, ‘Beginning at the end’, The Daily Yomiuri, 7 June 1996
Chris Ashton, ‘Off again, on again’, The Bulletin, 16 April 1996
1995 Charles Green, Peripheral vision: contemporary Australian Art 1970 – 1994, Sydney: Craftsman House, 1995
Antipodean currents: ten contemporary artists from Australia, New York: Guggenheim Museum, 1995.
Miriam Cosic, ‘To all foreigners: We have art as well as outback’, The Sydney Morning Herald, 28 October 1995
Sonya Voumard, ‘Imants: At last in control of his destiny’, The Sydney Morning Herald, 29 August 1995
John McDonald, ‘Tillers’s white nights’, The Sydney Morning Herald, 8 July 1995
Pepe Karmel, ‘Antidotes for a cartoonish image’, The New York Times, 23 June 1995
‘Australian art in Japan’, Tomodachi, December 1994 – January 1995
1994 ‘Imants Tillers wins prestigious award’, Flash Art News, May-June 1994, p. 54
Elwyn Lynn, ‘Caught in the moment’, Review, The Weekend Australian, 21-22 May 1994
‘Imants Tillers’ (article in Japanese), Nichigo Press, May 1994
Artnotes, ‘Tillers wins Osaka Prize’, Art Monthly Australia, March 1994
1993 Anne Marsh, Body and self: performance art in Australia 1969 – 1992, Melbourne: Oxford University Press, 1993
Deborah Hart, Identities: Art from Australia, Taipei: Taipei Fine Arts Museum and University of Wollongong, 1993
Joanna Mendelssohn, ‘Bunches of tens’, The Bulletin, 7 December 1993, pp. 79-81
Julia Robinson, ‘Imants Tillers’ artful kaleidoscope’, Artist Magazine, Taipei, Republic of China, September 1993
‘A brush with success’, The Sydney Morning Herald, 18 August 1993
Lynn Fern, ‘A hero aground’, The Sydney Morning Herald, 4 June 1993
Michael Hutak, ‘Art heavies rage over Sulman’, The Sydney Morning Herald, 12 May 1993, p. 2
Robert Berlind, ‘Report from Australia: Winter walkabout’, Art in America, April 1993, pp. 3-44
‘Art of the country: The big picture’, Australian Country Style, February-March 1993, pp. 141-143
‘Fledgling gallery lays rivals on the canvas’, The Sydney Morning Herald, 10 February 1993
Terry Ingram, ‘Olsen top prize in gallery war’, Australian Financial Review, 18 January 1993
1992 Evelyn Juers, `Imants Tillers: the phenomenon’, The Adelaide Review, June 1992.
Peter Hill, ‘A Life of Blank: Works by Imants Tillers’, Art Monthly Australia, May 1992, p. 13
1991 Bernard Smith and Terry Smith, Australian Painting: 1788 – 1990, Melbourne: Ocford Unversity Press, 1991.
Christopher Allen, ‘Commentaries: Maloney; Hawkes; Tillers; Oliver; Rudyard; Grech; Henneman’, Art Monthly Australia, July 1991, p. 14
Stephen Bann and William Allen (eds), Interpreting contemporary art, London: Reaktion Books, 1991
1990 Michael Eather and Marlene Hall, Balance 1990: views, visions, influences, Brisbane: Queensland Art Gallery, 1990.
Mary Eagle, `Imants Tillers’ in Art from Australia: eight contemporary views, Melbo8urne: Australian Exhibitions Touring Agencey, 1990
Robert Atkins, Artspeak: a guide to contemporary ideas, movements and buzzwords, New york: Abbeville Press, 1990.
Stephen O’Connell, ‘Imants Tillers’, Art + Text, September 1990, pp. 146-147
Imants Tillers, ‘Imants Tillers as a site of conflict’, Art + Australia, vol. 27, no. 3, March 1990
Ashley Crawford (ed.), ‘The 1980s: From leantime to dreamtime’, Tension, no. 19, January 1990
1989 Chris McAuliffe, ‘A condition of suspended confusion’, Art and Australia, vol. 27, no. 2, Summer 1989
Imants Tillers and Wystan Curnow, ‘An exchange of notes’, Antic, Auckland, no. 6, November 1989
John Hurrell, ‘A brief look at Gilgulim, the doctrine of metempsychosis, and other tenets of Lurianic Kabbalism, as revealed on p.19301 of Imants Tillers’s Book of Power when that was displayed in Wellington in 1989, and in his earlier books Rendezvous with and Three Facts’, Antic, Auckland, no. 6, November 1989
Bridget Sutherland, ‘Sign of the Cross’, Antic, Auckland, no. 6, November 1989
Jenny Harper, ‘Tillers’ McCahons’, Tension, no. 18, October 1989
Roy Murphy, ‘Scene stealer’, City Life, Sydney, vol. 2, August 1989
Nicholas Baume, ‘The interpretations of Dreamings: The Australian, Aboriginal Acrylic Movement’, Art + Text, no. 33, Winter 1989
Jenny Harper, ‘Imants Tillers in Wellington’, Art New Zealand, Auckland, no. 51, Winter 1989
Gundega Repse, ‘Spraudisu netas globusa’, Literatura un Maksla, Riga, 15 July 1989
Sally McMillan, ‘Tillers: Next he takes Manhattan’, The Australian, Melbourne, 1 June 1989
Michael Hubl, ‘The Australian exhibition’, Kunstforum, Cologne, March-April 1989
Nikolajs Bulmanis, ‘Par Imants Tillers’, Jauna Gaita, Hamilton, Ontario, issue 171, February 1989
1988 Donald Richardson, Art in Australia, Melbourne: Longman Cheshire, 1988.
Eleanora Sturma, ’6 Latvian Artists exhibiting in New York galleries’, Latvian Art, Rockville, Maryland, vol. 14, 1988
Michael Archer, ‘Bicentennial exhibitions in London’, Art and Australia, vol. 26, no. 2, Summer 1988
Imants Tillers, ‘Words of wisdom’, Art and Australia, Bicentenary Special Issue, vol. 26, no. 1, Spring 1988
Nicholas Baume, ‘Learning from the Dreamtime’, Art and Australia, Bicentenary Special Issue, vol. 26, no. 1, Spring 1988
Justin Hoffman, ‘Warum nicht Australien’, Wolkenkrater, Hamburg, no. 4, July-August 1988
Michael Archer, ‘Imants Tillers in London’, Art Monthly, Sydney, no.12, July 1988
Terry Smith, ‘Provincialism refigured’, Art Monthly, Sydney, no. 13, August 1988
Jennifer Slatyer, ‘The life-motif’, Art Monthly, Sydney, no. 9, April 1988
1987 Eleonara Sturma, ‘Seven Latvian artists exhibiting in New York’, Latvian Art, Rockville, Maryland, vol. 13, 1987
Sandy Nairne, State of the Art: Ideas and Images of the 1980s, Chatto & Windus, London, in collaboration with Channel Four Television, 1987
Terry Smith, ‘Imants’ images: Fair borrowing is no robbery’, Times on Sunday, Sydney, 29 November 1987
Jeffrey Rian, ‘Imants Tillers’, Art in America, November 1987
Peter Ward, ‘Temple of light?’, The Australian, Melbourne, 7-8 November 1987
Conrad Wolf, ‘Imants Tillers in der Galerie Susan Wyss’, Tages-Aneiger, Zurich, 9 October 1987
John Miller, ‘Avant Garde in the Eighties’, Artscribe, London, September-October 1987
Carl Pickering, ‘Il punto di vista di Casa Vogue’, Milan, no. 181, June 1987
Jude Schwendenwien, ‘Refined vision’, East Village Eye, New York, May 1987
Gunars Jurjans, ‘From Venice to Melbourne’, Australian Latvian News, Sydney, 10 April 1987
Kim Levin, ‘Imants Tillers’, Village Voice, New York, 7 April 1987
Vivien Raynor, ‘Imants Tillers’, The New York Times, 3 April 1987
Paul Foss, ‘Mammon and millennial Eden’, Art + Text, no. 22, March 1987
Juan Davila, ‘Aboriginality: A lugubrious game?’, Art + Text, no. 22, March 1987
Lois Allan, ‘Issues for outsiders’, Artweek, Oakland, California, February 1987
Michael Brenson, ‘Two artists who flourish in a postmodern climate’, The New York Times, 22 February 1987
Susan Morgan, ‘Sydney Biennale’, Artscribe, London, January-February 1987
Jennifer Slatyer, `An interview with Imants Tillers’, The Australian bicentennial Perspecta, Sydney: Art Gallery of New South Wales, 1987.
1986 Terry Smith, Constructing the history of Australian art: eight critiques, Sydney: Power Institute of Fine Arts, 1986
Eleanora Sturma, ‘Five Latvian artists in New York’, Latvian Art, Rockville, Maryland, no. 12, 1986
Jurgen Hohmeyer, ‘Durch die Wunderkammer’, Der Spiegel, Cologne, no. 27, 1986
Ronald Millar, ‘Venice Biennale and past futures’, Art and Australia, Summer 1986
Terence Maloon, ‘Imants Tillers and the museum without walls’, Studio International, London, December, 1986
Peter Schjeldahl, ‘A visit to the salon of Autumn 1986′, Art in America, December 1986
Thomas McEvilley, ‘Biennale of Sydney’, Artforum, New York, November 1986
Paul Taylor, ‘Biennale of Sydney’, Flash Art, Milan, October-November 1986
Milton Gendel, ‘Report from Venice’, Art in America, October 1986
Michael Newman, ‘Mysteries and mercenaries: The Venice Biennale 1986′, Artscribe, London, September-October 1986
Peter Ward, ‘The colour Tillers’, The Australian, Melbourne, 6-7 September 1986
William Feaver, ‘Venice: A user-friendly Biennale’, Artnews, New York, September 1986
Catherine Millet, ‘Venice: l’art et l’alchemie des prix’, Art Press, Paris, September 1986
John McDonald, ‘John McDonald and painter Imants Tillers go on a gallery crawl’, The Sydney Morning Herald, 8 August 1986Timothy Morell, ‘Big drawings’, Art and Australia, vol. 23, no. 3, Autumn 1986
John S. Weber, ‘Venice Biennale offers art from the ingenious to the dismal’, The Oregonian, Portland, 22 July 1986
Sophia Willems, ‘Alles gesagt und nichts gemeint’, Dusseldorfer Nachtrichten, 5 July 1986
John Young, ‘Murmur of the soul’, Tension, no. 9, May 1986
Ronald Fishman, ‘Under 40 and on top’, Good Weekend, The Sydney Morning Herald, 3 May 1986
Robert Nickas, ‘The sublime was then (search for tomorrow)’, Arts Magazine, New York, March 1986
Eleanor Hartney, ‘Imants Tillers’, Artnews, New York, January 1986
1985 Michele Cone, ‘Imants Tillers’, Flash Art, Milan, December 1985 – January 1986
Carter Ratcliff, ‘Modern life’, Artforum, New York, December 1985
Paul McGillick, ‘American visions, Australian accents’, Art and Australia, vol. 23, no. 2, Summer 1985
Robert Nickas (ed.), ‘Hunger for words’, New Observations, New York, no. 29, 1985
Kim Levin, ‘Imants Tillers’, Village Voice, New York, 12 November 1985
John Russell, ‘Imants Tillers’, The New York Times, 8 November 1985
Robert Nickas, ‘Inversion, perversion, subversion’, Figura, Seville, Spain, no. 6, Autumn 1985
Nicholas Baume, ‘Original sin’, Studio, Sydney, August-September 1985
Kerry Leves, ‘Creating works out of feelings’, The Australian Financial Review, 26 July 1985
Donald E. Kuspit, ‘Imants Tillers’, Art in America, March 1985
Elizabeth Parsons, ‘Imants Tillers’, Follow Me, Sydney, February-March 1985
1984 Paul Taylor (ed), Anyting goes: art in Australia 1970 – 1980, Melbourne: Art and Text, 1984
Kate Linker, `Imants Tillers’, Artforum, New York, December 1984
Ken Sofer, `Views from Down Under’, Artnews, New York, December 1984
Michael Brenson, `Imants Tillers’, The New York Times, New York, 5 October 1984
Kim Levin, `Upstarts from Down Under’, Village Voice, New York, 5 October 1984
Thomas McEvilley, `An Australian Accent’, Artforum, New York, October 1984
Thomas McEvilley, `On the manner of addressing clouds’, Artforum, New York, Summer 1984
Eric Gibson, `An Australian Accent?’, The New Criterion, New York, September 1984
Benjamin Forgey, `The edge of night’, The Washington Post, 22 July 1984
Robert Atkins, `Australians arrive at PSI’, Newsday, New York, 11 May 1984
Kay Larson, `Seeing Australia’, New York Magazine, 7 May 1984
Kim Levin, `PS1′s report card’, Village Voice, New York, 1 May 1984
John Russell, `The irony of Chirico’, The New York Times, 27 April 1984
John Russell, `3 vigorous artists from Down Under’, The New York Times, 20 April 1984
Ashley Crawford, `Imants Tillers’, Tension, no. 3, February 1984
John Rob erts, `Principles of motion’, Art Monthly, London, no. 73, February 1984
Sue Cramer, `Vox pop’, Art + Text, nos 12 and 13, Summer 1983 – Autumn 1984
Daniel Thomas and Jonathan Fineberg, An Australian Accent: three artists, Mike Parr, Imants Tillers, Ken Unsworth, Sydney: John Kaldor, 1984.
1983 Leon Paroissien, Australian Art Review 1983, Warner Associates, Sydney, 1983
Michael Archer, `We are not all in the same boat’, Art Monthly, London, no. 72, December 1983
Anna Murdoch, `One of a new breed’, The Age, Melbourne, 25 November 1983
Robert Rooney, `Tall Poppies’, Flash Art, Milan, November 1983
Catherine Millet, `Special Australie: Art, musique, literature, peinture, aborigine’, Art Press, Paris, no. 74, October 1983
Paul Taylor, `Art news: Artists in Paris’, Vogue Australia, October 1983
John Young, `Anything still’, Art + Text, no. 11, September 1983
Sue Cramer, `Masterpieces and Tall Poppies’, Art Network, June 1983
Terrence Maloon, `Son of Dada moves on to masterpieces’, The Sydney Morning Herald, 16 April 1983
Susan Hely, `Tillers seeks a sense of belonging’, The Sydney Morning Herald, 7 April 1983
Germano Celant, `From alpha trainer to subway’, Art + Text, no. 9, March 1983
Paul Taylor, `Popism: The art of White Aborigines’, On the Beach, Sydney, no. 1, March 1983
1982 Leon Paroissien, Australian Art Review 1982, Warner Associates, Sydney, 1982
Margaret Plant, `The encounter of Baldessin and Tillers on an etching plate according to des Esseintes 1976′, Art Bulletin of Victoria, Melbourne, no. 22, 1982
Paul Taylor, `Popism’, Real Life, New York, no. 9, Winter 1982
Annelie Pohlen and Wolfgang Max Faust, `Documenta 7′, Kunstforum International, Cologne, September 1982
Stuart Morgan, `Kangaroo Court’, Art Network, no. 7, September 1982
Richard Dunn, `The pursuit of meaning: A strategy of parts’, Art + Text, no. 6, June 1982
1981 Suzy Gablik, `Report from Australia’, Art and Australia, vol. 18, no. 4, June 1981
Margaret Plant, `More than just coincidence’, The Australian, Melbourne, 6 August 1981
Mary Eagle, `Tillers’ facts’, The Age, Melbourne, 12 November 1981
John Young, `From Three Facts to’, Art + Text, no. 4, December 1981
Suzi Gablik, `Report from Australia’, Art in America, vol. 69, no. 1, January 1981
1978 Dianne Beevers, `According to des Esseintes’, Artemis, Newcastle, vol. 9, no. 4, October 1978
Imants Tillers and Michael Scullion, `Dialogue on False Mount Hayward’, ZX, Sydney, no. 2, August 1978
Mary Eagle, `Picture of Duchamp a success’, The Age, Melbourne, 12 July 1978
1975 Donald Brook, `Imants Tillers and the redefinition of art in Australia’, Art and Australia, vol. 13, no. 1, July 1975
1974 Ian North, `Link exhibitions at the Art Gallery of South Australia’, Art and Australia, vol. 12, no. 2, Spring 1974
Imants Tillers, `Moments of Inertia’, Contemporary Art Society Broadsheet, Sydney, January 1974
1973 Donald Brook, `Peeling the onion in post object art’, Nation Review, Sydney, 14 September 1973
Julie Ewington, `The Joe Bonomo Story: A show of strength’, Art and Australia, vol. 10, no. 3, January 1973
Monographic Catalogues
2008 Olivia Sophia, Imants Tillers: Melancholy Landscape, Arc One Gallery, Melbourne
Michael Eather, Michael Nelson Jagamara: from the studio, Fireworks Gallery, Brisbane
2007 Robert Leonard (ed.), Richard Bell: Posititivity, Institute of Modern Art, Brisbane
2006 Rex Butler, Imants Tillers: The Last Australian Painter, Jan Manton Art, Brisbane
2005 Imants Tillers: Land Beyond Goodbye, Sydney: Sherman Galleries, 2005
2004 Ivor Indyk, Transmissions: from here and there – works by Imants Tillers, Melbourne: Monash University Museum of Art, 2004.
Imants Tillers, Adelaide: Greenaway Art Gallery, 2004
2003 Imants Tillers, Melbourne: Australian Art Resources, 2003
2002 Imants Tillers: not yet post-Aboriginal, Sydney: Hazelhurst Regional Gallery and Arts Centre, 2002
Imants Tillers, Melbourne: Span Galleries, 2002
1999 Imants Tillers: Nature Speaks, Sydney: Sherman Galleries, 1999
Charles Merewether, Towards Infinity: works by Imants Tillers, Mexico: MARCO Museo de Arte Contemporaneo de Monterray, 1999.
1998 Ian North, Imants Tillers: 1997 Lowenstein Sharp Arts 21 Fellow, Melbourne: Museum of Modern Art at Heide, 1998
1997 Imants Tillers: the enigma of arrival, Sydney: Sherman Galleries, 1997
1995 Diaspora in context: connections in a fragmented world. Imants Tillers makes a painting by Georg Baselitz, Joseph Beuys, Bernhard Blume, Carlo Carra, Giorgio de Chirico, Mike Kelley, Byatutas Landsbergis, Colin McCahon, Arnulf Rainer, Nicholas Roerich and Isidore Tillers, Pori, Finland: Pori Art Museum, 1995
1994 Imants Tillers: JUMP, Sydney: Sherman Galleries, 1994
Telepathic music: Imants Tillers, Brisbane: Michael Milburn Gallery, 1994
1993 Diaspora: Imants Tillers, Sydney: co-published by Imants Tillers and the Museum of Contemporary Art, Sydney, to accompany the exhibition at the National Museum of Art, Riga, 1993
1992 A life of blank: works by Imants Tillers, Hobart: Plimsoll Gallery, University of Tasmania, 1992
1990 Mary Eagle, Imants Tillers: Poem of Ecstasy, Deutscher Brunswick Street, Melbourne, 1990
Bernice Murphy, Rene Daumal, John Young and Imants Tillers, Imants Tillers: One Painting, Cleaving, Wollongong City Art Gallery, Wollongong, 1990
1989 Jennifer Harper, Imants Tillers 19301, National Art Gallery, Wellington, 1989
1988 Iwona Blazwick, Michael Newman, Jennifer Slatyer and Paul Foss, Imants Tillers: Works 1978-1988, Institute for Contemporary Arts, London, 1988
1987 John S. Weber, Australian Appropriations: The Recent Paintings of Imants Tillers, Reed College Art Associates, Portland, Oregon, 1987
1986 Kerry Crowley (ed), Imants Tillers: Venice Biennale 1986, The Visual Arts Board of the Australia Council, Sydney and Art Gallery of South Australia, Adelaide, 1986
1983 John Nixon and Imants Tillers, One Painting with Many Titles, Art Projects, Melbourne, 1983
Paul Taylor, Imants Tillers: White Aborigines, Matt’s Gallery, London, 1983
1982 One painting: one horizon, Brisbane: Institute of Modern Art 1982
1980 Peter Myers, Imants Tillers: Survey 13, National Gallery of Victoria, Melbourne, 1980
52 displacements, one year’s work 1979, Sydney: n-space, 1980.
1978 Imants Tillers and Noel Sheridan, Rendezvous with Configuration P, Experimental Art Foundation, Adelaide, 1978
Brian Lindman, Have you ever been taken the same way?, Royal Melbourne Institute of Technology, Melbourne, 1978
1975 Charles Merewether and Imants Tillers, Imants Tillers, George Baldessin: XIII Bienal de São Paulo, The Visual Arts and Crafts Board of the Australia Council, Sydney, 1975
Artist’s Writings
2006 ‘Imants Tillers discusses Terra incognita & Terra negata’ in Deborah Hart, ‘Imants Tillers: one world many visions’, artonview, National Gallery of Australia, Winter 2006, pp. 14-15
2004 `When locality prevails’, Heat, no. 8 new series, 2004
2003 `Bringing forth a world’, in Marketta Seppala (ed), Empathy: beyond the horizon, Pori, Finland: Pori Art Museum and FRAME Finnish Fund for Art Exchange, 2003
`Mexico, etcetera and Surrender’, in Marketta Seppala (ed), Empathy: beyond the horizon, Pori, Finland: Pori Art Museum and FRAME Finnish Fund for Art Exchange, 2003
1998 `Five portraits of Murray Bail’, Heat, no. 8, 1998
1996 `Perbutations in the image field’, in Wystan Curnow and Diorine Mignot (eds), The world over/under Capricorn: art in the age of globalisation, exhibition catalogue, Wellington and Amsterdam: National Art Gallery and Stedelijk Museum, 1996
1994 `Poetic justice: a case study (due allocation of reward of virtue and punishment of vice)’, Midwest, no. 5, 1994
1990 `Imants Tillers as a site of conflict’, Art and Australia, vol. 27, no. 3, autumn 1990.
1989 Imants Tillers with Wystan Curnow, `An exchange of notes’, Antic, no. 6, November 1989
1988 `Words of wisdom’, Art and Australia, vol. 26, no. 1, Special Bicentennial Issue, spring 1988.
1985 Dick Watkins: XVIII Bienal de Sao Paulo, Sydney: Broken hill City Art Gallery and The Visual Arts Board of the Australia Council, 1985
The classicism of Tony Clark’, Follow Me, Sydney, June-July 1985
1984 `In perpetual mourning’, ZG/Art + Text (joint issue), New York, July 1984
`Style master: Dick Watkins’, Express Australia, New York, April 1984
1983 `One painting’, in Bernice Murphy (ed), Project 40: Australian artists at Venice and Kassel, exhibition catalogue, Sydney: Art Gallery of New South Wales, 1983
`Fear of texture’, Art + Text, no. 10, June 1983
`Koala-boy’, Virgin Press, Melbourne, no. 24, April 1983
1982 `Interview with James Gleeson’, Art + Text, no. 8, December 1982
`The temple of the winds’, Virgin Press, Melbourne, no. 19, November 1982
One Painting, One Horizon, Institute of Modern Art, Brisbane, 1982
`Locality Fails’, Art + Text, no. 6, June 1982
1981 Three Facts, Double Vision, Melbourne, 1981
`Some impressions’, Art and Australia, vol.18, no. 3, March 1981
1980 Fifty-two displacements, one year’s work 1979, n-space, Sydney, 1980
1974 `Moments of inertia’, Contemporary Art Society Broadsheet, Sydney, January 1974
1973 91 Missing Works, Sydney, 1973

FILM, RADIO AND TELEVISION
2006 The Deepend, Sasha Grishin, ABC Radio National, 10 August 2006, (Producer: Debra McCoy)
2000 Poles Apart, Rymer Bayly Watson, Sydney, for SBS, 11 November
1999 Eye to Eye with Betty Churcher: Imants Tillers, ABC television, Sydney (Director: John Lewis)
Snapshot: Imants Tillers, ABC television, Melbourne (Director: W. Proud)
Millennium Day Broadcast, ABC television, Canberra (Director: Arthur Hill)
1990 Es Esmu Latvietis, Riga Film Studio, Riga, Latvia (Director: Ansis Epners)
1987 State of the Art: Ideas and Images in the 80s, Channel Four Television, London (Producer: John Wyver)
L’Object d’Art a l’Age Electronique, La SEPT, Paris (Director: Geoff Dunlop)
1978 Australian Artists: ABC Radiovision Feature for Secondary Schools, Australian Broadcasting Commission, Sydney (Producer: Harvey Broadbent)

COLLECTIONS
Art Gallery of New South Wales, Sydney
Art Gallery of South Australia, Adelaide
Art Gallery of Western Australia, Perth
Auckland Art Gallery Toi o T_maki, New Zealand
Australian Embassy, Paris
Ballarat Fine Art Gallery, Victoria
Bendigo Art Gallery, Victoria
Bridgestone Museum of Art, Tokyo
The Chartwell Collection, Hamilton, New Zealand
Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand
Floridablanca Collection, Madrid
Heide Museum of Modern Art, Melbourne
High Court of Australia Collection, Canberra
Kiasma Museum of Contemporary Art, Helsinki
Lila and Gilbert Silverman Collection, Detroit
The Loti and Victor Smorgon Collection, Museum of Contemporary Art, Sydney
Metropolitan Museum of Art, New York
Monash University Collection, Melbourne
Museo de Arte Contemporáneo de Monterray (MARCO), Mexico
Museum and Art Gallery of the Northern Territory, Darwin
Museum of Contemporary Art, Sydney
Museum of New Zealand Te Papa Tongarewa, Wellington
National Gallery of Australia, Canberra
National Gallery of Victoira, Melbourne
National Museum of Art, Riga
Newcastle Region Art Gallery, New South Wales
Orange Regional Gallery, New South Wales
Parliament House Art Collection, Canberra
Pori Art Museum, Finland
Prudential Insurance Company Collection, New York
Queen Victoria Museum and Art Gallery, Launceston
Queensland Art Gallery, Brisbane
Sakai City Collection, Osaka, Japan
TarraWarra Museum of Art, Healesville, Victoria
Tasmanian Museum and Art Gallery, Hobart
University of Technology Art Collection, Sydney
University of Western Australia Art Collection, Perth
Wagga Wagga Regional Art Gallery, New South Wales
Westpac Bank Collection, New York
Westpac Corporate Art Collection, Sydney
Wollongong City Gallery, New South Wales
Numerous corporate and private collections in Australia