Reviews / Discussion of Work

• Keri Glastonbury, ‘Blueprint / Picture Start: Sue Pedley and Virginia Hilyard’, Articulate Project Space, October 29 – November 13, 2016, Artlink, November, 2016, https://www.artlink.com.au/articles/4548/blueprint-picture-start-sue-pedley-and-virginia-/

• Ann Finnegan, Review of ‘Fieldwork: Artist Encounters’, Sydney College of the Arts, 7–30 July 2016, Artlink, July 2016 https://www.artlink.com.au/articles/4513/fieldwork-artist-encounters/

• Helen Johnson, ‘Helen Grace, Serious Undertakings, 1983’ Frieze Masters 4, 2015, 92

• Anna Gibbs, ‘Serial Couplings: ‘Affiliated Text’ at Cross Art Books Southerly, 30 Apr, 2015, http://southerlyjournal.com.au/2015/04/30/serial-couplings-affiliated-text-at-cross-art-books/   

• Robyn Ferrall, ‘Feral Philosophy’, Unlikely: Journal for Creative Arts, Issue 1, 2015, http://unlikely.net.au/issue-1/feral-philosophy 

• Frances Dyson, The Tone of Our times: Sound, Sense, Economy and Ecology, MIT Press, 2015, 133-139

• Robert Nelson, ‘Photography of the 1970s and '80s through women's eyes’, [Review of Photography Meets Feminism: Australian Women Photographers, 1970s-80s, Monash Gallery of Art, 2014] The Age, November 4th, 2014

• Greta Stevens, ‘Helen Grace, Candice Brietz’, Artlink, Vol 33, No 4, Dec, 2013

• Catriona Moore, ‘The More Things Change … Feminist aesthetics, then and now’, Artlink, Vol 33, No 3, Sept, 2013,

• Robyn Ferrell, ‘Market Sentiments’ in Eyeline: Contemporary Visual Arts, Number 77, January 2102, 84, ISSN 0818-8734

• Caroline Phillips, Review of A Different Temporality: Aspects of Australian Feminist Art Practice, Artlink, Vol 31, No 4, 2011

• Rey Chow,  2010, ‘Postcolonial Visibilities: Questions Inspired by Deleuze’s Method’ in Bignall, Simone and Pattton, Paul (eds), Deleuze and the Postcolonial, Edinburgh University Press [German translation: ‘Postkoloniale Sichtbarkeiten. Durch Deleuzes Methode inspirierte’, ZFM [Zeitschrift für Medienwissenschaft], No 9, 2013/2, October]

• Belinda Smaill, ‘Serious Undertakings’ in Ian Aitken (ed) Encyclopedia of the Documentary Film, Routledge, 2005

• Anne Ferran: Discussion of work in Empty, Photofile, No 66, September 2002, ISSN 0811 0859 Special issue on Traces.

• Felicity Grace, Review of ‘Home/World: Space, Community & Marginality in Sydney’s West’, The Journal of the Australian Sociological Association, Vol34, No 1, March 1998, ISSN 0004-8690

• Peter Hutchings Review of Aesthesia & the Economy of the Senses, International Journal for the Semiotics of Law, Vol XI, no 32 p 215-222, 1998

• Carmen Zurl,  Bodily Sensations and their A(n)esthesias: Review of Aesthesia & the Economy of the Senses (UTS Review, Vol 4, No 2, 1998) ISSN 1323 1677

• Nicolette Stasko, Review of Home/World: Space, Community & Marginality in Sydney’s West, Meanjin, Vol 56, No 3&4, 1997, 627-635, SSN 0025 6293]

• Fiona Allon, Unhomely Meditations - Review of Home/World: Space, Community & Marginality in Sydney’s West, UTS Review, Vol 3, No 2, November 1997,  214-221,  ISSN ISSN 1323 1677

• Margaret Morgan Helen Grace: Secret Archives of the Recent Past, Photofile, Vol 46 November, 1995, ISSN 0811 0859 Reprinted in Blair French (Ed) Photo Files: An Australian Photography Reader, Power Publications/ Australian Centre for Photography 1999, ISBN 1 86487 053 2

• Catriona Moore, 'Museum Hygiene', Photofile, 1995, ISSN 0811 0859

• Catriona Moore, Indecent exposures: twenty years of Australian feminist photography, Allen & Unwin in association with the Power Institute 1994

• Sandy Kirby,. Sight Lines: Women's Art and Feminist Perspectives in Australia. Sydney: Craftsman House & Gordon and Breach, 1992.

• Judy Wajcman, Feminism Confronts Technology, Polity Press, 1991, p132 [use of film stills as argument]

• Jacques Delaruelle, ‘The Silence of the Timeless’, Sydney Review Jan 1990

• Andrew Lattas, ‘Nationalism, Art Intellectuals and Contemporary Australian Culture’, Bulletin of the Olive Pink Society, Vol 1, No 1 1989 23-29

• Elwyn Lynn, Art Review The Australian  Dec 23-24, 1989

• Susan Sheridan, 'Money is No Object: Recent Work by Helen Grace', Artlink, September 1989

• Beth Spencer, Review of The Critical Distance, Afterimage, Visual Studies Workshop, Rochester, NY. March 1988

• Catriona Moore and Colette Hoeben, Serious Undertakings: An Inventory of Old Wives Tales  in Blonski, Creed, Freiberg: Don't Shoot Darling: Women's Independent Filmmaking in Australia, (Greenhouse, 1987

• Terry Smith,  ‘Re-presenting Work’, Afterimage, Visual Studies Workshop, Rochester, NY.September 1986

• Ross Harley,  ‘Neither Here Nor There? A Dossier Around Serious Undertakings’ in Botsman P & Harley R. (eds) Local Consumption, Series 5, Sex, Politics, Representation, Sydney, 1984

• Felicity Collins, ’ Reading Against the Grain: Independent Feminist Filmmaking and the Black Hole’, Filmnews, Vol 13, No 11/12, Nov/Dec 1983, 12-13

• Debra Daley,  Serious Undertakings, Art Network, No. 10, Winter 1983, ISSN 0 158 4022

• Sylvia Lawson, ‘Serious Undertakings:Demolitions, Deconstructions’, Framework, No. 24, Spring 1984

•Sylvia Lawson, ‘Seriously Undertaken’, Filmnews, Vol. 13, No. 3 March 1983

• Meaghan Morris,  ‘Worth A Serious Look', Australian Financial Review, 13th April, 1983

• Freda Freiberg, ‘Nothing New? Photographs by Helen Grace and Sandy Edwards', Lip, Issue No 7, 1982/3