A excerpt from a painting in a cubist style, which shows a key and a book

Our publications give light to new research and ideas in art and visual culture.

JW Power, Nature morte (Beach), Chau Chak Wing Museum, PW1961.60.

Since the late 1970s the Power Institute has published pamphlets, monographs and edited volumes. In the 1980s, we established our peer-reviewed imprint, Power Publications. We often co-publish, and recently established the "Powered by Power" imprint to support contemporary Australian artists. Our next phase introduces innovative digital publishing.




Featured Publications


Ian Burn: Collected Writings 1966–1993
By: Ann Stephen

Ian Burn has been described as many things: an activist, a trade-unionist, a journalist, an art critic, a curator and an art historian—or, as he once described himself in a moment of self-deprecating alienation, ‘an ex-conceptual artist’. Edited by Burn’s friend, frequent collaborator and eminent art historian, Dr Ann Stephen, this volume brings together 49 pieces of Burn’s own agile and expansive writings alongside a vast collection of his artworks. The collection concludes with reflections on Burn’s life and work from prominent figures and past collaborators in the form of memorial lectures.
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Yhonnie Scarce: The Light of Day
By: Edited by Clothilde Bullen with contributions by Timmah Ball, Kelly Gellatly, Natalie Harkin and Tamsin Hong

Edited by Clothilde Bullen, with essays by Timmah Ball, Kelly Gellatly, Natalie Harkin and Tamsin Hong, this volume is an image-rich, comprehensive survey of internationally acclaimed Kokatha and Nukunu artist Yhonnie Scarce.
Un Australian Art Cover

UnAustralian Art: Essays on Transnational Art History
By: Rex Butler & ADS Donaldson

UnAustralian Art: Ten Essays on Transnational Art History proposes a radical rethinking of Australian art. Rather than identifying a national sensibility, Rex Butler and ADS Donaldson demonstrate that Australian art and artists have always been engaged in struggles and creative exchanges with the rest of the world. Examining Australian art as much from the outside in as the inside out, Butler and Donaldson’s methods open Australian art history to an encyclopaedic multitude of hitherto excluded stories.

Ends of Painting Cover

Ends of Painting: Art in the 1960s and 1970s
By: David Homewood and Paris Lettau

Contemporary art begins where painting ends, or so goes one of recent art history's most dominant narratives. This book is a post-mortem of the supposed death of painting in the period following World War II. In eleven essays by a global array of leading scholars, Ends of Painting offers a counter-history, showing how the practice and discourse of painting remained integral to art throughout the 1960s and 1970s.

A brown book cover showing the silhouette of a person walking.

D Harding: Through a lens of visitation
By: Hannah Mathews and D Harding

A descendant of the Bidjara, Ghungalu and Garingbal peoples, much of D Harding’s multilayered practice is motivated by the cultural inheritances of his families, who originate in the Fitzroy Basin and the sandstone belt of central Queensland. Harding’s works pay homage to the stories and presence of matrilineal figures in his family.