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Citations

  • Vernon, Christopher (September-October 2005), “100 Forests/100 Gardens”, Architecture Australia.

  • (2001), 'Intersections of Art and Science’, Ivan Dougherty Gallery, Paddington, NSW, exhibition catalogue.

  • Holder, Jo (1995), 'Casula Powerhouse Regional Art Centre’, Art and Australia, Art and Australia, Spring 1995.

  • Couacaud, Sally, 'Public Art in Sydney’, Artlink, vol 14 no 3 Spring 1994.

  • Cater, Melissa, ''Contemporary History in the Making’, Artlink’, Artlink, vol. 14 no 3 Spring 1994.

  • Millner, Jacqueline (10 April 1998), 'Art Sensor’, RealTime, p. 41, .

  • Backen, Robyn (1999), 'Artist Choice: The Holy Face’, Art & Australia, p. 348, vol. 36,.

  • Best, Susan (September/October 2000), 'Public Art in the Olympic City’, Architecture Australia, pp. 81 – 85.

  • Brassil, Joan, 'Robyn Backen: The Archaeology of Bathing’, Art & Australia, pp. 72 – 73, Vol. 38, Spring, 2000.

  • Macgowan, Tempe (Oct/Nov 2000), 'The Art of the Airport’, Monument, No. 38, pp. 104 – 107.

  • Skinner, Peter, 'Funk & Functionality’, Architecture Australia, pp. 60 – 63, Vol. 90, No. 1, January/ February.

  • Chan, Kitty (2009), 'Interview with the artist’.

  • Couacaud, Sally (2004), ’2003 Echigo-Tsumari Triennial’, Art & Australia, Vol. 41 No. 4, Winter 2004, pp. 535 – 537.

  • Powerhouse Museum, 'A10383 Earrings (pair), Bakelite/ rubber/ steel/ wire, Robyn Backen, Australia, 1984’, Powerhouse Museum, Sydney, NSW.

    http://from.ph/169710

Initial data sources

  • Faculty of the Built Environment, University of NSW

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