SELECTED BIBLIOGRAPHY — PRINT ONLY

——— Megan Dunn, ‘Paying Attention to the Atomic’, Art News, vol 38, no 3, Spring 2018: 88–89.

——— Nathalie Ergino, ‘Dane Mitchell’, Institut D’Art Contemporain, Villeurbanne/Rh.ne-Alpes, 2018, pp 16–17.

——— Simon Gennard, Ground to Air: Dane Mitchell’s Tuning, Hopkinson Mossman Wellington, Wellington, 2018.

——— Linda Herrick, ‘The Italian Job’, The Listener, 8 September 2018: 44–45.

——— Dane Mitchell, ‘One on One: On Kawara’, ArtAsiaPacific, iss 111, November/December 2018: 29.

——— Mami Kataoka and Zara Stanhope, Project 024: Iris, Iris, Iris, Mori Art Museum, Tokyo, 2017.

——— Aaron Lister, ‘Of the Devil’s Party: Contemporary Art and Occulture’ and ‘Dane Mitchell’ in Occulture: The Dark Arts, City Gallery Wellington, Wellington, 2017, pp 10–27, 64–65.

——— Tucker Neel, ‘Tapping the Third Realm’, The Senses & Society, vol 9, iss 3, 2014: 371–76.

——— Bridget Riggir-Cuddy, ‘Hypnosis Venn’ in Stephen Cleland (ed), A World Undone: Works from the Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, Auckland, 2014, pp 96–99.

——— Christopher Braddock, ‘Contagious Animism in the Artwork of Felix Gonzales-Torres and Dane Mitchell’, Drain Magazine, iss 16, 2013, https://bit.ly/2CZ6M3D.

——— Dewi Cooke, ‘A Celebration of Change in All Its Forms’, Sydney Morning Herald, 15 May 2013: 20.

——— Emily Cormack, ‘Spirits Lifted’ in Sally Tallant and Paul Domela (eds), The Unexpected Guest, Liverpool Biennial Art/Books, Liverpool, 2012, pp 124–29.

——— David Eggleton, ‘Medium Cool: Prospect: NZ Art Now’, Art New Zealand, iss 141, Autumn, 2012: 66–70, 87.

——— Aaron Kreisler, ‘Profiler, National Grid, no 8, Winter 2012: 44–45.

——— Pauline J Yao, ‘Gwangju Biennale’, Artforum, December, 2012: 270.

——— Author unlisted, ‘Radiant Matter I’, Sculpture, vol 30, no 4, May, 2011: 12.

——— Mark Amery, ‘Perfume-ance Art’, New Zealand Listener, 5 March 2011: 44–45.

——— Zara Stanhope, ‘Dane Mitchell — Buried Gemstone 2017’ in Zara Stanhope and Kelly Carmichael (eds), Headland Sculpture on the Gulf 2017, Headland Sculpture on the Gulf, Auckland, 2017, pp 68–69.

——— Sue Gardiner, ‘In Search of the Otherworldly’, Art News, vol 36, no 1, Autumn 2016: 86–89.

——— Dane Mitchell, ‘Indwelling’ in Stephanie Rosenthal (ed), The future is already here — it’s just not evenly distributed, 20th Biennale of Sydney & Common Editions, Sydney, 2016, pp 227–29.

——— Dane Mitchell, ‘Remote Connections’, ArtAsiaPacific, iss 97, March/April 2016: 53.

——— Joyce Campbell et al, ‘Dane Mitchell’ in The Alchemists: Rediscovering Photography in the Age of the jpeg, Australian Centre for Photography, Sydney, 2015, pp 38–39.

——— H G Masters, ‘Placebo Affectation’, ArtAsiaPacific, iss 96, November/ December, 2015: 80–89.

——— Robert Leonard, Julian Dashper and Friends, City Gallery Wellington, Wellington, New Zealand, 2015, pp [40]–[47].

——— Richard Newcomb, Concentrated Form of Loss: Alpha-Ionone/Beta- Ionone, Hopkinson Mossman Auckland, Auckland, 2015.

——— Jan Bryant, ‘Breathing and Dreaming: Dane Mitchell’s Other Explications’, Art New Zealand, iss 149, 2014: 62–65.

——— Babs Bakels, ‘Dane Mitchell’ in Afterlife, Nederland Vitvaart Museum Tot Zover, Amsterdam, 2011, pp 22–25.

——— Anthony Byrt, ‘Auckland, Dane Mitchell, Artspace’, Artforum, November, 2011: 292.

——— Emily Cormack, ‘Radiant Matter I/II/III’, Frieze, October, 2011: 257.

——— Sue Gardiner, ‘On the World Stage’, Australian Art Collector, iss 55, January/March, 2011: 110–113.

——— Aaron Kreisler, Cay Sophie Rabinowitz, Chris Sharp, Radiant Matter I/II/III / Dane Mitchell, Berliner Künstlerprogramm/ DAAD, Artspace, Dunedin Public Art Gallery, Govett-Brewster Art Gallery, Berlin,

            Auckland, Dunedin, New Plymouth, 2011.

——— Cameron Allan McKean, ‘Australia’, ArtAsiaPacific, vol 6, 2011: 96–100.

——— Kate Montgomery, ‘Dane Mitchell’ in Prospect, City Gallery Wellington, Wellington, 2011, pp 21–22.

——— Mercedes Vicente, ‘Interview’, Flash Art, no 278, May/June 2011: 150.

——— Beti Žerovc, ‘Dane Mitchell’ in Dogodek / The Event, 29th Biennial of Graphic Arts, Mednarodni grafični likovni center/The International Centre of Graphic Arts, Ljubljana, 2011, pp 31, 208–09.

——— Cameron Allan McKean, ‘New Zealand’, ArtAsiaPacific, vol 5, 2010: 157–59.

——— Sue Gardiner, ‘Death of the Romantic’, Art News New Zealand, Autumn, 2010: 79–83.

——— Ayse Erkmen, ‘Artist’s Favourites’, Spike Art, no 22, Winter, 2009: 25.

——— Paul Baragwanath, ‘Conjuring Form out of Thin Air’, Art News, vol 28, no 3, Spring 2008: 78–80.

——— Hamish Coney, ‘Dane Mitchell’ Idealog, no 15, May/June 2008: 18–19.

——— Charlotte Day, ‘Lost & Found: An Archeology of the Present’ in Tarrawarra Biennial 2008, TarraWarra Museum of Art, Melbourne, 2008, p 56.

——— Roos van Put, ‘Dane Mitchell’, Kunstbeeld.nl Magazine, no 11, 2008: 15.

——— Andrea Bell, ‘Rules of Engagement’, Artlink, vol 27, no 3, 2007: 87.

——— Natasha Conland, ‘Dane Mitchell’ in Natasha Conland (ed), Mystic Truths, Auckland Art Gallery Toi o Tāmaki, Auckland, 2007, pp 94–99.

——— David Craig, ‘Archaeology of Frail Re-territorialisation: Dane Mitchell’s “Barricades”’, National Grid, no 4, December 2007: 58–66.

——— Mark Feary, [‘Dane Mitchell’], No Rules of Engagement, Westspace, Melbourne, 2007, pp 2, 8.

——— Dane Mitchell, Barricades, Starkwhite, Auckland, 2007.

——— Jennifer Purvis, ‘Dane Mitchell, Flash Art, vol XL, no 256, October 2007: 72.

——— Christian Rattemeyer, Dane Mitchell — Dust Archive, North Drive Press #4, Brooklyn, 2007.

——— Jim Barr and Mary Barr, ‘Shelf Life’ and Gwynneth Porter, ‘Instructions for Assembly’ in The Shelter/The Fear of the Touch of the Unknown, A Gentil Carioca, Rio de Janeiro, 2006, pp 15–26, 3–13.

——— Jon Bywater, ‘Spanish lessons = Lecciones de Espa.ol’ in Danae Mossman and Zara Stanhope (eds), TRANS VERSA: Artists from Australia and New Zealand, the South Project, Melbourne, 2006, p 1.

——— Emily Cormack, ‘Self Help’ in Natasha Conland and Susanne Jaschko (eds), Don’t Misbehave!: SCAPE 2006 Biennial of Art in Public Space, SCAPE, Christchurch, 2006, pp 82–83.

——— Emily Cormack, ‘Archiving Fever’ in Archiving Fever, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, Wellington, 2006, pp 23, 24.

——— Dane Mitchell, ‘Shifting Sediments’, Sarai Reader 06 ‘Turbulence’, July 2006: 342–52.

——— Justin Paton, ‘Techno Fossils’ in Reboot: The Jim and Mary Barr Collection, Dunedin Public Art Gallery, Dunedin, 2006, p 20.

——— Emily Cormack, ‘Under the Radar: The Inventions of Dane Mitchell and Regan Gentry’, Art New Zealand, iss 115, Winter, 2005: 88–91, 99.

——— Louise Garrett, Introduction’ and Emily Cormack, ‘Dying Twice’ in Present Surface of Tell, The Physics Room, Christchurch, 2005, pp 1–2, 7–13.

——— Sally McIntyre, ‘Dane Mitchell’, Flash Art International, vol XXXVIII, no 244, October, 2005: 67.

——— Rhoda Fowler, Current Events Conundrum’ in History Now, Te Tuhi Gallery, Auckland, 2004, pp 12–13.

Dane Mitchell ©  2020