ABOUT ANNE ZAHALKA
Anne Zahalka is one of Australia’s most highly regarded photo-media artists having exhibited extensively in Australia and overseas for over thirty years.
She has held over 40 solo exhibitions and her work is included in all major museums in Australia. Zahalka’s work has often explored cultural and gendered stereotyping, challenging these with a humorous and critical voice. She deconstructs familiar images and re-presents them to allow other figures and stories to be represented that reflect on diversity and difference.
More recently her concerns have shifted to the environment and the ecological disaster that has been unfolding globally and in her country. In Wild Life, Australia, 2019, Zahalka reimagines early Australian dioramas from natural history museums to mark out unsettling ethical and environmental issues. By subverting these fixed narratives, she reflects on the changing relationships that exist between people and the natural world. Working with conservationists, scientists, curators and photographers, she incorporates new data to set out alternative ways of seeing the landscape and the damage that has been wreaked on it.
Zahalka was selected for the international photography exhibition Civilization – The Way We Live Now shown at the National Museum of Modern and Contemporary Art, Seoul, 2018 and the National Gallery of Victoria in September 2019. In the same year, Zahalka developed a major exhibition with the Museum of Sydney presenting a history of early commercial street photography. She was commissioned to produce a series and portraits, restaging these historic photographs with descendants from the original images, set against the locations of the original photograph. In the same year, Zahalka travelled to Prague to undertake a residency at the Béhal Fejér Institute in Prague to exhibit The Fate of Things Prague, an installation about love and loss tracing her family’s story of persecution, exile and survival.
Australians who know art know Anne Zahalka, our feature artist for issue 48. After more than 30 years on the contemporary art stage, Anne’s work has cemented its place in art history, becoming an important part of the Australian cultural landscape she’s explored throughout her career.
When I take in her vast portfolio I can’t help but feel nostalgic and forward-looking all at once; her art provokes both a sense of yearning for what was while deeply rooting us in what is. Famous for her representation of familiar cultural images, Anne highlights the passing of time and ever-changing narratives of our lives, opening up the conversation of collective responsibility and identity.
I am most struck by Anne’s ability to challenge our ideas of truth—of what’s normal or real—through art that is just as playful as it is critical: a reminder perhaps, that not everything serious must be approached so seriously.
ANNA ROSENFIELD: The beach seems to be a critical context for your work. I read your description of the beach as being a “mythologised site of our nation” and I wanted to know how that idea has evolved over time and in your work.
ANNE ZAHALKA: The beach is such a loaded place in the Australian psyche and so defining of who we are—or think we are. It’s a site that has been endlessly represented throughout our history and has been imbued with symbolic meaning for the nation. To me, the beach is at once nostalgic but also a fraught and contested site. It was the setting for race riots and cultural conflict over 10 years ago now, while it is also where cultural diversity and difference can be expressed in a very egalitarian way.
My interest in the beach as a mythologised site stems from an early residency at Bondi Pavilion in 1989, the suburb in which I lived at that time. Through my research into local and state library photographic archives, the surf lifesaving clubs and art galleries, I became fascinated with the way in which Australia had been represented through this place and how these images had come to define us.
ANNA ROSENFIELD: Much of your work involves deconstructing something and re-presenting it in a new way. How does this concept of reinventing play out in your own life?
ANNE ZAHALKA: I feel my work has always engaged with an aspect of social documentation and commentary even when it is staged. As I reflect on my work, I notice that what has been recorded over the years are subtle changes to the way we live, the way we appear. And this applies to the images I have made in my own home—it’s a kind of visual history of our house.
Sadly the images that I have made are few and far between. But I’m constantly looking at images from the past and always interested in how we see ourselves through this lens today and the differences that exist between the two.
ANNA ROSENFIELD: This idea of looking to the past… You rework a lot of historical pieces to represent contemporary life in your work, and I think that there’s an element of responsibility in that. What is it that you feel responsible for in your art?
ANNE ZAHALKA: Working with historical images can be tricky because of the attachment people have to them. Seeing them subverted and parodied can be affronting to some, especially when the pieces represent very different social, cultural or ethnic backgrounds. Not only do they occupy a space reserved for these revered characters, they, in fact, replace them. This puts considerable burden on those stepping into the place of these historic images and to perform there publicly.
I try to make sure that my models understand the role they are playing and what it might mean for them and to others. It is often about trust, but sometimes it is difficult to know how the work will be understood. I feel a responsibility to give voice to these groups and individuals, and to present them through familiar and powerful images of the past.
ANNA ROSENFIELD: One of the ways that you re-present these images is through your use of mixed media. What is it about photography and mixed media that you’re drawn to? Has this changed over time?
ANNE ZAHALKA: I’ve always loved the way photography can condense the world into a single frame so seamlessly and faithfully, recording its minutiae. But so much rests on what is presented here. Realism can be a burden because of what it reveals, and sometimes I want to escape from the veracity of the photographic image and incorporate other materials and ways of working. While the photograph has incredible depth it is also very static and flat, and I find this frustrating at times. So sometimes I try to make my photos move or introduce sound in order to layer the image.
I began working with photomontage in my very early practice, cutting and pasting photographic images together to make an image and using historical reproductions. I’ve come full circle, except that now I’m doing it digitally.
ANNA ROSENFIELD: You mentioned minutiae and I think that the concept of focussing on subtleties is very present in your work, and I’m curious about that. When I think about how you’ve chosen to pay close attention to the small rituals in every day life, as in your 1996 series Open House, or the homes of artists and collectors that are no longer living in The Appearance of Things in 2010, there seems to be a sense of nostalgia in all of that. Is this something you do consciously?
ANNE ZAHALKA: I think photography is always about loss. Lost moments, lost events, lost people, lost things. The photograph is a record of these and is inherently nostalgic because of this. Where my work references history and the past, then it is about the distance that separates us from those depicted. In some way my works attempt to understand the past through the present.
I’m currently working on a project that retrieves “street photographs” taken of passers-by in the city, in country towns or at the beach from the 1930s. They record our parents and parents’ parents—the way they walked, the parcels they carried and the clothes they wore. I’m collecting these for an exhibition and will also capture people on the streets today based on the locations they were taken. There’s been an amazing response through a call-out and I hope to bring these photographs from private and personal albums out into the public domain. Ten thousand photographs were purchased around the country every week! That’s a lot of photographs to find!
[If you have street photos to contribute to the project, send them through (scanned, 300dpi, in colour with borders and with any information you can provide about the people in the photos) to: firstname.lastname@example.org. The exhibition, ‘Citizens of our Cities’ will be at the Museum of Sydney in Spring 2018.]
ANNA ROSENFIELD: I love that! It’s fascinating to note the contrasts between our past and present in such a direct way; it says so much about where we’ve come from, and perhaps opens up the conversation of where we’re going. Much of your art points to the ever-evolving multicultural identity of Australia. How has your own heritage informed your work?
ANNE ZAHALKA: I’m a first generation Australian and the child of migrants, so I have identified with people whose backgrounds are also different. It has given me an understanding of the difficulties faced by new migrants and refugees and how hostile their reception here—by some—has become.
ANNA ROSENFIELD: What does that look like, where are we headed?
ANNE ZAHALKA: Having only recently read polls that suggest 49 percent of Australians don’t want Muslims migrating here is disturbing. I feel very concerned by this and the difficulty and hostility it presents for Muslims living here. My mother was persecuted as a Jew and had to flee her country of birth and found acceptance and peace here. I hope that we are able to turn this tide of discrimination around and become the tolerant and generous nation we once were.
I also hope that we can reconcile with, respect and learn from our indigenous community with their rich and ancient culture, and to understand and feel connected with their lives and their land. Projects like Jonathan Jones’ Skin and Bones at the Botanical Gardens in Sydney is an important way of healing, teaching and bringing us together.
ANNA ROSENFIELD: You’ve sold many works, received much acclaim for your art. What is your idea of success?
ANNE ZAHALKA: It’s strange, but the older I get, the less interested I am in success. I think it’s wonderful to leave a legacy and to feel I’ve made a contribution to the cultural landscape. Having my work studied and written within secondary and tertiary institutions and seeing my work hang in major collections beside great artists is very gratifying. Hopefully it will endure as long as the many artworks I have copied, appropriated, quoted or parodied in my art practice.
|1994||Master Fine Arts, University of New South Wales, College of Fine Arts, Sydney|
|1989||Post Graduate Diploma, Sydney College of the Arts|
|1979||Bachelor of (Visual) Arts, Sydney College of the Arts|
|1976||Art Certificate, Stages 1 & 2, East Sydney Technical College (now National Art School, Sydney)|
|2020||Lost Landscapes, Queen Victoria Museum and Art Gallery, Launceston, 5 Dec 2020 - 31 Oct 2021
The Fate of Things, Béhal Fejér Institute, Prague 1-7 October
|2019||Wild Life, Australia, ARC ONE Gallery, Melbourne
Street Photography, Sydney Living Museums, Museum of Sydney
The Fate of Things: Memory objects and art, with Sylvia Griffin, Sydney Jewish Museum
Wild Life in the Age of the Anthropocene, Dominik Mersch Gallery, Sydney, 26 July – 18 August
|2018||Threshold, Jarvis Dooney Gallery, Berlin 15 September – 2 December|
|2017||The Landscape Revisited, MAMA Murray Art Museum Albury, 26 May – 5 November|
|2015||Wild Life, Turner Gallery, Perth, Western Australia, 3 March – 1 April
Threshold, Arc One Gallery, Melbourne, 16 June – 18 July
|2014||Anne Zahalka: Playground of the Pacific, Manly Art Gallery & Museum, Manly 4 September – 25 October|
|2013||Parliament House at work, 25th Anniversary commission, Parliament House, Canberra, 5 June – 10 August
Anne Zahalka and her Amazing Artists, Concordia Gallery, Stanmore, 23 September – 3 November
Anne Zahalka: a case study, Lake Macquarie City Art Gallery, 10 May – 28 July
Anne Zahalka, Launch of WSPA campaign image against live animal export, Australian Centre for Photography, Sydney, 6 June
|2012||Bondi Twitch: A Field Guide to the Noses of the Waverly District, with Sue Saxon and Jane Becker, Bondi Pavilion Gallery, Bondi|
|2011||Return to Homeground, Josef Lebovic Gallery, Kensington
Winter Magic, Art Trail located on outdoor council poster stands around Bondi
Bondi the Beautiful, Bondi Pavilion Gallery, 12th – 24th July
|2010||Homeground!, Union Hotel, Zanzibar and Town Hall Hotel, Newtown, Sydney, Head On Photo Festival
The Way things Appear and The Appearance of Things, ARC ONE Gallery Melbourne
|2009||Playing the Game!, Roslyn Oxley9 Gallery, Sydney
A Bar to Call Home - The Changing Face of the RSL, NG Art Gallery & Mission Restaurant, Sydney
Hall of Mirrors: Anne Zahalka Portraits 1987 - 2007, Perc TuckerRegional Art Gallery, Townsville, QLD
|2008||Hotel Suite, Sofitel, in conjunction with Melbourne Art Fair, 1 July - 2 September
Wild Life, ARC ONE Gallery, Melbourne, 10 April – 3 May, 2008
Hall of Mirrors: Anne Zahalka Portraits 1987 – 2007, National Portrait Gallery, Canberra, Warrnambool Art Gallery, Victoria, Ipswich Art Gallery, Queensland, Bathurst Regional Art Gallery, New South Wales
|2007||Hall of Mirrors: Anne Zahalka Portraits 1987 – 2007, Centre of Contemporary Photography, Melbourne, 23 March – 12 May
Anne Zahalka, Focus Room, Art Gallery of New South Wales, Sydney 14 March – 2 May 2007
Wild Life, Roslyn Oxley9 Gallery, Sydney 1 February – 24 February 2007
Leisureland, Australian Embassy, Washington DC.
|2006||Fotofreo, Fremantle Festival of Photography, Western Australia
Anne Zahalka: Wonderland, ARC ONE Gallery, Melbourne
|2004||Natural Wonders, Roslyn Oxley9 Gallery, Sydney
Anne Zahalka: Portraits Past, Damien Minton Gallery, Newcastle, New South Wales, Australia
|2003||Leisureland Regional, University of Technology Sydney, 24 June – 18 July, a Grafton Regional Gallery touring exhibition
Welcome to Sydney, Museum of Sydney, Sydney
Anne Zahalka, Maritime Museum, Sydney
|2002||Leisureland, Monash Gallery of Art, Victoria, Australia
Fortresses and Frontiers, Institute of Modern Art, Brisbane, Australia
Anne Zahalka, Delmar Gallery, Trinity Grammar School, Sydney
Leisureland, New England Regional Art Gallery; Albury Regional Gallery, Albury, New South Wales; Wagga Wagga Regional Art Gallery, New South Wales, Australia
|2001||>Leisureland, Tamworth City Art Gallery, Tamworth; Bathurst Art Gallery; Grafton Regional Art Gallery, Australia; Hazelhurst Regional Art Gallery, Gymea, New South Wales|
|2000||Leisureland, Roslyn Oxley9 Gallery, Sydney
Leisureland, Manly Art Gallery and Museum, Sydney
Fortresses and Frontiers, Robert Sandelson Gallery, London, United Kingdom
|1999||Leisureland, Anna Schwartz Gallery, Melbourne|
|1998||Woven Threads #2, Roslyn Oxley9 Gallery, Sydney
Woven Threads, Gallery 4A, Asia-Australia Arts Centre, Sydney
|1997||Open House, Fotogalerie in der Alten Feuerwache, Mannheim, Germany.
Woven Threads, Centre for Contemporary Photography, Melbourne and Salamanca Arts Centre, Tasmania.
|1996||Collectors, Roslyn Oxley9 Gallery, Sydney|
|1995||Open House, Anna Schwartz Gallery, Melbourne|
|1994||Gesture, Roslyn Oxley9 Gallery, Sydney|
|1993||Gesture, City Gallery (now Anna Schwartz Gallery), Melbourne
Fortresses and Frontiers, Roslyn Oxley9 Gallery, Sydney
|1992||Details, City Gallery, Melbourne|
|1991||Details and Resemblances I, Claybrook Gallery, Auckland, New Zealand
Artists, South Australian Centre for Contemporary Art, Adelaide, South Australia
|1990||Artists, City Gallery, Melbourne|
|1989||Resemblance I and II, Chameleon Gallery, Hobart, Tasmania
Bondi: Playground of the Pacific, Bondi Pavilion, Sydney; Campbelltown Bi-centennial Regional Gallery, Orange Regional Art Gallery, NSW
|1988||Resemblance I, Institute of Modern Art, Brisbane, Camerawork Gallery, London, UK
Resemblance I and II, 200 Gertrude Street, Melbourne
|1987||Resemblance I, Kunstlerhaus Betheanien, Berlin; Australian Centre for Photography, Sydney|
|1986||The Wanderer upon an Castle came..., Kunstlerhaus Bethanien, Berlin, Germany
The Tourist as Theorist: (theory takes a holiday), Kino Eiszeit, International Super 8 Festival
Selected Group Exhibitions
|2020||From all points of the Southern Sky: Photography from Australia and Oceania, Southeast Museum of Photography - Daytona, Florida, USA September 22 - December 13, 2020
You Are Here, Hawthorn Arts Centre, 21 March - 10 May 2020
Sublime Sea: Rapture and Reality, Mornington Peninsula Regional Gallery, 14 December 2019 – 23 February 2020
|2019||Civilization: The way we live now, National Gallery, 13 September - 2 February 2020
How Did I Get Here, Art Gallery of Western Australia collection regional tour, various venues, 13 April
2019 - 12 September 2020
|2018||Civilization: The way we live now, The National Museum of Modern and Contemporary Art, Seoul, 18 October 2018-28 February 2019
Incommensurable – photomedia in the era of globalization, Drill Hall Gallery, Australian National University, 23 February – 8 April
Cultural Landscapes, Casula Powerhouse Arts Centre, 10 February – 18 March
|2017||Realising Mother, Kudos Gallery, Paddington, 1-18 November 2017
An Unorthodox Flow of Images, Centre for Contemporary Photography, Melbourne, 30 September – 12 November
Self/Selfie, Ballarat International Foto Biennale, Backspace Art Gallery, 19 August – 17 September
Under the Sun. Reimagining Max Dupain’s Sunbaker, State Library of NSW, 17 February – 17 April
The witching hour: 2017 Fundraiser exhibition, Centre for Contemporary Photography, Melbourne, 19 – 28 May
|2016||Tricking the eye- contemporary trompe l’oeil, Geelong Gallery, Victoria, 26 Nov – 12 February
Refugees, Casula Powerhouse Arts Centre, 29 July – 11 September
Australian Exotica, works from the collection, Monash Gallery of Art, 16 April – 29 May
Dubai Photo Exhibition, Dubai Design District 3, 16 – 19 March
Hot Rods, Goulbourn Regional Gallery, 2 February - 2 April 2016
|2015||On the Beach, Mornington Peninsula Regional Gallery, Victoria 11 December 2015 – 28 February 2016
The Photograph and Australia, Art Gallery of New South Wales, Sydney.
Loud!, Art Gallery of New South Wales, Sydney.
Constructed Worlds, Grace Cossington Smith Gallery, Abbotsleigh.
The Significant Other, ARC ONE Gallery, Melbourne.
Australian Vernacular Photography, Art Gallery of New South Wales.
A Time and A Place: Landscape from the Griffith University Art Collection, Brisbane.
|2014||A World Apart, ARC ONE Gallery, Melbourne.
Australian Vernacular Photography, Art Gallery of New South Wales Private Assembly: a contemporary collection, Tweed Regional Gallery, 24 January – 30 March
Private Assembly: a contemporary collection, Tweed Regional Gallery, NSW
New Passports, New Photography, Art Gallery of Western Australia, 15 November 2014 - 8 February 2015
|2013||Holiday and Memory, Penrith Regional Gallery, 16 November 2013 – 23 February 2014
Under my skin, Contemporary Australian Photography from the Corrigan Collection 5 October
Waves and Water, Australian Maritime Museum, Whitehouse Arts Space, Victoria and national tour
Collective Identities, Lake Macquarie City Gallery, 13 Septmeber – 17 November
Lines of Force...Space + Displacement, Sydney College of the Arts, Sydney.
Onside, Casula Powerhouse Arts Centre, Casula.
Every day I am a day older: Portraiture from the Griffith University Art Collection, Griffith University Art Gallery, Brisbane.
Mix Tape 1980′s: Appropriation, Subculture, Critical Style, National Gallery of Victoria, Melbourne
|2012||Things – Photographing the constructed world, curated by Helen Ennis, National Library of Australia
The Great Divide: Picturing the Blue Mountains, Blue Mountains Cultural Centre, Katoomba
Dissonant Visions, Monash University Museum of Art, Caulfield Campus, Sydney
Controversy: The Power of Art, curated by Vivien Gaston, Mornigton Peninsula Regional
Fish in Australian Art, Australian National Maritime Museum
(re)vision, Lake Macquarie City Art Gallery
Kitsch and Cliché, curated by Sandy Edwards, NG Art Gallery
|2011||Group Show: Destiny Deacon, Fiona Hall, Bill Henson, Tracey Moffatt, TV Moore, Julie Rrap, and Anne Zahalka, Roslyn Oxley9, Sydney.
Birth Art, ACU Gallery, Melbourne.
Sculpture by the Sea, Open House collaborative work with Aaron Anderson, Bondi south headland
Destiny Deacon, Fiona Hall, Bill Henson, Tracey Moffatt, TV Moore, Julie Rrap, Anne Zahalka, Roslyn Oxley9 Gallery, Sydney
Birth Art, curated by Jasmine Proust and Tilly Morris, ACU Gallery, Fitzroy
Interpreting Portraiture: Macquarie 1810 – 2010, catalogue Hawkesbury Regional Gallery
|2010||Time travel: reimagining the past, Tweed River Art gallery, NSW
Screen, Head On Photo Festival, Curated by Isabelle Rouvillous, National Art School
Almanac: The Gift of Ann Lewis AO, Museum of Contemporary Art, Sydney. (Touring Exhibition).
Outside In, McClelland Gallery and Sculpture Park, Victoria.
The Stranger’s Eye, Curated by Donna West Brett, Peloton Gallery, Sydney.
Homeground! In association with Head On Photo Festival, Newtown Hotels, Sydney.
|2009||Red Exhibition, Sherman Contemporary Art Foundation, Sydney
A Natural World, Glen Eira City Council Gallery, Victoria
|2008||50X50 Summer Show, ARC ONE Gallery, Melbourne, Victoria
Step Right Up, The Circus in Australian Art, Albury City touring exhibition
OIKOS, Habitacles/Habitable Places, SBC Gallery of Contemporary Art, Montreal
Basil Sellers Art Prize, Ian Potter Museum of Art, Melbourne
FX in Contemporary Art, McClelland Gallery, Victoria
Winner, Macarthur Cook Art Prize, Gallery 45, Melbourne
Silver-lined, the Arts Centre, Contemporary Artists and the Performing Arts Collection, Melbourne
Premonitions, Monash University Collection 1961–2007, McClelland Gallery, Victoria
Supercharged: the car in contemporary culture, IMA touring show – Logan Art Gallery, Redcliffe Art Gallery
|2007||Wonderful World, Samstag Museum of Art, University of South Australia, Adelaide
Harbourlife: Sydney Harbour from the 1940’2 to recent times, Manly Art Gallery and Museum, New South Wales, 30 November , 2007 – 13 January, 2008
Forty Eight Hours of Visual Arts, (FEHVA), Byron Bay Festival, NSW
Glimpse: Inside Gold Coast City Art Gallery’s Collection, Gold Coast City Art Gallery, Surfers Paradise, QLD
Supercharged: the car in contemporary culture, IMA touring show - 24Hr Art, Bathurst Regional Art Gallery, Pinnacles Gallery
Three Australian Photographers: Bill Henson, Tracey Moffatt, and Anne Zahalka , GEM/Fotomuseum, Den Haag, The Netherlands, 26 May – 28 October
Winner, National Photographic Prize, Albury Regional Art Gallery
Cuisine & Country: a gastronomic venture in Australian art, Orange Regional Gallery, New South Wales, 13 April – 20 May 2007
|2006||Supercharged: the car in contemporary culture, Institute of Modern Art, Brisbane
William and Winifred Bowness Photography Prize, Monash Gallery of Art, Victoria.
Monsters, Albury Regional Art Gallery, Albury, New South Wales.
Circus Polaroids, Albury Regional Art Gallery, Albury, New South Wales.
The Armory Show, New York, United States of America.
Acting the Part, Photography as Theatre, National Gallery of Canada, Ontario
Tunnel Vision, Greed & Stupidity: Reviewing Concrete Politics in Sydney, The Cross Art Projects, Kings Cross, Sydney
Swell: the art in contemporary beach culture, Lake Macquarie City Art Gallery
Points of View: Australian photography 1985-95, Art Gallery of NSW, Sydney
|2005||Perception, The Daryl Hewson Photographic Collection, Queensland Centre for Photography, Bulimba, QLD, Australia
Death, Burial and Beyond, Jewish Museum of Australia, Victoria.
Winner, 2005 Leopold Godowsky Jr. Colour Photography Awards, Photographic Resource Centre, Boston University, Boston
A Matter of Time, Tamworth Fibre Biennial, Tamworth Regional Art Gallery
Take a Good Look, Lake Macquarie City Art Gallery, New South Wales
16th Tamworth Fibre Textile Biennial, Tamworth Regional Gallery
My City of Sydney, Museum of Sydney, Sydney
2005 Josephine Ulrick & Win Schubert Photography Award, Gold Coast City Art Gallery, Queensland, Australia
|2004||Supernatural Artificial: Contemporary photo-based art from Australia, curator Natalie King, Tokyo Metropolitan Museum of Photography, Tokyo, Japan, Chulanlangkorn Art Centre, Bangkok
UR IN EU: An exhibition which celebrates the ten new member nations of the European Union, Sir Hermann Black Gallery & Sculpture Terrace, University of Sydney
Isle of Refuge, (“Displaced Persons” collaboration with Sue Saxon), Flinders University City Gallery, Adelaide (Ivan Dougherty Gallery touring exhibition)
All that glitters: Contemporary visions of the Gold Coast, Gold Coast City Art Gallery, Surfers Paradise, Australia
6ft +clean: surf and art, ArtMuseum, University of South Australia Art Museum, Adelaide.
Gambling: thrills, spills & social ills, Powerhouse Museum, Sydney
Strike a Pose, Lake Macquarie City Art Gallery, Lake Macquarie, New South Wales
|2003||Fair Game: Art + Sport, NGV Response Gallery, National Gallery of Victoria, Melbourne
6ft + clean: surf + art, Manly Art Gallery, a Gold Coast City Art Gallery touring exhibition, Manly, NSW
Stellar, Centre of Contemporary Photography Fundraising Auction, Centre of Contemporary Photography, Melbourne
Photographica Australis, Asia Link touring exhibition, National Gallery of Thailand and Singapore Art Museum
Isle of Refuge, (“Displaced Persons” collaboration with Sue Saxon), Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney
Citigroup Private Bank Australian Photographic Portrait Prize, Art Gallery of New South Wales, Sydney
Gallery 4A Fundraising Exhibition, Gallery 4A, Asia-Australia Arts Centre, Sydney
On the Beach with Whiteley, Brett Whiteley Studio, Sydney
Freestyle: the Bondi Beach Cole Classic, State Library of New South Wales, Sydney
Skylounge, National Museum of Australia, Canberra
The Big River Show, Wagga Wagga Art Gallery.
Fieldwork, Natioanl Gallery of Victoria, Melbourne.
New Australiana, Perth Institute of Contemporary Art, Perth; Albury Regional Art Gallery, Albury, Australia
|2002||6ft + clean: surf + art, Gold Coast City Art Gallery touring exhibition, Surfers Paradise, Australia (to 2003)
Fieldwork: Australian Art 1968 – 2002, National Gallery of Victoria, Federation Square, Melbourne (November 2002 to February 2003)
Photographica Australis, ARCO 2002, Sala del Canal de Isabel II, Madrid, Spain
Love at First Sight: Self-made Women, Centre for Contemporary Photography, Melbourne
2nd Sight Australian Photography in the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 2002
Embrace Contemporary Photomedia, Trinity Delmar Gallery, Sydney
The Big River Show: Murrumbidgee Riverine, Wagga Wagga Art Gallery, NSW
The First Twenty Years, Roslyn Oxley9 Gallery, Sydney
Anne Zahalka, Anne Wallace, Maryanne Lynch, Annette Bezor, Institute of Modern Art, January 31 – March 9, Fortitude Valley, Brisbane
Documenting Australians, Monash Gallery of Art, Victoria
Watermarks, Maritime Museum, Sydney
|2001||Federation! But who makes the nation? Regional Galleries tour
Hermanns Art Award, Sherman Gallery, Sydney and regional tour
What John Berger Saw, Institute of Modern Art, Brisbane
New Australiana, Australian Centre for Photography, Sydney
|2000||Sporting Life, Museum of Contemporary Art, Sydney
Sydney Metropolis + Suburb + Harbour, Museum of Sydney
Striking, Monash Gallery of Art, Victoria; Campbelltown City Bicentennial Art Gallery, NSW; Bendigo Art Gallery, Victoria; Mildura Art Centre, Victoria; Geelong Art Centre, Victoria
Journeys in the Dream Land, Dennis Del Favero, Jon Rhodes, Anne Zahalka, Fotogallery, Cardiff, Wales
All Stars 2000, Roslyn Oxley9 Gallery, Sydney
|1999||Signature Works, Australian Centre for Photography, Sydney
What John Berger Saw, Canberra School of Art Gallery, Canberra, NSW
|1998||The Body in Question, Wessel + O’Connor, New York, USA
ICONS: Pictures of the City, Galerie Fotohof, Salzburg, Austria
Unhomely, Sonje Museum of Contemporary Art, South Korea
Haimish, (homely), curated by Naomi Cass and Natalie King, The Jewish Museum, Melbourne
After the Masters, Master of Fine Arts 1993 – 1997 Selected Work, Ivan Dougherty Gallery, College of Fine Arts, Universiy of New South Wales, Sydney
|1997||Distanz und Domizil, Fotographie der Gegenwart, Künsthaus Dresden, Germany
Artists in the House, Elizabeth Bay House, NSW
|1994||About Face, Aspects of Australian Portraiture, c1770 - 1993, National Portrait Gallery, Canberra
Sydney Photographed, Museum of Contemporary Art, Sydney
|1993||Locations, Australian Centre for Contemporary Art, Melbourne; Artspace, Sydney and Asian tour
Luminaries, Monash University Gallery, Victoria
8 x 10, Fundraising Exhibition, contemporary Art Centre, Adelaide
It’s all in the Memory, Computer Generated Prints, Art Images, Adelaide
Recent Acquisitions, Waverly City Gallery, Victoria
The Art Factor: International Exhibition of Electronic Art, FISEA, Minneapolis, USA
Parcel Post Show, Linden, Saint Kilda Art Centre, Victoria
Mal was underes, Kunstlerhaus Bethanien, Berlin, Germany (studio show).
|1992||The Manipulated Image, City of Waverley Gallery, Victoria
Constructed Reality: Aspects of Contemporary Photography, National Gallery of Victoria, Melbourne
Southern Land/Empty Crossing, Camerawork Gallery, London, UK
|1991||Contemporary Colour, Art Gallery of New South Wales
Fertile Ground, Griffith University College, Queensland, Australia
|1990||As idle objects lie, (collaborations with Felicia Kan), First Draft (west), Sydney
The Readymade Boomerang, Biennale of Sydney, Art Gallery of New South Wales, Sydney
8 x 10 Fundraising Exhibition, South Australian Centre for Contemporary Art, Adelaide
Defective Models: Australian Portraiture 19th and 20th Centuries, Monash University Gallery, Melbourne
Twenty Contemporary Photographers, National Gallery of Victoria, Art Gallery of New South Wales & nationally
Australian Photography, City of Waverley Gallery, Victoria
100 Artists Against Animal Experimentation, Deutscher Gallery, Brunswick Street, Melbourne
|1989||Re-model, George Paton Gallery, Melbourne
Collaborations, (with David O'Halloran & Brenda Ludemann), Artspace, Sydney
re:Creation/Re-creation, Monash University, Melbourne
|1988||The Great Australian Art Exhibition 1788-1988, Queensland Art Gallery, Art Gallery of Western Australia, Art Gallery of New South Wales, Tasmanian Museum, National Gallery of Victoria, Art Gallery of South Australia
Australian Photography: The 1980s, curated by Helen Ennis, with assistance from Kate Davidson, Australian National Gallery
|1987||Pure Invention, Parco Gallery, Tokyo (touring Japan & Australia)
Window to Window, Deakin University, Victoria
From the Newsagency, Kunstlerhaus Bethanien, Berlin
Fortune, George Paton Gallery, Melbourne, Ivan Dougherty Gallery,
Sydney, Institute of Modern Art, Brisbane, Contemporary Art Centre, Adelaide
|1986||Suspending Belief, The Observatory, Brisbane
The Landscape Re-represented, Union Street Gallery, two person show with Geoff Kleem, Sydney
Elsewhere, Biennale of Sydney satellite exhibition
Union Street, George Paton Gallery, Melbourne
Union Street, Kelvin Grove College, Brisbane
In Full View, 20 x 24 Polaroids, Art Gallery of New South Wales, Art Gallery of Western Australia, Art Gallery of South Australia, Queensland Art Gallery
The Repeated Image, Griffith Collection, Brisbane
|1985||Anniversary Exhibition, Australian Centre for Photography
Photodramas, Artspace, Sydney
Rushes, Union Street Gallery, Sydney
...outside the poem...inside the dream...a story unfolds..., (two person show with Suzi Coyle) Union Street Gallery,
Curator's Choice, Developed Image Gallery, Adelaide
Photodramas, Chameleon Gallery, Tasmania
|1984||Manipulated Work, Images Gallery, Sydney
Future Unperfect, Artist Space, Sydney
|1983||1984 show, Images Gallery, Sydney
N.S.W. Travelling Art Scholarship, Blaxland Gallery
New Light, Australian Centre for Photography
|1982||50th Anniversary of the Building of the Harbour Bridge, Art Gallery of New South Wales
Harbour Bridge Exhibition, Hogarth Gallery, Sydney
Graduating Photography, Australian Centre for Photography
|1981||Four Photographers, Bondi Pavilion|
|1980||Aspects of Sydney, Polaroid Exhibition, students S.C.A.|
|2016||Newtown ArtSeat, Newtown, 2 February - 31 March 2016.|
|2014||Department of Parliamentary Services, Celebrating 25 years of Parliament House, Canberra|
|2011 – 2012||Monash University, Melbourne, Portrait of Professor John Redmond|
|2009||National Portait Gallery, Canberra, Portrait of Marilyn Darling OA
University of Western Sydney, Portrait of Professor Janice Reid, Vice Chancellor
|2008||Centre for Contemporary Photography, Melbourne, Limited Edition print|
|2002 – 2003||Sydney Airport Corporation Limitied, Welcome to Sydney, 2002, Art at Work program|
|Albury Regional Gallery (now MAMA)|
|Art Gallery of New South Wales|
|Art Gallery of South Australia|
|Art Gallery of Queensland|
|Art Gallery of Western Australia|
|Australian Bicentennial Collection|
|Bathurst Regional Art Gallery|
|City of Waverley Collection|
|Deutsche Bank Collection|
|Gold Coast Art Gallery|
|Grafton Art Gallery|
|Griffith University Collection|
|International Polaroid Collection, USA|
|Jewish Museum of Australia|
|McClelland Gallery and Sculpture Park|
|Monash Gallery of Art|
|Monash University Collection|
|Mornington Peninsula Regional Art Gallery|
|Murdoch University Art Collection|
|Museum of Contemporary Art, Sydney|
|National Art Gallery, Wellington, New Zealand|
|National Australian Maritime Museum|
|National Gallery of Australia|
|National Gallery of Victoria|
|National Library of Australia|
|National Portrait Gallery, Canberra|
|Sir Elton John Collection|
|Tweed Rivers Regional Gallery|
|University of Melbourne|
|University of Tasmania|
|Visart, New York|
|Wagga Wagga Art Gallery|
|Waverley Art Gallery|
|2017||Turner Gallery Perth, Western Australia, 27 Feb – 18 March|
|2013||HMAS Penguin residency commemorating the centenary of the Royal Australian Navy
Newignton College, Concordia through the Newignton Women’s Fund
|2011||Bondi the Beautiful residency, Bondi Pavilion Gallery|
|2008||Sofitel, Melbourne, Victoria|
|2008||Bundanon, Arthur Boyd Estate, New South Wales|
|1988||Gertrude St, 3 month residency, Melbourne|
|1989||Bondi Pavilion Community Centre, 6 month residency, Sydney|
|1986||Visual Arts and Crafts Board residency, Kunstlerhaus Bethanien, Berlin|
|2006||Development Grant, Australia Council|
|2000||Fellowship, Australia Council Visual Arts/Craft Board|
|1996||Project Grant, Australia Council Visual Arts/Crafts Board|
|1993||Development Grant, Visual Arts/Crafts Board, Australia Council|
|1991||Project Grant, Visual Arts/Crafts Board, Australia Council|
|1990||Development Grant, Visual Arts/Crafts Board, Sydney|
Prizes and Awards
|Year||Prizes and Awards|
|2017||Olive Cotton Portrait Prize, Tweed Regional Gallery, New South Wales (Director’s Choice), 21 July – 8 October
Tidal, City of National Devonport Art Award, finalist, Devonport Regional Art Gallery, 25 Nov – 29 January
Lisa Sullivan, Tricking the eye- contemporary trompe l’oeil catalogue
|2016||Josephine Ulrick & Win Schubert Photography Award, finalist Gold Coast City Gallery, 25 June – 21
|2013||Olive Cotton Portrait Prize, Tweed Rivers Regional Art Gallery, New South Wales|
|2008||Winner, Macarthur Cook Art Award, 45 Downstairs, Melbourne
Selected finalist Basil Sellers Award, Ian Potter Museum of Art, University of Melbourne
|2007||Winner of National Photographic Prize, Albury Regional Art Gallery|
|2006||William Bowness Photographic Prize finalist, Monash Gallery of Art, Victoria
Art & About, selected finalist, Hyde Park, Sydney
|2005||Josephine Ulrick & Win Schubert Photography Award, finalist Gold Coast City Gallery
Winner of Leopold Godowsky Jnr award, Photographic Resource Centre, Boston
Art & About, selected finalist, Hyde Park, Sydney
|2018||Steve Meacham, Fabulous 50 named and framed, Sydney Morning Herald, 16 August
National Art Part One National Art School catalogue
Incommensurable: photomedia in the era of globalisation ANU Drill Hall catalogue
|2017||Dr Jacqui Durrant, The Landscape Revisited essay
Rita Lazauskas, The Landscape Revisited curatorial essay
|2016||The Photograph and Australia, AGNSW catalogue, pg 21, 287
Alasdair Forster, Dubai Photo Exhibition, catalogue, pg 118,141 - 144
|2015||On the Beach, catalogue, Mornington Peninsula Gallery, Victoria
Anne Zahalka: Playground of the Pacific, catalogue no. 181, Josef Lebovic Gallery
Naomi Cass, Threshold catalogue Arc One Gallery
|2014||Helen Musa, Photos breathe life into the hallowed halls of Parliament House, City News.com.au 20 June
‘Parliament House at Work’ exhibition shows the people behind the politicians, Her Canberra, online
Phillip Thompson, Behind the political scenes in Canberra’, Sydney Morning Herald, June 19
|2013||Andrew Taylor, Artist gets on board campaign against live animal export, Sydney Mornng Herald, June 7|
|2012||Gavin Wilson, “The Great Divide, Picturing the Blue Mountains”, catalogue Blue Mountains Cultural Centre, pp 69
Helen Ennis, “Things – Photographing the constructed world”, catalogue National Library of Australia
“Bondi Twitch: A Field Guide to the Noses of the Waverly District”, catalogue Bondi Pavilion Gallery
100 Stories from the Maritime Museum, UNSW Press, 2012, Pp 75 -77
Dr Vivien Gaston, “Controversy: The power of art”, 2012 catalogue Morninton Peninsula Regional Gallery
|2011||Bronwyn Watson, Public Works, The Australian, Arts May 14
Josef Liebovic, “Return to Homeground”, catalogue Collector’s list No. 150, 2011
|2010||Louise Tegert, Slow Burn: A Century of Australian women artists from a private collection, Eva Breuer Art Dealer and National Trust SH Ervin Gallery, pp 200 -201
Kathleen von Witt, “Interpreting Portraiture: Macquarie 1810 – 2010”, catalogue Hawkesbury Regional Gallery, pp 30 – 35
Dr Anne Marsh, LOOK: Contemporary Photography since 1980, (Melbourne: Macmillan Press, 2010)
|2009||Edward Colless, “Anne Zahalka”, Australian Art Collector, Issue 49, July - September 2009, pp. 152-157|
|2008||Alice McCormick and Sarah Rhodes ‘ The Artist’s Lunch’ Murdoch Books2008, pp 148 - 157
Sera Waters, ‘Wonderful World’, Eyeline, No. 65, 2008, pp. 52-54
Sylvain Campeau, ‘OIKOS Habitacles/ Habitable Places’, catalogue SBC Galerie D’Art contemporain, Quebec, March 2008, pp 68 – 71
Hotel Issue, Hotel Suite, Artichoke Magazine 24, pp 83 - 86
Stephen Haley, ‘Double Exposure: Post-photographic practice’, Photofile 84, pp38
Melbourne Art Fair July 2008, Melbourne Art Fair Foundation, pp 178 - 179
|2007||Essay by Daniel Palmer and Interview by Karra Rees ‘Anne Zahalka: Hall of Mirrors’, exh. cat. Centre for Contemporary Photography, Melbourne
Karra Rees, ‘Anne Zahalka: Wild Life’, Photofile 79 Summer 2007 pp 48 - 51
Naomi Evans, ‘Anne Zahalka: Wild Life’, HEAT, no. 14, 2007, pp. 97 – 112
Helen Ennis, Photography and Australia, Reaktion Books
Jacqui Taffel, ‘Click and myth approach’, The Hot Seat, Sydney Morning Herald, April 17, 2007
Lynne Minion, ‘A clue to the setting’, in Panorama, The Canberra Times, December 22, 2007, pp. 4-5
David Ellison, ‘Anne Zahalka’, wonderful world, exhibition catalogue, celebrating the University of South Australia’s new Anne & Gordon Samstag Museum of Art, Adelaide, S.A., pp. 48-9
Olivia Poloni, “Hall of mirrors: Anne Zahalka portraits 1987 – 2007”, Art Monthly Australia, July 2007 Number 201, pp. 3 – 6.
Art Almanac (Cover), April 2007
Suzie Attiwill “Serendipity – Inside Anne Zahalka’s Hall of Mirrors”, Artichoke, 19, 2007, p. 74
Jacqui Taffel, “Click and myth approach”, Sydney Morning Herald, 14 – 15 April 2007, pp. 4 – 5 (Spectrum).
Clara Iaccarino, ‘Wildlife’, The Sydney Morning Herald, 10-11 February 2007, p. 16 (Arts & Entertainment).
Stewart Hawkins, ‘In with the old, in with the new”, The Australian Financial Review, February 17 – 18, 2007, p. 34.
Karra Rees, ‘Anne Zahalka: Wild Life’, Photofile, #79, Summer 2007, pp. 48 - 51
|2006||Lori Pauli, Editor ‘ Acting the Part’ National Gallery of Canada, Merrell Publishers Ltd Fig. 45 pp 52
Supercharged: the car in contemporary culture, exhibition catalogue, Institute of Modern Art, Brisbane
Robert Nelson, Anne Zahalka, review of Wonderland, The Age, 8 February2006
The First Post, The Online Daily Magazine, September 23, 2006
‘Anne Zahalka’, EXIT, #23, Madrid, Spain, pp. 88 - 93
Juliette Peers, ‘Catatonic Curating’, Artlink, Vol. 26, #1, pp. 28 - 33
|2005||Leslie K Brown Jennifer Uhrhane “Leopold Godowosky, Jr. Color photography awards”, In the Loupe July/August 2005 vol 29 Number 4.
Margaret Marsh, Michele Watts and Craig Malyon A.R.T. 2 practice, Oxford University Press, Melbourne 2005 p. 45
|2005||‘Supernatural Artificial: Contemporary photo-based art from Australia’, Gertrude Contemporary Art Space and Asialink Centre, Victoria, Australia
Tracey Clement, “Critic’s Picks: My City of Sydney,” Sydney Morning Herald,Dec 31, 2004 – Jan 6, 005, p. 19 (Metro)
|2004||The Spirit of Celebrity, Griffith Review 5, pp 97 - 110
Gael Newton, ‘Photographic Australis’, Taipei Fine Art Museum
Ken Bolton, “Australian Women Artists: Sailing to Tahiti,” Jamini: International Arts Quarterly, November, p. 68 - 79
Robert McFarlane, “Photography: Elusive rhythms of the night,” Sydney Morning Herald (Metropolitan), Tuesday, October 5, p. 15
Dominique Angeloro, “Critic’s Picks: Anne Zahalka,” Sydney Morning Herald, Oct. 1-7, p. 27 (Metro)
Natalie King, “Anne Zahalka: Natural Worlds,” Australian Art Collector, issue 29, July – September 2004, p. 198, 199
Claire Armstrong, “Collector Profile: Dick Quan,” Art & Australia, Vol. 41 No. 4, Winter 2004, p. 615 – 617
Michael Hedger, “Timeless recreations,” The Star, Weekender, February 25, 2004
Jill Stowell, “Portrait of the artist,” The Star, Weekender, February 14 2004
Anne O’Hehir, “Anne Zahalka: How did we get to be here?,” Art & Australia, vol. 41, no. 3, Autumn 2004, p. 410 - 417
|2003||Martin Jolly, ‘Writing Archives’, Art Monthly Australia, Dec 03 – Feb 04, No.166, pg 5
Peter Conrad, ‘At Home in Australia’, National Gallery of Australia, Canberra
Lara Travis, “Anne Zahalka,” See Here Now: Vizard Foundation Art Collection of the 1990s, editors Chris MacAuliffe and Sue Harvey, Ian Potter Museum of Art, Thames and Hudson (Australia) Pty Ltd, Victoria, p. 150, 151
Daniel Palmer, “Anne Zahalka,” Monash University Collection: Four Decades of Collecting, ed. Jenepher Duncan and Linda Michael, Monash University and Monash University Museum of Art, Victoria, 2003, p. 68
Stuart Koop, “Same As It Ever Was: photography in the Collection,” Monash University Collection: Four Decades of Collecting, ed. Jenepher Duncan and Linda Michael, Monash University and Monash University Museum of Art, Victoria, 2003, p. 40 - 44
Alasdair Foster, “Interview: Anne Zahalka,” Photofile # 69, August 2003, pp. 19 - 21
Margaret Plant, “The Journey from Field to Fieldwork 1968 – 2003,” Eyeline # 51, Autumn – Winter, 2003, p. 44 - 46
Zara Stanhope, “Take a Good Look at My Face, Love at First Sight: artists and their relationship with the camera,” Eyeline # 51, Autumn – Winter, 2003, p. 26 – 29
Dominique Angeloro, “Critics Picks: Leisureland Regional,” Sydney Morning Herald, (Metro), July 11 – 17, p. 27
Rosalie Higson, “Location is not everything,” The Australian, Friday May 30, p. 14
Peter Hill, “Focus on the Big Picture,” Sydney Morning Herald (Spectrum), May 24-25, p. 12, 13
“Anne Zahalka,” Blaze: Visual Art Writing from the Contemporary Art Centre of South Australia 1990 - 2002, CACSA, Adelaide, p. 19
Stuart Koop, “Fieldwork: Australian Art 1968 – 2002, Broadsheet, vol. 32, no. 1, March, April, May, p. 8 - 11
Julian Raxworthy, “Love at First Sight,” Photofile #68, April, p. 69, 70
|2002||Charles Green, “Into the 1990s: the decay of postmodernism,” Fieldwork: Australian Art 1968 – 2002, exh. cat., National Gallery of Victoria, Federation Square, Melbourne (November 2002 to February 2003), p. 100 – 111
6ft + clean: surf + art, exh. cat., Gold Coast City Art Gallery touring exhibition to 2003, Surfers Paradise, Australia, Russell Storer and Daniel Palmer, “Anne Zahalka,” Big (Australia) Magazine
John McDonald, “Old Man River: The Murrumbidgee as inspiration,” The Australian Financial Review, Thursday 14 November 2002, p. 72 (Arts)
Gavin Wilson, ‘The Big River Show: Murrumbidgee Riverine’, Wagga Wagga Art Gallery
2nd Sight Australian Photography in the National Gallery of Victoria, exh. cat., National Gallery of Victoria, Melbourne, 2002, pp. 91, 96
Chris Reid, “Fortresses and Frontiers: Anne Zahalka; High Anxiety: Anne
Wallace, Pyjama Girl: Maryanne Lynch, Blush: Annette Bezor - Institute of Modern Art, January 31 – March 9, Brisbane” Eyeline #48, Autumn/Winter 2002, p. 48, 49
|2001||Pavel Buchler, Anne Zahalka, Theory Takes a Holiday, Portfolio, UK #31, June
Peter Anderson, Look and Learn, Eyeline
Robert McFarlane, Sydney Morning Herald, Metropolitan, 2nd Feb
Ben Genocchio, Review of Leisureland, The Australian, August 18
|2000||Christopher Coppock, ‘Journeys in the Dreamland’ (exh. cat), Ffotogallery, Cardiff, Wales
‘Portfolio’, Portfolio Gallery, London, UK, No. 31, June 2000
“Anne Zahalka,” VCE Art, Sporting Life, catalogue, Museum of Contemporary Art, Sydney
Sydney Airport, The Art Trail: a guide to experiencing Sydney Airports’ Art at Work
Ben Genocchio, Review Leisureland, The Australian, early August
Programme, Sydney Airports Corporation Limited, Sydney
|1999||Leisureland, Photofile, No 57, October
Courtney Kidd, Spectrum review, Sydney Morning Herald, 26th August
Anna Clabuburn, Striking, catalogue, Monash Gallery of Art collection
Peter Emmett, Sydney Metropolis + Suburb + Harbour, Museum of Sydney
Robert McFarlane, Review, Sydney Morning Herald, May 10
Sebastian Smee, Exhibitions, Sydney Morning Herald Metro, May
Robert Nelson, Focus on Photographers who click as artists, The Age, October 27
Freda Freiberg, Haimish (review), Like, No. 7, Summer
|1998||Bruce James, Galleries, Sydney Morning Herald, March 10|
|1997||Haimish, (homely), exhibition catalogue, The Jewish Museum, Melbourne
Freda Freiberg, Anne Zahalka: Woven Threads, Photofile no. 51, August
Anne Zahalka, Collecting Insects, cat., Artists in the House
Heike Marx, Von Menschen und Dingen, Rheinpfalz, May 12
Ulrike Soltendiek, Einblicke in den Alltag, Manneheimer Morgen, March 12
Ute Aichele, Open House, Kunst, May
Christopher Allen, Art in Australia - From Colonization to Postmodernism, Thames and Hudson, London
Sarrah Preuhs, Anne Zahalka-Open House, Distanz und Domizil (cat. article), Dresden, Germany
Anne Zahalka, Woven Threads, Community Aid Abroad
|1996||Martyn Jolly, Anne Zahalka - Spurs of the Moment ,Art + Text, Vol. 54 1996, pp. 62 - 65.
Peter Weiermair, Prospect-Aspects of Contemporary Photography, Edition Stemmle, Kilchberg/Zurich
Daidalos, Art Architecture Culture, Urban Habitation, #60, June
|1994||Anne Zahalka, Gesture cat, Roslyn Oxley9 Gallery, Sydney
Catriona Moore, Manipulated Image, critique, Art Network #17
|1993||Maudie Palmer, Fantasy bathed in Irony, The Australian, December 30|
|1992||‘Location’ (exh. cat), ACCA and Asialink, Victoria, Australia
Richard Neville, Faces of Australia, State Library of New South Wales Press
|1991||Margot Osborne, 'Breaking down the artistic cliche', The Advertiser, South Australia, 13 July|
|1990||Isobel Crombie and Sandra Byron, ‘Twenty Contemporary Australian Photographers’ (exh. cat), National Gallery of Victoria
Charles Green, ‘Anne Zahalka, Artforum International, December
Michelle Helmrich, Portrait of an Artist, Artists, catalogue
John Peter Nilsson, Biennale of Sydney, Astonbladt, April 21, Sweden
|1989||Merryn Gates, re:Creation/Re-creation, exhibition catalogue, Monash University
Peter Weiermair, ‘Portraits’, Edition Stemmle, Zurich/Dusseldorf
|1988||Pat Simons, ‘Resemblance and Displacement’, Photofile
Rainer Borgermeister, ‘Resemblance’, Art + Text, #29
Michele Helmrich, ‘Anne Zahalka, Eyeline #5, June
Susan Butler, ‘Anne Zahalka at Camerawork’, Creative Camera
Australian Bicentennial Authority and David Hansen, The Face of Australia, The Land- The Present, Fine Art Press, Sydney
Sarah Kent, Time Out, previews, May 18-25, London
Australian Photography: The 1980s, Australian National Gallery, exhibition catalogue, Melbourne Oxford University Press
|1987||Resemblance, catalogue, Kunstlerhaus Bethanien, Berlin
Beatrice von Bismark, ‘Resemblance’, Dokument und Analyse, Frankfurt, June
Terry Smith, No simple way to find the Australian in Australian art, Times on Sunday, 8 November
Here and There, exhibition cat., Monash University
Gary Catalano, Mapping the Art of Australia, The Age, 13 November
|1985||Martyn Jolly, Clash of Geneologies at the Future Unperfect show, On the Beach, #6 Spring
Judith Fox, Duo reworks themes to make the invisible visible, Sydney Morning Herald, 14 May
|1983||Max Dupain, Let’s have a bit of pictorial blood-letting, Sydney Morning Herald, 20 December|
|1981||Photo-discourse, critical thought and practice in photography, Sydney College of the Arts, Sydney
Max Dupain, High Court under fire at Bondi, Sydney Morning Herald, 10 October