Publications

SELECTED  PUBLICATIONS

2020 Artonview, Margaret Worth by Elspeth Pitt, curator Australian Painting & Sculpture, National Gallery Australia.                      https://nga.gov.au/artonview/

2019 Artlines 2, Hard Edge, Harmonious Surrounds by Peter McKay www.qld.qagoma.gov.au

2018 Lorne Sculpture Biennale catalogue, Landfall, curator Lara Nicholls.

2018 Judges Statement, Lorne Sculpture Biennale Prize, Max Delany, Charlotte Day, Jason Smith and Maudie Palmer.

        http ://lornesculpture.com     

2017 Sculpture Encounters: Granite Island, brochure and http://sculpturebythesea.com/exhibitions/granite-island/   

2013 One River: Alluvial Connections, Centenary of Canberra Celebrations. http://oneriver.com.au/goolwa-doco-now-online/

        http://oneriver.com.au/one-river-projects/one-river-goolwa-and-murray-mouth/

2013 http://www.abc.net.au/local/stories/2010/08/04/2972921.htm?site=adelaide

2010 Exhibition paper, Drop the Dust, Flinders University City Gallery, Dr. Christine Nicholls.

2010 Asian Art News May/June 2010 Exhibition Reviews Australia, Dr. Christine Nicholls.

2009 World Sculpture News Vol.15 No.2, ‘Sun, Sand, Surf, Sculpture’, Dr. Christine Nicholls.

2004 Catalogue essay, ‘Invisible Energies’ Dr. Varger Hosseini, published Flinders University Art Museum.

2003 Hansard Report House of Assembly – Paul Caica MP re ‘On Occupied Territory’.

2003 Waterfronts III PAO Congress, invited paper ‘Creating Significance in Public Places Art’, Barcelona,  Spain, M.Worth.

2001 ICOMOS International Conference, invited Discussion Paper ‘Public Places Art & Artworks’, Adelaide, SA. M.Worth.

2002 Artlink Vol 22 No.2 ‘Place’  ‘Tjukurpa Wangkapai – A Story Telling Place’ artist: Margaret Worth, Stephanie Britton.

2000 Margaret Worth, Work Paper published Contemporary Art Centre SA, Timothy Morrell.

1999 Broadsheet  vol.28/3 Dr. Linda Marie Walker

1997 The Weekend Australian Dec 5 Page 42 'Salt Shakes up Town' Michael Mobbs.

1997 Australia Council publication, It Looks Good and Feels Good Too, 3 projects of M.Worth, Malcolm McKinnon.

1997 Australia Council publication Better Places Richer Communities 'Facilities Development' Editor Marla Guppy.

 

 

Quotes:

2020 Know My Name special publication ARTONVIEW 101, National Gallery Canberra

Margaret Worth is an artist who epitomises the Know My Name initiative. Although her practice has at times been obscured and challenged, her pioneering work in the fields of abstraction and environmental art is at last gaining greater recognition. INTERVIEW by ELSPETH PITT

 

 

2019 Hard edge, harmonious surrounds, Artlines, QAGOMA

Margaret Worth’s Untitled 1968

Recently acquired for the Gallery’s Collection with the support of David and Judith Tynan, Margaret Worth’s Untitled 1968 is a striking example of hard-edge abstraction by one of Australia’s outstanding abstract artists. This rare modular structure tests the boundaries of painting and sculpture in a melding of colour and form, writes Peter McKay

… we might see Worth’s Untitled less as a painting and more as a sort of instrument, created to influence and activate, or even resonate and harmonise with, the space around it. By passively harnessing the customary conditions of contemporary galleries — bright lights and white walls — Worth’s Untitled does more than reflect an image in light back to us: it invites us to bask in its glow. Peter McKay

 

 

2013 'Where are you? What time is it? How do you know? Corey Sinclair, Centralian Advocate, Alice Springs NT.

Cosmic Art Takes to the Sky

A long-term love affair with Alice Springs inspired award-winning artist Margaret Worth to create an exhibition that will open at Araluen Arts Centre tonight.

 

 

2013 'One River: Alluvial Connections',  Lindy Allen, Director, Regional Arts Australia 'One River' website.

Community project links the Murray Mouth to the ancient heart of Australia 25 July 2013

Victor Harbour based visual artist Margaret Worth is one of ten artists and projects chosen to help tell the story of the Murray-Darling Basin as part of the celebrations for the Centenary of Canberra. “Presenting the personal stories is what makes people feel connected to others across the distances within the Murray Darling Basin system,” Ms Worth said. She will work with well-known ABC writer Bill ‘Swampy’ Marsh, photographer Richard Hodges, and performance poet Michelle Murray, to uncover personal stories and present these at a performance/installation at Signal Point Gallery, Goolwa Wharf on Saturday 10 August from 6.00pm to 8.00pm.

Margaret’s project, ‘Alluvial Connections: From Source to Sea,’ is part of the One River program, commissioned by Robyn Archer AO. “If Australians are to re-imagine their capital in 2013 then the fact of its location is significant,” Ms Archer said. If you can touch four states and a territory through this mighty river system , then Canberra is part of that community and not as remote as people have often claimed.”

Margaret Worth’s project tells the river stories of the Goolwa region across time. “In the river stones and alluvial sands are accumulations from the far northern and eastern origins of the Basin,” Ms Worth said. “They connect ancient times with the people and places of today.”

 

 

2010 ‘Drop the Dust’: catalogue essay Fiona Salmon, Director, Flinders University Art Museum.

Taking as its point of departure the ubiquity of dust, the project invites audiences to delve into the concept of dust as a metaphor of life’s transience. Works trace cycles of accumulation, decomposition and reformation offering meditations on mortality and the emergence of new life. The exhibition also explores the materiality of dust – its look and feel in the forms of sand, rust, particleboard, house dust, paper, mineral powders, steel, glass and plastic.  

Drop the Dust has been described as an ‘original’, ‘ingenious’ and ‘distinctly Australian exhibition’.

 

2010 ‘Drop the Dust’: RAW: SALA Kryztoff Rating  4K  Kryztoff.com

“This is a very Australian exhibition that takes a new look at a very well covered homage to our outback ...” “The intensity of these panels (ref.to 'Space Scape') give the viewer the opportunity to see them either as cross sections of an ancient outback soil profile or aerial views of a seemingly never ending desert.”

 

2010 ‘Drop the Dust’: Dr. Christine Nicholls, catalogue essay, Flinders University Art Museum.

"This original and ingenious exhibition examines dust in terms of its (at times intangible) materiality, and as a concept that has, for eons, fascinated theologians and philosophers, and more recently, astrophysicists and other scientific and medical researchers.

Worth’s ‘dust domes’, in principle not unlike larger-scale versions of the glass- or plastic-encased snow domes that were popular as souvenirs and collectors’ items from the late-19th century, are truly original.

Inside the glass casing enclosing these architectural specimens Worth has placed finely textured house dust - comprising fluff, hairs, sand and grime -- gathered for the project. Known in the slang of yesteryear as ‘beggar’s velvet’, or even ‘slut’s wool’, these randomly structured, strangely beautiful house dust conglomerations contrast fascinatingly with the formal, domestic microstructures. 

Pulvis et umbra sumus: We are dust and shadow, wrote Horace (Book IV, Ode vii, Line 16). It is doubtful whether Drop the Dust could have been conceived or realised by less experienced, more youthful artists. Underpinning Worth and Kouwenhoven’s marvellous exhibition is an acute awareness of mortality.

2010 ‘Drop the Dust’ John Neylon, The Adelaide Review

“Worth, in this show, is the surprise packet, particularly as seen in her The Secret Life of Domestic Dust vitrines.… the artist’s deliberate exploration of contrasts between “formal design and seeming randomness” is deftly realised. That they are intriguing to look at and think about suggests that their metaphoric potential has been tapped. A similar comment can be made about a series of low-mounted constructions with a common title prefix of Ancient Accumulations Under Pressure.

They come alive as sloughed reptile skins.”

 

 

2004 ‘Landmarks: Sounds for the Soul’ Dr. Varga Hosseini, catalogue essay ‘Land Marks – Sounds for the Soul’, Flinders Uni. Art Museum

“The unseen flows and forces of energy that circulate throughout the landscape … are the focal points of a substantial quantity of Worth’s … works. One of the virtues … is the ability of … the works to merge and confuse distinction between ‘objective’ and ‘abstract’ perspectives on landscape …  and to consider landscape, not merely as a genre of painting but, to quote Mitchell, as ‘a physical and multi-sensory medium.”

Ref. WTJ Mitchell (ed.) Landscape and Power, University of Chicago Press, London 1994.

 

 

‘On Occupied Territory’, Hon Paul Caica MP Minister for Environment and Conservation, Minister for the River Murray, Minister for Water, Hansard Report March 2003.

“The artwork, On Occupied Territory, which highly regarded South Australian artist Margaret Worth was commissioned to produce, is without doubt an outstanding piece of high quality public art.

Public art can be described as the practice of contemporary art outside the traditional gallery system. This form of art can be seen by a much wider and more varied audience than that seen by the typical art gallery visitor….an art form that has no direct class or social barriers.

Margaret Worth ….has achieved all this and much more. Through her work ‘On Occupied Territory’ she has been able to incorporate a recognition and a respect for the links that exist between our environment, heritage and community.”

  

 

2000 ‘Margaret Worth’  Timothy Morrell, work paper, published Contemporary Art Centre SA.

“She (Worth) regarded the role of the artist as being like that of … an intermediary between this world and Nirvana. So-called public art … is an opportunity to do precisely this, suggesting to viewers a more enlightened way of experiencing their surroundings.

In purely visual terms, many of the constructions now produced by Worth for public art commissions are closer to the hard edge abstractions of thirty years ago …This has a lot to do with the requirements of architectural fabrication, but also reflects (her) interest in structural systems.”