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Naomi Noel Cass is an Australian art curator, writer and critic, educator and administrator who has worked at the Jewish Museum of Australia, the Caulfield Arts Centre, the Australian Centre for Contemporary Art, and the University of Melbourne's Grainger Museum and George Paton Gallery. Cass lectured in visual arts for the universities of Melbourne and RMIT. She was director of the Centre for Contemporary Photography, Melbourne from 2003-2018 and at the Castlemaine Art Museum from 2019–2025.

Early life and education

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Cass was born in Melbourne in 1957,[1] the daughter of Shirley Marion (née Shulman), and Dr Moss Cass who had served on the front bench in the Gough Whitlam government as one of the world’s first environment ministers.[2][3][4][5]

Cass became involved in music and design projects and after completing her honours degree at the University of Melbourne and worked as a curator and writer for exhibitions and public programs for the Jewish Museum of Australia,[6][7] the Caulfield Arts Centre,[8] and the Australian Centre for Contemporary Art, and contributed museum criticism for the Herald Sun.[9] A collector, in 1984 Cass loaned work by Vivienne Shark Lewitt for Australian Visions at the Solomon R. Guggenheim Museum, New York.[10]

Career

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Arts administrator

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From 1984, Cass served in arts and administrative roles, first as curator of the University Gallery, University of Melbourne,[11] while for the University's George Paton Gallery she organised three public lectures by visitors to the Sydney Biennale; Critical Issues in Postmodernism by Sarah Kent, Progress in Art, by Thomas McEvilley and Joseph Beuys by Johannes Cladders.[12] An interview conducted by James Button with Cass in 1987 about her Melbourne University Gallery exhibition Fears and Scruples she explained it was a “cross section of art in Melbourne from 1850 to 1986” presenting old and new paintings side by side in defiance of the linear lock-step of traditional art histories, so that it could be seen how a newer work can throw light on an older.[13] Reviewer Robert Rooney remarked that he had only become aware of the importance of Rosslynd Piggott's work through her inclusion by Cass in this show.[14]

In 1988 Cass was the subject of a petition by Melbourne artists including Tony Clark, Geoff Lowe, Howard Arkley and David O'Halloran calling for the sacking of the Australian Centre for Contemporary Art director Richard Perram and appointment of Cass in his place.[15]

Cass was a lecturer in the Department of Visual and Performing Arts, University of Melbourne for 1990 while directing the art dealership Deutscher Brunswick Street,[16] and joined the Bureau of Immigration, Multiculturalism and Population Research in the Department of Immigration as Public Affairs Officer from 1995 to 1997.[17][18]

Returning to the University of Melbourne, Cass was Cultural Development Officer from 1997 to 2001,[19][20] during which time the National Gallery of Victoria made her one of the five selectors for the second $100,000 Contempora5 biennial art prize,[21][22][23] and she curated exhibitions for the Australian Centre for Contemporary Art,[24] and recruited six artists to research and make works around the history of St Kilda gallery and later-day mansion.[25] Working in the University's Grainger Museum collection,[26] Cass confronted controversial alterations and omissions made to it that were contrary to Percy Grainger's intention; "...every aspect of the current texture of the museum postdates Grainger's direct involvement."[27] From the Museum, she produced two programs of contemporary art and music for the Melbourne International Festival; The Many Faces of Percy Grainger (1997) and Electric-Eye (1998),[28][29][30] and for the city's Fashion Week staged in the George Paton Gallery an exhibition of men's clothing Male Order, inspired by Grainger's unconventional dress for which Cass "asked designers to think about how much the garment or what people wear affects or makes people's identity [and] to come and do their research and be stimulated by the university's Percy Grainger collection."[31][32]

For the Jewish Museum of Australia as a contract curator in 1996, Cass assembled artists's responses to the theme The Wandering Jew to which reviewer Robert Nelson responded that "with a fine catalogue containing an insightful and imaginative essay by Naomi Cass...the vision for this exhibition is subtle, [but] the same can't be said for some of the art."[33] For the Museum in the year following Cass assembled in traditional embroidered and decorated fabrics for Material Treasures, explaining that "To beautify a textile is an act of honouring God," but observing that "very often you can't distinguish between Jewish and Muslim objects, because when you're comfortable you don't need to identify yourself or to be identified. There was a free flow of imagery and means between Jewish and Muslim communities."[34]

Cass was Executive Officer, NETS Victoria (National Exhibitions Touring Support) from 2001–2003.[35]

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In 2004 Cass was appointed as Director of Melbourne's Centre for Contemporary Photography,[36] and in 2005, oversaw the relocation of CCP to purpose-designed premises.[37] Under her leadership, media shown there was expanded to include video; the work of Guy Ben-Ner for example,[38] while The Age noted traditionalist documentary photographers' objections to designer Mimmo Cozzolino's winning the Leica CCP documentary award with 'blurry' photographs.[39] She continued the Centre's fundraiser, the CCP Salon, established by former director Susan Fereday in 1992, the largest open-entry award for photography and video in Australia,[40] and offering for sale donations by major photo-artists including Pat Brassington.[41] Through 2009 she initiated and worked on the first National Indigenous Photographers’ Forum, a major survey Inland, of the work of Simryn Gill for the Melbourne Festival,[42] and through NETS Victoria that year organised a touring exhibition of Anne Zahalka's portraits, of whose approach Nash confirms Cass's observation that "the burden of scrutiny is evenly distributed across the sitter and the setting."[43]

A 2011 exhibition In Camera and In Public was welcomed by reviewer Doug Hall for framing subversion, dissent and paranoia; [44] Andrew Stephens quoted Cass's perception of people's "anthropological instinct" for looking at other humans which, he notes, the camera made more possible for multiple purposes, benign or sinister;[45][46] while for Robert Nelson the show raised questions of photography's relation to the truth.[47] Cass's curation explored transgression and intrigue in ASIO de-classified photos and footage, Percy Grainger's photographs of his welts from self-flagellation, and works by Denis Beaubois, Luc Delahaye, Cherine Fahd, Percy Grainger, Bill Henson, Sonia Leber and David Chesworth, Walid Raad, and Kohei Yoshiyuki, which was also presented as part of the Melbourne Festival,[48][49][50][51] as was, in 2013, the show of Wendy Ewald's collaborations with children.[52] Earlier, responding to a 2007 report that the Melbourne Camera Club had received complaints that parents "photographing their children playing sport were being persecuted by overprotective parents afraid of abuse",[53] Cass noted that artist-photographers' response was to stage their pictures of minors, and in 2008, Cass had defended Polixeni Papapetrou in the controversy surrounding the artist's recruitment of her daughter to pose in tableaux, saying; "Olympia is engaged with a very loving, child-centred and intellectual family. There is no sexualisation of children in Poli's work, and to suggest so is ignorant."[54][55]

For the CCP Cass secured an exhibition of British artist Richard Billingham in 2012,[56] and in 2013 she co-curated the touring[57] survey True Self: David Rosetzky Selected Works with Kyla McFarlane,[58][59] with whom she also coordinated in 2014 The Sievers Project with Jane E. Brown, Cameron Clarke, Zoe Croggon, Therese Keogh, Phuong Ngo, Meredith Turnbull responding to works by Wolfgang Sievers,[60] and on the same principle curated Crossing Paths with Vivian Maier to juxtapose the works of mid-century American Maier with contemporary Australian photography, performance, and video.[61][62][63]

Cass was on the judging panel with Andrew Sayers AM for the National Portrait Gallery's first photographic portrait prize,[64][65] selected the finalists for the Josephine Ulrick and Win Schubert Photography Award Exhibition in 2009,[66] awarded Tamara Dean the 2011 $20,000 Olive Cotton Award,[67] and in 2017 joined Mike Trow, picture editor for British Vogue as judge for the Sony World Photography Awards.[68]

Castlemaine Art Museum interior

Cass joined Castlemaine Art Museum as Director, Renewal, on 21 January,[69] just before the 2019 Castlemaine State Festival, and there focused on combining the previously separate art and museum collections in exhibits in both space and engaging with the local and First Nations communities.[70] She developed a strategic plan, oversaw an audit and significance assessment of CAM’s collections, and upgraded the website with the inclusion of online access to newly digitised imagery of the collection.[71] In partnership with local supporters and artists she attracted new audiences to the Museum through free public access, the Orbit exhibition series, exhibitions of local artists, and the Terrace Projections, which involved projecting commissioned works onto CAM’s heritage-listed facade nightly. The In Conversation series, included exhibitions with Janina Green (2019) and Melinda Harper (2021), in visual dialogue with CAM’s historical collections and contemporary artists. Cass departed Castlemaine Art Museum in June 2025.[72]

Publications

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Books and chapters in books

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  • Renaissance references in Australian art, University Gallery, University of Melbourne, 1985, retrieved 25 May 2025
  • Cass, Naomi (1987). What is this thing called science?University Gallery, The University of Melbourne 11 November–18 December 1987. University Gallery, University of Melbourne. ISBN 978-0-86839-969-0.
  • Australian Centre for Contemporary Art (1991), Claiming : an installation of paintings by Stephen Bush, Melbourne, Victoria, retrieved 25 May 2025
  • Cass, Naomi (1992). "Empty vessels make the most sound". Rosslynd Piggott. Powell Street Gallery.
  • Cass, Naomi (1997). Material treasures: the textile collection of the Jewish Museum of Australia. Jewish Museum of Australia. ISBN 978-1-875670-12-3.
  • Cass, Naomi; Victorian Music Teachers' Association (1998), Electric-eye, Victorian Music Teachers' Association, retrieved 25 May 2025
  • King, Natalie, 1966-; Cass, Naomi; Jewish Museum of Australia (1998). Haimish (homely) : an exhibition of contemporary art. Jewish Museum of Australia. ISBN 978-1-875670-18-5.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  • Loder, Nicola; Cass, Naomi (1998). Nicola Loder, landscape 1-18 : 17 Feb.- 7 Mar. 98, Gallery 101, Melbourne. Gallery 101. Retrieved 25 May 2025.
  • Cass, Naomi (2003). "Vizard's ark: A purposeful collection". See, Here Now: Vizard Foundation Art Collection of the 1990s (paperback ed.). Melbourne: Thames & Hudson. ISBN 9780500284483.[73][74]
  • Chew, Rebecca; Cass, Naomi; Centre for Contemporary Photography (2007), Echo : sounding out contemporary photography, Centre for Contemporary Photography, retrieved 25 May 2025
  • Berkowitz, Lauren; Cass, Naomi (2007). Lauren Berkowitz: cornucopia : 8-24 November 2007. Sherman Galleries. Sherman Galleries. Retrieved 25 May 2025.
  • Temin, Kathy; Cass, Naomi; Ewington, Julie; Renton, Andrew, 1963-; Temin, Kathy, 1968-; Australian Centre for Contemporary Art (1995). Kathy Temin : three indoor monuments. Australian Centre for Contemporary Art. ISBN 978-0-947220-41-9.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  • Gregory, Katherine Louise (2004). The Artist and the Museum: Contested Histories and Expanded Narratives in Australian Art and Museology 1975-2000 (Dissertation ed.). Melbourne, Vic.: University of Melbourne, School of Art History, Cinema, Classics and Archaeology. p. 56.
  • Cass, Naomi (2005), Artnotes Victoria : Bronwyn Bancroft at the Koori Heritage Trust, retrieved 25 May 2025
  • Zahalka, Anne; Palmer, Daniel; Rees, Karra; Rose, , Julie; Cass, Naomi; Centre for Contemporary Photography (2007). Hall of mirrors: Anne Zahalka, portraits 1987-2007. Centre for Contemporary Photography. ISBN 978-0-9751371-5-4.{{cite book}}: CS1 maint: multiple names: authors list (link)
  • Rosetzky, David; Cass, Naomi, (curator.); McFarlane, Kyla, (curator.); Centre for Contemporary Photography (Fitzroy, Vic.) (2013). True self : David Rosetzky : selected works. Centre for Contemporary Photography. ISBN 978-0-9872933-8-1.{{cite book}}: CS1 maint: multiple names: authors list (link)
  • Cass, Naomi, (curator.); McFarlane, Kyla, (curator.); Centre for Contemporary Photography (2014). The Sievers project : Jane Brown, Cameron Clarke, Zoe Croggon, Therese Keogh, Phuong Ngo, Meredith Turnbull, Wolfgang Sievers. Centre for Contemporary Photography. ISBN 978-0-9875976-2-5.{{cite book}}: CS1 maint: multiple names: authors list (link)
  • Cass, Naomi; Consandine, Cate; Garrett, Stephen; Brook, Brook; Morgan, Luke (2016). "Introduction". The wandering eye. Centre for Contemporary Photography. ISBN 978-0-9946229-0-7.
  • Milne, Pippa; Cass, Naomi, (writer of foreword.); Johson, Joseph, (book designer.); Centre for Contemporary Photography, (issuing body.) (2016). CCP declares : on the social contract. Centre for Contemporary Photography. ISBN 978-0-9875976-9-4.{{cite book}}: CS1 maint: multiple names: authors list (link)
  • Cass, Naomi, (curator.); Centre for Contemporary Photography, (issuing body.) (2016). The documentary take : Centre for Contemporary Photography, Melbourne Festival, 1 October - 13 November 2016 : Destiny Deacon and Virginia Fraser, Simryn Gill, Ponch Hawkes, Sonia Leber and David Chesworth, Louis Porter, Patrick Pound, Charlie Sofo and David Wadelton. Centre for Contemporary Photography. ISBN 978-0-9946229-1-4.{{cite book}}: CS1 maint: multiple names: authors list (link)
  • Cass, Naomi, (curator.); Milne, Pippa, (curator.); Centre for Contemporary Photography, (issuing body.) (2017). AnunorthodoxflowofimagesCentreforContemporaryPhotographyMelbourneFestival2017. Centre for Contemporary Photography. ISBN 978-0-9946229-3-8.{{cite book}}: CS1 maint: multiple names: authors list (link)

Journal articles

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  • Cass, Naomi (1995). "Kathy Temin. Three indoor monuments". Art + Text (50).[75]
  • Cass, Naomi (1997). "The Millionth Migrant: A Non-Issue at Melbourne's Post Master Gallery". Art and Australia. 36 (1): 52–3 – via art+australia.
  • Cass, Naomi (1998). "Parallax error". Artlink. 19 (1): 53.
  • Cass, Naomi (1999). "Exhibitions. Suspended breath. Refining dreams and sensibilities". Art and Australia, v. 36, no. 3 (1999). 36 (3): 336.
  • Cass, Naomi (2000). "Making a Museum of Oneself: The Grainger Museum". Meanjin. 59 (2): 140–151. ISSN 0025-6293.
  • Cass, Naomi (January 2003). "Cast from the heart". Craft Arts International (58): 74–76. ISSN 1038-846X.

References

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  1. ^ "Jewish National Fund". Australian Jewish Herald. 1957-12-13. Retrieved 2025-05-25.
  2. ^ "Vale, Moss Cass". Whitlam Institute. 2022-02-28. Retrieved 2025-05-25.
  3. ^ Kohn, Peter (4 March 2022). "Vale Moss Cass: Former federal minister mourned". The Jewish News.
  4. ^ Wright, Tony (2022-03-05). "Moss Cass: pot-smoking Cabinet minister who helped change Australia". The Sydney Morning Herald. Retrieved 2025-05-25.
  5. ^ "'Not a Politician's Politician': Remembering Moss Cass – Arena". arena.org.au. Retrieved 2025-05-25.
  6. ^ "Artists tackle myth of Wandering Jew". Australian Jewish News. 1995-11-24. Retrieved 2025-05-25.
  7. ^ "DISCUSSIONS". Australian Jewish News. 1996-02-02. Retrieved 2025-05-25.
  8. ^ "Diversity of artistic talent". Australian Jewish News. 1994-07-01. Retrieved 2025-05-25.
  9. ^ "Naomi Cass". The Wheeler Centre. Retrieved 2025-06-24.
  10. ^ Waldman, Diane (1984). Australian visions : 1984 Exxon international exhibition. Sydney: Visual Arts Board of the Australian Council. pp. 4, 94. ISBN 9780908024780.
  11. ^ Butler, Roger; Preston, Margaret (1987). The prints of Margaret Preston: a catalogue raisonné. Melbourne: Oxford University Press. pp. viii. ISBN 978-0-19-554864-8.
  12. ^ Vivian, Helen; Hewitt, Susan; Bridie, Sandie (2020). "History of the Ewing and George Paton Galleries 1971-1990" (PDF). University of Melbourne Student Union. p. 60.{{cite web}}: CS1 maint: url-status (link)
  13. ^ Button, James (26 November 1987). "Art Makes Science its subject". The Age. p. 14.
  14. ^ Rooney, Robert (10 July 1998). "Art of the elusive and allusive". The Australian. p. 14.
  15. ^ Harvey, Robyn (18 November 1988). "Art for Art's Sake". The Sydney Morning Herald. p. 29.
  16. ^ Timms, Peter (Winter 1992). "Painting by Numbers: Melbourne Report, 1991". Art and Australia. 29 (4): 430. ISSN 0004-301X – via art+australia.
  17. ^ "Immigration and Ethnic Affairs DEPARTMENT OF IMMIGRATION AND ETHNIC AFFAIRS". Commonwealth of Australia Gazette. Public Service. 1996-01-25. Retrieved 2025-05-25.
  18. ^ Cass, Naomi (12 April 1995). "Conference Organiser (advertisement)". The Age. p. 6.
  19. ^ Gregory, Katherine Louise (2004). The Artist and the Museum: Contested Histories and Expanded Narratives in Australian Art and Museology 1975-2000 (Dissertation ed.). Melbourne, Vic.: University of Melbourne, School of Art History, Cinema, Classics and Archaeology. p. 56.
  20. ^ Cass, Naomi (1997). "The Millionth Migrant: A Non-Issue at Melbourne's Post Master Gallery". Art and Australia. 36 (1): 52–3 – via art+australia.
  21. ^ Usher, Robin (20 March 1998). "Artsbeat: Contempora5 panel named". The Age. p. 19.
  22. ^ Timms, Peter (17 February 1999). "Comment: The big prize problem". The Age. p. 15.
  23. ^ Murdoch, Anna King (10 September 1999). "Five vie for major art prize". The Age. pp. Today.Arts 5.
  24. ^ Queensland Art Gallery; Asia-Pacific Triennial of Contemporary Art, eds. (1996). The second Asia-Pacific Triennial of Contemporary Art: Brisbane Australia 1996. Queensland: Queensland Art Gallery. pp. 122 n.2. ISBN 978-0-7242-7170-2.
  25. ^ Barclay, Alison (12 September 2001). "Arts & entertainment: Artists take a leaf from time". Herald Sun. p. 56.
  26. ^ Darian-Smith, Kate; Servadei, Alessandro, eds. (1998). Talking Grainger : perspectives on the life, music, and legacy of Percy Grainger. Parkville: Australian Centre and the Grainger Museum, University of Melbourne. pp. xv–xviii. ISBN 9780734014368.
  27. ^ Gregory, Katherine Louise (October 2004). The Artist and the Museum: Contested Histories and Expanded Narratives in Australian Art and Museology 1975-2002 (PhD dissertation ed.). Carlton: School of Art History, Cinema, Classics and Archaeology, The University of Melbourne. p. 56.
  28. ^ Cass, Naomi; Victorian Music Teachers' Association (1998), Electric-eye, Victorian Music Teachers' Association, retrieved 25 May 2025
  29. ^ Smith, Jason (Autumn 2007). "Louise Weaver. An imaginary realm of post-natural beings". Art and Australia. 44 (3): 407, 411 n.1 – via art+australia.
  30. ^ Cass, Naomi (2003). "Vizard's ark: A purposeful collection". See, Here Now: Vizard Foundation Art Collection of the 1990s (paperback ed.). Melbourne: Thames & Hudson. ISBN 9780500284483.
  31. ^ Usher, Robyn (26 February 1999). "Artsbeat: Fa fa fashion, turn to the ... gallery". The Age. p. 17.
  32. ^ McGilvray, Annabel (17 February 1999). "A soft spot for dandies". The Australian. p. 35.
  33. ^ Nelson, Robert (3 January 1996). "Wandering through a social metaphor". The Age. p. 14.
  34. ^ Erlich, Rita (19 March 1997). "With cloth, thread and needle comes the fabric of Jewish life - Exhibition: Material Treasures". The Age. p. 7.
  35. ^ Backhouse, Megan (16 July 2003). "Cass focuses on new challenge". The Age. pp. A3 12.
  36. ^ "Meet Photography Gallery Director Naomi Cass". Spaces. 2016-02-17. Retrieved 2025-06-24.
  37. ^ Hawkins, Stewart (2 July 2005). "Melbourne's Centre For Contemporary Photography Filters The Lasting From The Disposable". The Australian Financial Review. p. 31.
  38. ^ Ben-Ner, Guy; Mueck, Ron; Cité de l'énergie (2008). Real life = La vraie vie : Guy Ben-Ner, Ron Mueck (in English and French). Shawinigan, Quebec: National Gallery of Canada = Musée des beaux-arts du Canada, Ottawa. p. 19. ISBN 9780888848529. OCLC 744616623.
  39. ^ Edgar, Ray (9 July 2016). "Reality check". The Age. p. 10.
  40. ^ "Around the galleries". The Age. 20 November 2013. p. 50.
  41. ^ Rainforth, Dylan (3 September 2014). "Around the galleries". The Age. p. 44.
  42. ^ Stephens, Andrew (31 October 2009). "Exposing the kindness of strangers". The Sunday Age. p. 17.
  43. ^ Nash, Eric (Autumn 2009). "Hall of Mirrors: Anne Zahalka Portraits 1987-2007. Coming to Perc Tucker Regional Gallery in April 2009". Art Gaze: 6–7.
  44. ^ Hall, Doug (6 October 2011). "Paranoia is in the eye of the beholder". The Australian Financial Review. p. 44.
  45. ^ Stephens, Andrew (24 September 2011). "Cover story: Scrutiny". The Age. p. 16.
  46. ^ Stephens, Andrew (24 September 2011). "Secret thefts made in the name of state security". The Age. p. 18.
  47. ^ Nelson, Robert (5 October 2011). "Visual Arts: Snapped in the moment — forever". The Age. p. 19.
  48. ^ Hall, Doug (6 October 2011). "Paranoia is in the eye of the beholder". Australian Financial Review. p. 44.
  49. ^ Stephens, Andrew (24 September 2011). "Scrutiny". The Age. p. 16.
  50. ^ Stephens, Andrew (24 September 2011). "Secret thefts made in the name of state securit". The Sunday Age. p. 18.
  51. ^ Nelson, Robert (5 October 2011). "Snapped in the moment — forever". The Sunday Age. p. 19.
  52. ^ "Seeing the world with children's eyes". The Sunday Age. 2 October 2013. p. 42.
  53. ^ "Photo fears". The Leader. 28 May 2007. p. 7.
  54. ^ Perkin, Corrie (8 July 2008). "Offence in the eye of the beholder". The Australian. p. 14.
  55. ^ McColl, Gina (19 January 2013). "The final frame in a bold body of work - Polixeni". The Age. p. 16.
  56. ^ Rainforth, Dylan (22 August 2012). "Space". The Age. p. 13.
  57. ^ "One of Australia's finest video artists". Western Advocate. Bathurst, Australia. 31 May 2014. p. 18.
  58. ^ Stephens, Andrew (2 August 2013). "This camera never lies". The Age. p. 34.
  59. ^ Miralles, Christine (25 July 2013). "David Rosetzky's True Self". Broadsheet. Retrieved 2025-06-05.
  60. ^ Stephens, Andrew (7 June 2014). "Witness to a lost time". The Sunday Age. p. 26.
  61. ^ Kennedy, Randy; Carvajal, Doreen; Smith, Mitch (27 September 2014). "Tension in the heir - controversy". Australian Financial Review. p. 45.
  62. ^ "Time travel". The Canberra Times. 4 October 2014. p. 8.
  63. ^ Stephens, Andrew (4 October 2014). "Intimate insights". The Sunday Age. p. 22.
  64. ^ "Gallery launches annual photo prize". ABC News. 2007-07-03. Retrieved 2025-06-28.
  65. ^ Price, Jenna (13 July 2007). "Want to enter $25,000 photo prize? It's a snap". The Canberra Times. p. 5.
  66. ^ "Visuals". The Courier Mail. 12 April 2009. p. 15.
  67. ^ "Tamara snaps up first". Tweed Daily News. 7 June 2011. p. 3.
  68. ^ "Shutter Stars' Stunning Snaps". The Geelong Advertiser. 28 September 2017. p. 2.
  69. ^ "Gallery manager to build on Castlemaine Art". Bendigo Advertiser. 21 December 2018. p. 1.
  70. ^ Dennis, Lisa (2023-02-14). "CAM director reflects". Midland Express. Retrieved 2025-06-24.
  71. ^ Mutton, Craig; Cass, Naomi (2019). Connecting People Through Art, History, Place and Ideas: Strategic Plan for Castlemaine Art Museum 2019-2023 (PDF). Castlemaine.{{cite book}}: CS1 maint: location missing publisher (link)
  72. ^ "CAM director to step down". Castlemaine Mail. 30 May 2025. Retrieved 24 June 2025.
  73. ^ Snell, Ted (Spring 2005). "art feature: University art collections. Ennobling the mind and spirit". Art and Australia. 43 (1): 133 n.10.
  74. ^ Shuttleworth, Mike (16 August 2003). "Non-fiction books. Pick of the Week. 'See Here Now: Vizard Foundation Art Collection of the 1990s'". The Age. p. 5.
  75. ^ MacAloon, William (1999). Home and away contemporary Australian and New Zealand art from the Chartwell Collection. Auckland: Auckland Art Gallery Toi o Tāmaki. p. 14. ISBN 9781869534271.
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