As one of Australia’s most significant artists, Imants Tillers has been at the forefront of contemporary art for over four decades. Since 1981 Tillers has used his signature canvas board system to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s, to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and landscape.

Recently, a major exhibition of Tillers’ work was held at the Latvian National Museum of Art, Riga. Sixty-four works comprised the exhibition, and were loaned by the NGA (Canberra), AGNSW (Sydney), MCA (Sydney), Auckland Art Gallery Toi o Tāmaki (New Zealand) and the artist’s private collection. The Latvian National Museum of Art stated that, “The works chosen demonstrate the development of [this artistic] master’s creative oeuvre over a period of more than forty years – from 1975 to 2017. From the legendary installation [Conversations with the bride] of 1975, inspired by Marcel Duchamp, [from which Tillers was] immediately selected to represent Australia at the São Paulo Art Biennial, to paintings using the appropriation method… in particular, quotations from Aboriginal art which caused such controversy in Australia in the 1980s. Two of the works on show were created in collaboration with the Indigenous Australian artist Michael Nelson Jagamarra.” An extensive bilingual book Imants Tiller: Journey to Nowhere accompanied the exhibition with contributions by Dr. Elita Ansone, Dr. Graham Coulter-Smith, Prof. Mark Ledbury, Prof. Ian McLean, and the artist.

Born in Sydney in 1950, Imants Tillers currently lives and works in Cooma, New South Wales. In 1973 Tillers graduated from the University of Sydney with a Bachelor of Science in Architecture (Hons), and the University Medal. Imants Tillers has exhibited widely since the late 1960s, and has represented Australia at important international exhibitions, such as the Sao Paulo Bienal in 1975, Documenta 7 in 1982, and the 42nd Venice Biennale in 1986. Major solo surveys of Tillers’ work include Journey to Nowhere, Latvian Museum of Art, Riga (2018); Imants Tillers: works 1978–1988 at the Institute of Contemporary Arts, London (1988); Imants Tillers: 19301, at the National Art Gallery, Wellington (1989); Diaspora, National Art Museum, Riga, Latvia (1993); Diaspora in Context at the Pori Art Museum, Pori (1995); Towards Infinity: Works by Imants Tillers, Museum of Contemporary Art (MARCO) in Monterrey, Mexico (1999); and in 2006 a major retrospective of his work, Imants Tillers: one world many visions, was held at the National Gallery of Australia, Canberra. Tillers has also exhibited in numerous group exhibitions around the world, including An Australian Accent at PS1, New York (1984); Antipodean Currents at the Guggenheim Museum, Soho (1995); Australian Perspecta (1981, 1987-89); The World Over/Under Capricorn: Art in the Age of Globalisation at the City Gallery, Wellington and Stedelijk Museum, Amsterdam (1996); the Biennale of Sydney (1979, 1986, 1988, and 2006); Kunst Nach Kunst (Art After Art), at the Neues Museum Weserburg, Germany (2003); Prism, at the Bridgestone Museum of Art, Tokyo (2006); Australia at the Royal Academy of Arts in London (2013): and Dreamings: Aboriginal Australian art meets de Chirico at the Museo Carlo Bilotti in Rome (2014).

Tillers was the winner of the Art Gallery of New South Wales’ Wynne Prize for landscape painting for two consecutive years (2012-2013). He has received numerous awards and commissions, such as the Osaka Triennale Prize (Gold in 1993, Bronze in 1996, and Silver in 2001), and the inaugural Beijing International Art Biennale Prize for Excellence (2003). Major commissions include: Written in water (hymn to Sydney), a major painting for the Commonwealth Bank Building in Martin Place, Sydney (2015); Avenue of Remembrance, a tapestry design for the Australian War Memorial commemorating the Centenary of the ANZAC landing at Gallipoli (2015); the Federation Pavilion, Centennial Park (1985-87); the Founding Donors Painting, Museum of Contemporary Art, Sydney (1991); and two key sculptures for Sydney Olympic Park (2002). Tillers was a Trustee of the Art Gallery of New South Wales from 2001 to 2009. In 2005 he was awarded a Doctor of Letters honoris causa for ‘his long and distinguished contribution to the field of arts’, by the University of New South Wales. In 2018, Imants Tillers was the subject of a feature-length documentary, Thrown into the World, directed by Antra Cilinska.

Visit Imants Tillers’ website.

2021
As soon as tomorrow, Roslyn Oxley9 Gallery, Sydney
Light & Darkness, Chau Chak Wing Museum, University of Sydney
Fierce Paradise: Paintings from Blairgowrie, Bett Gallery, Hobart

2020
Terra Nullius, Milani Gallery, Brisbane

2019
The Path Itself, Roslyn Oxley9 Gallery, Sydney

2018
Joy Knows No Mercy, ARC ONE Gallery, Melbourne
Journey to Nowhere, Latvian National Museum of Art, Riga
From the Studio, The University Gallery, Newcastle, NSW
The Philosophy of Doubt, Riddoch Art Gallery, Mount Gambier, Victoria The Philosophy of Doubt, Hamilton Art Gallery, Victoria

2017
In Normal Times, Roslyn Oxley9 Gallery, Sydney
Meeting Place - Michael Nelson Jagamara & Imants Tillers, Parliament House, Canberra
The Philosophy of Doubt, Greenaway Galleries, Adelaide

2016
Metafisca Australe, ARC ONE Gallery, Melbourne
The Poet’s Surrender, Bett Gallery, Hobart

2015
Metafisca Australe, Roslyn Oxley9 Gallery, Sydney

2014
Big Storm Between Two Place: Michael Nelson Jagamara and Imants Tillers, Fire works Gallery, Brisbane
Latvian Mandala, Australian Latvian Arts Festival, Latvian House, Sydney.
Haunted Nation, Bett Gallery, Hobart
The Philosopher’s Walk, Greenaway Art Gallery, Adelaide

2013
The Fleeting Self, ARC ONE Gallery, Melbourne

2012
Tabula Rasa, Roslyn Oxley9 Gallery, Sydney
The Loaded Ground: Michael Nelson Jagamara and Imants Tillers, Drill Hall Gallery
Australian National University Art Gallery, Canberra

2011
Nature Speaks, Greenaway Art Gallery, Adelaide.
The Journey South, Bett Gallery, Hobart

2010
The Blossoming World, Arc One Gallery.
A Poem of the Land, Roslyn Oxley9 Gallery, Sydney.
Dual Worlds: Dadang Christanto and Imants Tillers, Jan Manton Art, Brisbane

2009
Leap of Faith, Greenaway Art Gallery, Adelaide
Value Added Landscapes, Jan Manton Art, Brisbane
Clouds on a distant horizon, Bett Gallery, Hobart.
The Long Poem, Lawrence Wilson Art Gallery, University of Western Australia

2008
Melancholy Landscape, Arc One Gallery.
The Tears of Things, Roslyn Oxley9 Gallery, Sydney.
Michael Nelson Jagamara: from the studio, experimentations and collaborations 1996- 2008, Fireworks Gallery, Brisbane (collaborative work).

2007
In Two Minds, Greenaway Art Gallery, Adelaide.

2006
Imants Tillers, Jan Manton Art, Brisbane.
Hereafter, Chapman Gallery, Canberra.
Imants Tillers: one world many visions, National Gallery of Australia, Canberra

2005
Land Beyond Goodbye, Sherman Galleries, Sydney.

2004
Imants Tillers, Greenaway Art Gallery, Adelaide
Transmissions: From here and there, Monash University Museum of Art, Melbourne.
Local Knowledge, Raglan Gallery and Cultural Centre, Cooma, NSW

2003
Imants Tillers, Australian Art Resources, Melbourne.
Recent Works, Sherman Galleries, Sydney

2002
Chapman Gallery, Canberra.
Greenaway Art Gallery, Adelaide.
Not yet post-Aboriginal, Hazelhurst Regional Gallery, Sydney

2000
Imants Tillers, Greenaway Art Gallery, Adelaide.
Imants Tillers, Sherman Galleries Hargrave, Sydney.

1999
Towards Infinity: Works by Imants Tillers, Museo de Arte Contemporaneo de Monterey, Mexico.
Accompanying 47th Australian Latvian Arts Festival, Span Galleries, Melbourne
Home Visitation, Chapman Gallery, Canberra.
Nature Speaks, Sherman Galleries Goodhope, Sydney.
Not yet post-Aboriginal, SPAN Galleries, Melbourne.

1998
Imants Tillers 1997 Lowenstein Sharp Arts 21 Fellow, Museum of Modern Art at Heide, Melbourne.
Prayer for Rain, Raglan Gallery and Cultural Centre, Cooma.

1997
Michael Milburn Gallery, Brisbane.
Karen Lovegrove, Melbourne.
The Enigma of Arrival, Sherman Galleries Goodhope, Sydney.

1996
Imants Tillers, Gow Langsford Gallery, Auckland, New Zealand.

1995
Diaspora in Context: Connections in a Fragmented World, Pori Art Museum, Pori, Finland; Museum of Contemporary Art, Sydney; Govett-Brewster Art Gallery, New Plymouth, New Zealand; Waikato Museum and Art Gallery, Hamilton, New Zealand. via Paradiso, Karyn Lovegrove Gallery, Melbourne.

1994
Telepathic Music, Michael Milburn Gallery, Brisbane.
Imants Tillers: Jump, Sherman Galleries Goodhope, Sydney, N.S.W. Diaspora, Institute of Modern Art, Brisbane.

1993
Imants Tillers: Within the Cleft, Michael Milburn Gallery, Brisbane.
Five Pollock Paintings, Peter McLeavey Gallery, Wellington, New Zealand.
Diaspora: Imants Tillers, National Museum of Art, Riga.

1992
Imants Tillers, Karyn Lovegrove, Melbourne.
A Life of Blank, Plimsoll Gallery, Hobart; Monash University Gallery, Melbourne; Orange Regional Gallery, New South Wales; Queen Victoria Museum and Art Gallery, Launceston.

1991
Journey: 33486, Deutscher Brunswick Street, Melbourne.
Imants Tillers, Peter McLeavey Gallery, Wellington, New Zealand.
Action Paintings, Yuill/Crowley, Sydney.

1990
The Shining Cuckoo, Yuill/Crowley, Sydney
Imants Tillers: Recent Paintings, Peter McLeavey Gallery, Wellington, New Zealand The Bridge of Reversible Destiny, Yuill/Crowley, Sydney
One Painting, Cleaving: Imants Tillers, Wollongong City Art Gallery, Wollongong
Imants Tillers: Poem of Ecstasy, Deutscher Brunswick Street, Melbourne

1989
Tomorrow will be the same but not as this is, Yuill/Crowley, Sydney
Imants Tillers: 19301 or as of October, National Art Gallery, Wellington; Govett-Brewster Gallery, New Plymouth, New Zealand.

1988
To the Fatherland, with Marianne Baillieu, Yuill/Crowley, Sydney
Imants Tillers, Bess Cutler Gallery, New York
Imants Tillers: works 1978–1988, Institute of Contemporary Arts, London;
The Third Eye Centre, Glasgow; Orchard Gallery, Derry, Northern Ireland.

1987
Yuill/Crowley, Sydney.
Galerie Susan Wyss, Zurich.
Bess Cutler Gallery, New York.
Australian Appropriations: The Recent Paintings of Imants Tillers, Vollum College Center Gallery, Reed College, Portland, Oregon, United States.

1986
Paintings for Venice: Australia at the 42nd Venice Biennale, Queensland Art Gallery, Brisbane; Australian Centre for Contemporary Art, Melbourne; Art Gallery of South Australia, Adelaide.
42nd Venice Biennale: Imants Tillers, Corderie at the Arsenale, Venice.

1985
Bess Cutler Gallery, New York. Yuill/Crowley, Sydney.

1984
Bess Cutler Gallery, New York. Pandemonium, Yuill/Crowley, Sydney.

1983
Reconnaissance, Melbourne.
White Aborigines, Matt’s Gallery, London.
Yuill/Crowley, Sydney.

1982
Honour + Glory, with John Nixon, Art Gallery of South Australia, Adelaide.
The Deluge, with John Nixon, Press 4, Melbourne.
The Bridge, with John Nixon, Art Gallery of New South Wales, Sydney.
Composition with 3 equal and parallel rectangles (unit 1), with John Nixon, Yuill/ Crowley, Sydney.
The Field, Art Projects, Melbourne
A Painting which is a Souvenir (with John Nixon), QED, One Central Street, Sydney. Documenta 7, with John Nixon, Art Projects, Melbourne.
The Church + the Cross, with John Nixon, n-space, Kassel, West Germany.
The Church + the Cross, with John Nixon, V Space, Melbourne.
One Painting: One Horizon, Institute of Modern Art, Brisbane.

1981
Two Maps (A Local Mirage), Art Projects, Melbourne.
The Triangle, The Door: One Room, One Painting (left/centre/right), Watters Gallery, Sydney.
Visible Suspension: One Room, Two Paintings, n-space, Sydney.
52 Displacements, n-space, Sydney.
Q Space Annex, Brisbane.

1980
Worlds in Collision, Avago Gallery, Sydney. Q Space Annex, Brisbane.
Survey 13: Imants Tillers, National Gallery of Victoria, Melbourne. Institute of Modern Art, Brisbane.
Other Realities, Realities, Melbourne.

1979
52 Displacements (of Image, of Time, of Water, of Feeling: One Year’s Work), Watters Gallery, Sydney.

1978
Have you ever been taken the same way, Royal Melbourne Institute of Technology, Melbourne.

1977
The Property of Being Found, Watters Gallery, Sydney.

1975
Conversations with the Bride, Watters Gallery, Sydney.

1974
Link Exhibition No. 1: Imants Tillers, Art Gallery of South Australia, Adelaide.

1973
Moments of Inertia, Watters Gallery, Sydney.
Still Life 2, Watters Gallery, Sydney.

2022
Sydney Contemporary, ARC ONE Gallery, Carriageworks, Sydney

2019
Sydney Contemporary, ARC ONE Gallery, Carriageworks, Sydney
Art Basel Hong Kong, Roslyn Oxley9 Gallery, Hong Kong

2018
Grid, Waiheke Community Art Gallery, New Zealand
The Like Button, Roslyn Oxley9, Sydney
20/20: Celebrating 20 years with 20 new portrait commissions, National Portrait Gallery, Canberra, Australia

2017
Sydney Contemporary, ARC ONE Gallery, Carriageworks, Sydney
Artist Profile: Australasian Painters 2007-2017, Orange Regional Gallery, NSW
Poets and Painters — Celebrating the Big Punchbowl, Moonah Arts Centre, Tasmania
Hadley’s Art Prize, Galleries at Hadley’s Orient Hotel, Hobart, Tasmania,
Enlighten Festival, Projection onto New Parliament House, Canberra
Landmarks, Tamworth Regional Gallery, NSW
Today Tomorrow Yesterday, Museum of Contemporary Art, Sydney

2016
The Archibald Prize, Art Gallery of New South Wales, Sydney Wynne Prize, Art Gallery of New South Wales, Sydney
Fleurieu Art Prize, Samstag Museum of Art, 4 June — 26 July
Black, White & Restive, Newcastle Art Gallery, Newcastle
Signs and symbols to live by, Art Gallery of New South Wales, Sydney
Panorama: Part One, TarraWarra Museum of Art, Victoria.
Taba Naba - Australia, Oceania, Arts by People of the Sea, Musee Oceanographique de Monaco, Monaco.

2015
The Triump of Modernism in the Art of Australia, curated by Edmund Capon, Hazelhurst Regional Gallery and Arts Centre, Sydney.
Seen from elsewhere, Auckland Art Gallery Toi o Tamaki, New Zealand
Lightning Strikes at Merrick’s Exhibition with Michael Nelson, Jagamara, Merricks General Wine Store
Sydney Contemporary, ARC ONE Gallery, Carriageworks, Sydney

2014
Dreamings: Austrlian Aboriginal Art meets De Chirico (a room of seven works from 1984 - 2014 adjoining a room of 21 works by Giorigio de Chirico), The Museo Carlo Bilotti, Rome
The Gold Aaward (winner), Rockhampton Art Gallery, Rockhampton.
The Skullbone Experiment: A Paradigm of Art and Nature, Tasmanian Land Conservancy, Launceston, Queen Victoria Museum and Art Gallery,
Inveresk; UNSW Galleries, College of Fine Art Gallery, curated by Philip Wolfhagen and Catherine Wolfhagen, Sydney.
Pop to popism, Art Gallery of New South Wales, Sydney
Sublime Point: The Landscape in Painting, Hazelhurst Regional Gallery & Arts Centre, New South Wales
Dreamings: Australian Aboriginal Art Meets De Chirico, Museo Carlo Bilotti, Rome.

2013
Collective Identity(IeS): This is That Time, Lake Macquarie City Art Gallery, N.S.W.
Mixtape 1980’s, National Gallery of Victoria.
Australia, Royal Academy of Arts, London

2012
Spectrum, The Melbourne Recital Centre, Melbourne.

2011
KIAF, Seoul, Korea.
Paul Greenaway Gallery, Adelaide.
Preview Exhibition and Honours Award Exhibitions, Bett Gallery, Hobart.

2010
How Nature Speaks, Arc One Gallery, Melbourne.

2009
KIAF, Seoul, Korea.

2008
50X50, Arc One Gallery Summer Show, Melbourne.
New Horizons, the collection of the Ishibashi Foundation, Bridgestone Museum of Art, Tokyo, Japan.
Melbourne, Art Fair 08.

2007
Summer ’07 ’08, Roslyn Oxley9 Gallery, Sydney, N.S.W.
Poets Paint Words, Newcastle Region Art Gallery, N.S.W.
Prelude 2008, Arc One Gallery, Melbourne.

2006
Prism: Contemporary Australian Art, Bridgestone Museum of Art, Tokyo, Japan.
2006 Clemenger Contemporary Art Award, National Gallery of Victoria, Melbourne.
Zones of Contact: 15th Biennale of Sydney, Museum of Contemporary Art, Sydney.

2005
A Sense of Place, Tarrawarra Museum of Art, Yarra Valley, Melbourne.
Pitch Your Own Tent: Art Projects / Store 5 / First Floor, Monash University Museum of Art, Melbourne.
Unscripted: Language in Contemporary Australian Art, Art Gallery of New South Wales, Sydney.
Shoosh! A History of the Campfire Group, Institute of Modern Art, Brisbane.
A Partial View: Australian Art in the UWA Art Collection, Lawrence Wilson Art Gallery, Perth.
Arts de la Table, ANU Drill Hall Gallery, Canberra.

2004
One Of: Festivus 04, Sherman Galleries, Sydney.
ANU Art Collection: Acquisitions from the Last Ten Years, ANU Drill Hall Gallery, Canberra.
Sharjah Project: Artcard, Sharjah Art Museum, United Arab Emirates.
Shanghai Art Fair, Australian Art Resources, Melbourne.
The Joseph Brown Collection, National Gallery of Victoria, Melbourne
Imants Tillers, John Nixon and Louise Forthun, Conny Dietzschold Gallery, Sydney
Landscape in Me: Windows on Australian Art, Museum and Art Gallery of the Northern Territory, Darwin.

2003
Bushfire, National Gallery of Victoria, Melbourne.
Fieldwork, National Gallery of Victoria, Melbourne.
Synergies: A Fusion Event, Australian National University, Drill Hall Gallery, Canberra.
Austral-Asia Zero Three, Sherman Galleries, Sydney.
Empathy: Beyond the Horizon, Artspace, Sydney.
Intergrafia: World Award Winners Gallery, International Print Triennale, Krakow.
MCA Unpacked II, Museum of Contemporary Art, Sydney.
First Beijing International Art Biennale, Beijing, China (awarded Prize for Excellence).

2002
Kunst Nach Kunst (Art After Art), Neues Museum Weserburg, Bremen, Germany.
The Big River Show, Wagga Wagga Regional Art Gallery, NSW. Lines II, Fire-Works Gallery, Brisbane.
Deeper Places, Casula Powerhouse, Sydney.
Mindscapes, Newcastle Region Art Gallery, NSW.
Discomfort, Fire-Works Gallery, Brisbane.

2001
MCA Unpacked, Museum of Contemporary Art, Sydney.
Empatia (Empathy: Beyond the Horizon), Pori Art Museum, Pori, Finland.
Southern Exposure: Centenary of Federation, Hazelhurst Regional Gallery and Arts Centre, Gymea, Sydney.
Art Chicago 2001, Chicago, Illinois.
ARCO 01, Greenaway Art Gallery, Madrid.
A Studio in Paris: Australian Artists at the Cité Internationale des Arts 1967–2000, S.H. Ervin Gallery, Sydney.
Colin McCahon: A Time for Messages, National Gallery of Victoria, Melbourne.
Osaka Triennale 2001: 10th International Contemporary Art Competition, Contemporary Art Space, Osaka, Japan (awarded Silver Prize).
Bennett, Nain, Parr, Tillers, Sherman Galleries Goodhope, Sydney.
7th NICAF: International Contemporary Art Festival 2001 Tokyo, Tokyo International Forum, Chiyoda-ku, Tokyo, 28 March - 1 April.
A Selection of Important Twentieth Century Australian and New Zealand Paintings, Martin Browne Fine Art, Potts Point, 20 March - 22 April.
Group Exhibition, Sherman Galleries Goodhope, Sydney 28 February - 17 March.

2000
Art and Furniture, Charles Nodrum Gallery, Melbourne.
Spitting and Biting: Ten Contemporary Artists and the Print, Monash University
Gallery, Melbourne, 19 September - 28 October.
Artists in Focus – Iconography: Traditions and Influence, Holmes à Court Gallery, Perth.
Restricting the Palette: Colour and Land, Canberra School of Art Gallery, Canberra.
Australian Latvian Artists’ Society, Latvian House, Strathfield, Sydney, Summer Exhibition.
From Appreciation to Appropriation: Indigenous Influences and Images in Australian Visual Art, Flinders Art Museum, Adelaide.

1999
The Rose Crossing: Contemporary Art in Australia, Sherman Galleries
Touring Exhibition, Brisbane City Gallery, Brisbane; Hong Kong Arts Centre, Hong Kong; Singapore Art Museum, Singapore.
Cinderella’s Gems: Art and the Intellectual Mission.
20th Century Australian Art selected from University Collections in New South Wales, Macquarie University, Sydney, touring to regional galleries, Noosa, Toowoomba, Orange, Mosman, Bathurst, Lismore, Tamworth, La Trobe, Mildura, Horsham.
1999 Visy Board Art Prize, Richmond Grove Winery, Tanunda, South Australia. Parr, Sachs, Tillers, Young, Orange Regional Gallery, Orange.
Snowy! Power of a Nation: 50 years of the Snowy Mountains Scheme, Powerhouse Museum, Sydney.
WORD, Museum of Contemporary Art, Sydney.
Home and Away: Contemporary Australian and New Zealand Art from the Chartwell Collection, Auckland Art Gallery Toi o Tamaki, Auckland.
Art 1999 Chicago: at Navy Pier, Festival Hall, Navy Pier, Chicago.

1998
Cinco continentes y una ciudad, Museo de la Ciudad de Mexico, Mexico City
Ways of Being, Ivan Dougherty Gallery, Sydney, touring to regional galleries in New South Wales and Gold Coast City Art Gallery through 1999
Remanence: Melbourne Festival 1998, Former Melbourne Magistrates’ Court and City Watch House, Melbourne.
Expanse: Aboriginalities, Spatialities and the Politics of Ecstasy, University of South Australia Art Museum, Adelaide.
On the ashes of the stars ... STÉPHANE MALLARMÉ a celebration, Monash University Gallery, Melbourne.
Proscenium, Artspace, Auckland, New Zealand
Landscape, Charles Sturt University, Wagga Wagga

1997
In Place (Out of Time): Contemporary Art in Australia, Museum of Modern Art, Oxford, U.K.
The Real Thing, Museum of Modern Art at Heide, Melbourne.
Coded, Waikato Museum and Art Gallery, Hamilton, New Zealand.
Visy Board Art Prize, Barossa Vintage Festival, South Australia (awarded First Prize). Power, Corruption and Lies, Institute of Modern Art, Brisbane.
The Archibald Prize, Art Gallery of New South Wales, Sydney; Victorian Arts Centre, Melbourne (exhibited portrait of Murray Bail).
A Thing of Beauty Is, Museum of Contemporary Art, London.
Tokyo International Art Festival, Tokyo International Forum, Tokyo.
Mike Parr, Imants Tillers, John Young, Sherman Galleries Goodhope, Sydney.
Anon, Sherman Galleries Goodhope, Sydney.
Objects and Ideas: Reinventing Minimalism, Museum of Contemporary Art, Sydney.

1996
Spirit and Place: Art in Australia 1861–1996, Museum of Contemporary Art, Sydney. Viewing an Era: Monash University Collection, Monash University Gallery, Melbourne. Greg Weight Artists’ Portraits, Manly Art Gallery and Museum, New South Wales. 12th Biennial Prints Acquisitive Exhibition, Mornington Peninsula Gallery, Victoria; Karyn Lovegrove Gallery, Melbourne.
Imants Tillers, Tracey Moffatt, Dale Frank, Geoff Lowe, Karyn Lovegrove Gallery, Melbourne.
Osaka Painting Triennale, Osaka Mydome, Osaka.
Rosalie Gascoigne, Robert MacPherson, Jacky Redgate, Rover Thomas, Imants Tillers: Some works from their present and their past, National Gallery of Australia, Canberra.
Perceptions and Perspective, Next Wave Festival, National Gallery of Victoria, Melbourne.
The World Over/Under Capricorn: Art in the Age of Globalisation, City Gallery, Wellington, New Zealand: Stedelijk Museum, Amsterdam.
Colonial Post Colonial, Museum of Modern Art at Heide, Melbourne.
The John Kaldor Collection, Museum of Contemporary Art, Sydney.
Systems End: Contemporary Art in Australia, Oxy Gallery, Osaka; Hakone
Open-Air Museum Tokyo; Dong-Ah Gallery, Seoul; Kaohsiung Museum of Fine Arts, Taiwan (with separate catalogue), November 1996.

1995
Exhibition of works on paper, Milburn Gallery, Brisbane
Atkins, Blackman, Borgelt, Firth-Smith, Jones, Lanceley, Mitelman, Parr, Partos, Storrier, Tillers, Guan Wei, Wolfhagen, Sherman Galleries Hargrave, Sydney.
Text & Art, Logan Art Gallery, Logan City, Queensland.
Smorgon Collection of Contemporary Art, Museum of Contemporary Art, Sydney.
Australian Art 1940–1990. From the Collection of the National Gallery of Australia, The Museum of Fine Arts, Gifu, Japan.
Baltic Presence, Latvian Centre, Strathfield, Sydney.
The French Embrace, Alliance Francaise, Sydney.
Australian Art: Colonial to Contemporary, Deutscher Fine Art, Melbourne.
In Tandem, Sherman Galleries Goodhope, Sydney.
Patrick Pound, Jacky Redgate, Imants Tillers, Milburn Gallery, Brisbane.

1994
Seoul 600 International Art Festival, National Museum of Contemporary Art, Seoul.
Humanism and Technology: The Human Figure in Industrial Society, National Art Museum, Seoul.
Virtual Reality, National Gallery of Australia, Canberra, 10 December.
Antipodean Currents: Ten Contemporary Artists from Australia, John F. Kennedy Center for Performing Arts, Washington, DC; Guggenheim Museum SoHo, New York.
25 Years of Performance Art in Australia, Ivan Dougherty Gallery, Sydney; Institute of Modern Art, Brisbane; Perth Institute of Contemporary Arts; Experimental Art Foundation, Adelaide; Australian Centre for Contemporary Art, Melbourne.
Power Works – from the MCA Collection, Museum of New Zealand, Wellington; Govett-Brewster Art Gallery, New Plymouth; Waikato Museum of Art & History, Hamilton; Dunedin Public Art Gallery, Dunedin.
Photosynthesis, Roslyn Oxley9 Gallery, Sydney.
Sweet Damper and Gossip: Colonial Sightings from the Goulburn and North East, Monash, University Gallery, Melbourne; Benalla Art Gallery, Benalla.
Osaka Print Triennale, Mydome, Osaka.
Valsts, Soros Centre for Contemporary Arts, Riga, Latvia.
Logan Art Award, Community Arts Centre, Kingston, Queensland.
Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne.
Prime Television Painting Prize, Newcastle Region Art Gallery, Newcastle.
The King’s School Art Prize, The King’s School, Sydney.
Un/Peeled Art, Ballarat Fine Art Gallery, Ballarat.
Faces of Hope: Amnesty International Art, Art Gallery of New South Wales; 10 August auction 5 August.
Virtuosi (limited edition print portfolio), Sherman Galleries Hargrave, Sydney.

1993
Identities: Art from Australia, Taiwan Museum of Art, Taipei, Taiwan; Wollongong City Art Gallery, Wollongong.
Collective Space: Works from the Monash University Collection, Monash University Gallery, Melbourne.
Looking at Seeing and Reading, Ivan Dougherty Gallery, Sydney; 1 - 31 July Institute of Modern Art, Brisbane; 31 March - 30 April, 1994, Monash University Gallery, Melbourne, 19 May - 25 June, 1994.
Osaka Painting Triennale ’93, Osaka, Japan (awarded Grand Prize).
Arts Extraordinaire – The Cigar Box auction: for Accessible Arts, The ABC Centre, Ultimo, Sydney, 1 - 10 November
Dale Frank, Brent Harris, Mathys Gerber, Robyn Stacey, Imants Tillers, Karyn Lovegrove, Melbourne.
Commitments, Institute of Modern Art, Brisbane; Artspace, Sydney.
The Eye, Art Gallery of New South Wales, Sydney.
Shaman Summer in Finland, Aineen Taidemuseo, Tornio.
Imants Tillers, John Young, Dale Frank, Sherman Galleries Goodhope, Sydney. March, Michael Milburn Gallery, Brisbane.
Sight Regained, Ivan Dougherty Gallery, Sydney.
Installation and Objecthood, Martin Browne Fine Art, Sydney; Michael Milburn, Brisbane, 2 April; Perc Tucker Regional Gallery, Townsville, June.

1992
Works on Paper, Michael Milburn Galleries, Brisbane.
Sight Regained: Collaboration between Artists and Architects, Westpac Gallery, Melbourne.
Inherited Absolute: Artists with Children, Australian Centre for Contemporary Art, Melbourne.
20th Century Australian and New Zealand Painting, Martin Browne Fine Art at Mc Donald Street Galleries, Sydney.
Domino 1: Collaborations between Artists, The University of Melbourne Museum of Art, Melbourne.
The Selective Eye, Peter McCleavey Gallery, Wellington.
The Living Mandala, Access Gallery, National Gallery of Victoria, Melbourne. Imants Tillers, Colin McCahon, Charles Tole, Peter McCleavey Gallery, Wellington Distraction, Yuill/Crowley, Sydney.
Light Sensitive, Artspace, Sydney.

1991
Cologne Art Fair, Cologne.
Opening Transformations, Museum of Contemporary Art, Sydney.
41st Latvian Cultural Festival Art Exhibition, RSAS Gallery, Kintore, Adelaide. Contemporary Art Archive Exhibition, Museum of Contemporary Art, Sydney. Contemporary Landscapes, Institute of the Arts, Deakin University, Geelong.
Off the Wall/In the Air: A Seventies Selection, Monash University, Melbourne. Aberdare Art Prize, Ipswich City Council Regional Gallery, Ipswich, July (winner). Preview Exhibition, Bess Cutler Gallery, Santa Monica.
Porkkana Collection, The Museum of Contemporary Art, Helsinki.
Selected Contemporary Australian Art, Deutscher Brunswick Street, Melbourne. Artists of the Gallery, Yuill/Crowley, Sydney.
Tokyo International Art Show, Tokyo.

1990
Latvian Artists Side by Side, Australia Council, Canberra.
Art from Australia: Eight Contemporary Views, Gedung Seni Rupa Nasional, Jakarta; National Art Gallery, Bangkok; Metropolitan Museum of Manila; National Art Gallery, Kuala Lumpur, April 1991 National Gallery, Singapore.
Osaka Painting Triennale ’90, Mydome Osaka, Osaka
Inland: A Spatial Heritage, Australian Centre for Contemporary Art, Melbourne. Conventional Practice: Still Life & The Model, from the Twenties to Tillers, Robyn Brady Pty Ltd at D.C. Art, Woollahra, Sydney.
À rebours, Yuill/Crowley, Sydney.
Shifting Parameters: Australian Artists Who Employ Photographic Images and Techniques in Their Prints, Queensland Art Gallery, Brisbane.
Fake, Galerie Nikolaus Sonne, Berlin.
Artists for Greenpeace, Linden Gallery, St Kilda, Melbourne.
Art with Text, Monash University Gallery, Melbourne.
Latvian Art, National Art Gallery, Riga.
L’été Australien à Montpellier, Musée Fabre, Montpellier.
Australian Contemporary Art Fair, Royal Exhibition Buildings, Melbourne, 21- 24 June. Fluctua, Art Dock, Noumea, New Caledonia, 8 June - 8 July.
The Complex Picture: Australian Painting in the 1980s, College Gallery, South Australian College of Advanced Education, Adelaide, 22 February - 18 March.
Balance 1990: Views, Visions, Influences, Queensland Art Gallery, Brisbane.
Artists of the Gallery, Yuill/Crowley, Sydney.
Institute of Contemporary Arts, Sotheby’s Benefit Auction, Nigel Greenwood Gallery, Marlene Eleni, Nicola Jacobs, Victoria Miro, London.
Strange Harmony of Contrasts, Roslyn Oxley9, Sydney; Canberra School of Art Gallery, Canberra 22 March -14 April.
Information, Terrain Gallery, San Francisco.

1989
The Archibald Prize, Art Gallery of New South Wales, Sydney. Yuill/Crowley, Sydney, 4 - 22 November.
Porkkana Collection, The Old Student House, Helsinki; Titanik Galeria, Turku; The Art Museum of Hyvinkaa; The Art Museum of Mikkeli; The Art Museum of Kuopio.
Freestyle: Australian Art 1960s to Now, National Gallery of Victoria, Melbourne.
Artists’ Flowers, Ballarat Fine Art Gallery, Ballarat.
ICI Contemporary Art Collection, Ballarat Fine Art Gallery, Ballarat, (touring).
Modern Muses: Classical Mythology in Australian Art, S.H. Ervin Gallery, Sydney.
Captive Nations Council of N.S.W. 25th Anniversary. Commonwealth Savings Bank Head Office, Martin Place, Sydney.
Installation #2: The Skin Area, 200 Gertrude Street, Melbourne.
American Pi(e), Bess Cutler Gallery, New York.

1988
Edge to Edge: Australian Contemporary Art to Japan, National Museum of Art, Osaka; Hara Museum of Contemporary Art, Tokyo Nagoya City Art Museum, Nagoya; Hokkaido Museum of Modern Art, Sapporo.
Images of Religion in Australian Art, National Gallery of Victoria, Melbourne.
The Archibald Prize, Art Gallery of New South Wales, Sydney; Westpac Gallery, Melbourne.
After McCahon: Some Configurations in Recent Art, Auckland City Art Gallery, Auckland, New Zealand.
Australian Art Post 1960, Deutscher Gertrude Street, Melbourne.
Pro Museum of Contemporary Art Collection in Finland, Vanhan Galleries, Helsinki.
Italo Scanga, Imants Tillers, Robin Winters, Dorothy Goldeen Gallery, Los Angeles.
Federation Pavilion, Yuill/Crowley, Sydney. Yuill/Crowley, Sydney.
A Changing Relationship: Aboriginal Themes in Australian Art 1938–1988, S.H. Ervin Gallery, Sydney.
Redux: Michael Bidlo, Sherrie Levine, Doug Huebler, Phillip Taaffe, Richard Pettibone, Imants Tillers, Maloney Gallery, Los Angeles.
Australian Biennale: From the Southern Cross, Art Gallery of New South Wales, Sydney, 19 May 1988, National Gallery of Victoria, Melbourne.
Stories of Australian Art, Commonwealth Institute, London.
Advance Australian Painting, Auckland City Art Gallery, Auckland; National Art Gallery, Wellington.
Creating Australia: 200 Years of Art 1788–1988, Queensland Art Gallery, Brisbane; Art Gallery of Western Australia, Perth; Art Gallery of New South Wales, Sydney; Tasmanian Museum and Art Gallery, Hobart; National Gallery of Victoria, Melbourne; Art Gallery of South Australia, Adelaide).

1987
The Australian Bicentennial Perspecta, Art Gallery of New South Wales, Sydney; Art Gallery of Western Australia, Perth; Frankfurter Kunstverein, Frankfurt; Wurttembergische Kunstverein, Stuttgart, March - April 1989.
The Loti and Victor Smorgan Collection of Contemporary Australian Art, Australian Centre for Contemporary Art, Melbourne.
Heroics: A Critical View, Walter Philips Gallery, The Banff Centre, School of Fine Arts, Banff, Alberta, Canada.
Hybrid Products, S.L. Simpson Gallery, Toronto.
What is this Thing called Science?, University Gallery, The University of Melbourne, Melbourne.
In Print vol. 1 Artists’ Books, Power Gallery of Contemporary Art, The University of Sydney, Sydney.
Field to Figuration: Australian Art 1960–1986, National Gallery of Victoria, Melbourne.
Contemporary Australian Art, Museum of Modern Art, Saitama, Japan.
Painters and Sculptors: Diversity in Australian Art, Queensland Art Gallery, Brisbane.
Art and the West, Art Gallery of New South Wales, Sydney.
Avant Garde in the Eighties, Los Angeles County Museum, Los Angeles.
State of the Art, Institute of Contemporary Arts, London.
‘New Concept’ and the will to Misfit: Modern Art since 1984, Nexus Contemporary Arts Center, Atlanta, Georgia.

1986
Five Years On: A Selection of Aquisitions 1981–1986, Art Gallery of New South Wales, Sydney.
Group Show, Stavaridis Gallery, Boston.
When Attitudes Become Form, Bess Cutler Gallery, New York (with Richard Artschwager, Jennifer Bolande, Steven Parrino, Allen Ruppersburg, Philip Taaffe, Julia Wachtel and others).
Investigations, McIntosh-Drysdale, Washington, DC.
6th Biennale of Sydney: Origins, Originality and Beyond, Art Gallery of New South Wales, Sydney.
Contemporary Issues III: Works from the Collection of Robert and Nancy Kaye, Holman Hall Art Gallery, Trenton State College, New Jersey.
How much beauty can I stand?, Australian Centre for Contemporary Art, Melbourne Pharmakon, Yuill/Crowley, Sydney.

1985
Seeing is Believing: Travelling Art Exhibition 1985, Art Gallery of New South Wales, Sydney.
Still Life, Art Gallery of New South Wales, Sydney.
Little Works by Big Thinkers, Bess Cutler Gallery, New York.
Group Show, Svetlana Achatz, Munich.
Dot and Circle: A Retrospective Survey of the Aboriginal Acrylic Paintings of the Western Desert, Royal Melbourne Institute of Technology Gallery, Melbourne.
Two Worlds Collide: Cultural Convergence in Aboriginal and White Australian Art, Artspace, Sydney.
Visual Tension, Australian Centre for Contemporary Art, Melbourne; Institute of Modern Art, Brisbane.
Production: Re-Production, Gallery 345, New York.

1984
New Work, Bess Cutler Gallery, New York.
Architectura Picta, Ewing and George Paton Gallery, The University of Melbourne, Melbourne.
Synthetic Art, Harm Bouckaert Gallery, New York.
Drawing Sex, Yuill/Crowley, Sydney.
Accents/Expressions, The Corcoran Gallery of Art, Washington, DC.
An Australian Accent: Three Artists from Australia, P.S.1, New York; Art Gallery of Western Australia, Perth; Art Gallery of New South Wales, Sydney.
Form> Image> Sign: Survey of Contemporary Art, No. 3, Art Gallery of Western Australia, Perth.

1983
Animal Imagery, Ballarat Fine Art Gallery, Ballarat.
Tribute to Mervyn Horton, Art Gallery of New South Wales, Sydney.
George Baldessin: Sculpture and Etchings: A Memorial Exhibition, National Gallery of Victoria, Melbourne.
Artists’ Books, Artspace, Sydney.
Mattara Purchase Prize, Newcastle Art Gallery, Newcastle.
The Ciminiera, n-space, Sydney.
VOX POP: Into the Eighties, National Gallery of Victoria, Melbourne
Recent Australian Painting: A Survey 1970–1983, Art Gallery of South Australia, Adelaide.
The Life of Energies, Artspace, Sydney.
Minimalism x Six, Institute of Modern Art, Brisbane.
Tall Poppies: An Exhibition of Five Pictures, University Gallery, The University of Melbourne, Melbourne.
Masterpieces: Out of the Seventies, Monash University Gallery, Melbourne.
Project 40: Australian Artists at Venice and Kassel, Art Gallery of New South Wales, Sydney.

1982
3 Offset Attitudes, Sydney City Library, Sydney.
Art in the Age of Mechanical Reproduction, Ewing and George Paton Gallery, The University of Melbourne, Melbourne.
The Temple of the Winds, n-space at The Temple of the Winds, Royal Botanic Gardens, Melbourne.
Documenta 7, Kassel, West Germany.
Popism, National Gallery of Victoria, Melbourne.
Eureka! Artists from Australia, Serpentine Gallery, London; Institute of Contemporary Arts, London.

1981
The Beacon, n-space at Cremorne Point, Sydney.
Three Rejected Entries: Wynne, Sulman and Archibald Prizes, Art Projects, Melbourne.
John McCaughey Memorial Prize (winning entry), National Gallery of Victoria, Melbourne.
Australian Perspecta 1981: A Biennial Survey of Contemporary Australian Art, Art Gallery of New South Wales, Sydney.

1980
Australian Art in Prints, Queen Victoria Museum and Art Gallery, Launceston. Avago 1980, Experimental Art Foundation, Adelaide.

1979
3rd Biennale of Sydney: European Dialogue, Art Gallery of New South Wales, Sydney.
The Work and its Context, Australian Embassy, Paris.

1978
Roadshow Exhibition 1: Works on Paper, Regional Development Program, touring regional galleries in New South Wales.
Artists’ Books: Book Works, Ewing and George Paton Gallery, The University of Melbourne, Melbourne; Experimental Art Foundation, Adelaide; Institute of Modern Art, Brisbane; Franklin Furnace, New York.

1977
Sets, Series, Sequences, Watters Gallery, Sydney. Watters at Pinacotheca, Pinacotheca, Melbourne.

1976
Post-Object Art in Australia and New Zealand, Experimental Art Foundation, Adelaide.

1975
Conversations with the Bride, South American tour of Australian works in Bienal de São Paulo.
13th Bienal de São Paulo, São Paulo, Brazil.
Phillip Morris Arts Grant, National Gallery of Victoria, Melbourne.

1974
The Wynne Prize, Art Gallery of New South Wales, Sydney.
Ten Years, Watters Gallery, Sydney.
Artists for Whitlam, Hogarth Galleries, Sydney.
Boxes, Ewing and George Paton Gallery, The University of Melbourne, Melbourne.
Gifts from Patrick White, Art Gallery of New South Wales, Sydney.

1973
Recent Australian Art, Art Gallery of New South Wales, Sydney.
Sculpturescape ’73 (Fifth Mildura Sculpture Triennial), Mildura Arts Centre, Mildura. Object and Idea: New Work by Australian Artists, National Gallery of Victoria.

1972
The Joe Bonomo Show: A Show of Strength, Watters Gallery, Sydney.
Contemporary Art Society Annual Art Exhibition, The Blaxland Gallery, Sydney (joint winner, Hunter Douglas Prize).
Young Contemporaries Exhibition, Central Street Gallery, Sydney.

1971
Young Contemporaries Exhibition, The Blaxland Gallery, Sydney.
Open Wide, Contemporary Art Society, Central Street Gallery, Sydney.

1970
Contemporary Art Society Annual Exhibition, The Blaxland Gallery, Sydney.

1969
Wrapped Coast, one million square feet, Little Bay, Sydney.

2020
Finalist, Wynne Prize, Art Gallery of New South Wales, Sydney

2018
Award of Honour, Kulturas Fonda, the World Association of Free Latvians

2017
Finalist, Hadley’s Art Prize

2016
Finalist, Wynne Prize, Art Gallery of New south Wales
Finalist, Archibald Prize for portraiture, Art Gallery of New South Wales
First Prize, The Gold Award, Rockhampton Art Gallery, Rockhampton

2014
Winner Gold Award Rockhampton Art Gallery, Queensland

2013
Winner, Wynne Prize for landscape painting, Art Gallery of New South Wales
Finalist of the Archibald Prize for portraiture, Art Gallery of New South Wales

2012
Winner, Wynne Prize for landscape painting, Art Gallery of New South Wales

2011
Appointed a Director of Immigration Place, Australia, Canberra.

2005
Doctor of Letters (Honoris Causa), University of New South Wales, Sydney.

2003
Prize for Excellence, First Beijing International Art Biennale, China.

2001
Silver Prize, Osaka Triennial 2001, Osaka, Japan.

1999
First Prize, 1999 Visy Board Art Prize, Barossa, South Australia.

1997
Lowenstein Sharp Arts 21 Fellowship, Melbourne.

1996
Bronze Prize, Osaka Painting Triennial, Osaka Triennial, Osaka.
SCEGGS Redlands Inaugural Prize, Sydney.

1994
Sakai City Prize, Osaka Print Triennial, Osaka Triennial, Osaka.
First Prize, Prime Television Painting Prize, Newcastle Region Art Gallery, NSW.

1993
Grand Prize, Osaka Painting Triennial, Osaka Triennial, Osaka.

1991
First Prize, Aberdare Art Prize, Ipswich City Council Regional Gallery, Ipswich.

1981
First Prize, John McCaughey Memorial Prize, National Gallery of Victoria, Melbourne.

2015
Avenue of Remembrance, tapestry commissioned by The Australian War Memorial in 2014 to commemorate the centeneary of the Gallipoli campaign.

2013
Hymn to Sydney, commissioned by Dexus CPA Trust Pty Ltd and Cbus property, 5 Martin Place, Sydney.

2001 – 2002
The Attractor and Eight Women, Overflow Park, Sydney Olympic Park, NSW (collaboration with Alec Tzannes).

1999 – 2000
Terrain I and Terrain II, Westin Hotel, Melbourne

1991
Founding Donors Commission, entrance lobby, Museum of Contemporary Art

1985 – 1987
The Dome of the Federation Pavillion, Centennial Park, Sydney (collaboration with Alec Tzannes).

Art Gallery of New South Wales, Sydney
Art Gallery of South Australia, Adelaide
Art Gallery of Western Australia, Perth
Auckland Art Gallery Toi o Tmaki
New Zealand Australian Embassy, Paris
The Australian War Memorial, Canberra
Ballarat Fine Art Gallery, Victoria
Bendigo Art Gallery, Victoria
Bridgestone Museum of Art, Tokyo
Canberra Museum and Gallery
The Chartwell Collection, Hamilton, New Zealand
Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand
Floridablanca Collection, Madrid
Heide Museum of Modern Art, Melbourne
High Court of Australia Collection, Canberra
Kiasma Museum of Contemporary Art, Helsinki
Lila and Gilbert Silverman Collection, Detroit
The Loti and Victor Smorgon Collection, Museum of Contemporary Art, Sydney
Metropolitan Museum of Art, New York
Monash University Collection, Melbourne
Museo de Arte Contemporáneo de Monterray (MARCO), Mexico
Museum and Art Gallery of the Northern Territory, Darwin
Museum of Contemporary Art, Sydney
Museum of New Zealand Te Papa Tongarewa, Wellington
National Gallery of Australia, Canberra
National Gallery of Victoira, Melbourne
National Museum of Art, Riga
Newcastle Region Art Gallery, New South Wales
Orange Regional Gallery, New South Wales
Parliament House Art Collection, Canberra
Pori Art Museum, Finland
Prudential Insurance Company Collection, New York
Queen Victoria Museum and Art Gallery, Launceston
Queensland Art Gallery, Brisbane
Sakai City Collection, Osaka, Japan
Sorello/Missina Collection
TarraWarra Museum of Art, Healesville, Victoria
Tasmanian Museum and Art Gallery, Hobart
Tate Gallery, London
University of Technology Art Collection, Sydney
University of Western Australia Collection, Perth
Wagga Wagga Regional Art Gallrey, New South Wales
Westpac Bank Collection, New York
Westpac Coorporation Art Collection
Wollongong City Gallery, New South Wales
Numerous corporate and private collections in Australia and internationally

2018
Elita Ansone & Mark Ledbury (eds), Journey to Nowhere, (exh. cat.), Latvian National
Museum of Art: Riga and Power Publications: Sydney, 2018
Imants Tillers, Credo (working title), Giramondo Publications, Sydney, 2018

2009
The Long Poem, exh. cat. Lawrence Wilson Art Gallery, University of Western Australia, Perth

2006
Deborah Hart, Imants Tillers: one world many visions, Canberra: National Gallery of Australia, 2006.

2002
Graham Coulter-Smith, The postmodern art of Imants Tillers: appropriation ‘en abyme’ 1971 – 2001, London: Fine Art Research Centre, Southampton Institute and Paul Holberton Publishing, 2002.

1998
Wystan Curnow, Imants Tillers and the ‘Book of Power’, Sydney: Craftsman House, 1998.

2019
Tony Magnusson, ‘Studio Visit - Imants Tillers’, Look Magazine, Nov-Dec 2019, pp. 66 - 70.

2018
Katrina Chapman, ‘Journey to Nowhere, The surprising world of Imants Tillers’, Eyeline No 89, Brisbane, pp 66 - 72.

Ian McLean, ‘Imants Tillers Journey to Nowhere’, ArtLink, 13 August 2018.

Alice Walker, ‘Australian artist Imants Tillers embraces his Latvian roots in major exhibition in Riga’, ABC Arts News, 11 August 2018.

Linda Morris, ‘No Longer Invisble - Bringing Australian Art to the TATE Modern’, Sydney Morning Herald, 3 April 2018, Simon Wright, ‘A Meeting of Minds,’ Artlines, issue 2 2018, pp. 52 - 53.

Ingrid Periz, ‘On The World Stage,’ Ingrid Periz, Art Collector, issue 83 Jan-Mar 2018, pp 84 - 85.

2015
Ingrid Periz, ‘Review: The Skullbone Experiment: A Paradigm of Art and Nature, Feral Experimental: New Design Thinking, UNSW Galleries, Sydney, Eyeline, Number 82.

2014
Patrick McCaughy, ‘Strange Country: Why Australian Painting Matters’, Miegunya Press, 2014

Dylan Rainforth, ‘Imants Tillers Wins Gold Award’, Art Guide, Australia, online, 7 July. Sasha Grishin, `Australain Art: A History’, The Miegunya Press, Melbourne University Publishing, 2014, pp 428, 479, 490, 497.

Adrian Newstead and Ruth Hessey, The Dealer is the Devil: An insider’s history of the Aboriginal art trade, Brandl and Schlesinger, Blackheath, New South Wales, 2014, pp 220, 284, 325.

Betty Churcher, Australian Notebooks, The Miegunyah Press, Melbourne University Publishing, 2014, pp 13, 173-176, 177-178,

Tanya Buchanan, Topic of Capricornia, Belle Magazine, Aug/Sept 2014, pp 188 -192.

Dreamings: Australian Aboriginal Art meets De Chirico, Museo Carlo Bilotti, Rome, Sorello/Missina Collection, Rome, 2014, pp 117 - 138.

2013
Ron Radford (ed.) , Terra Incognita, National Gallery of Australia Collection Highlights, Canberra, 2013, pp 169.

John McDonald, `More than face value’, The Sydney Morning Herald, Visual Art, Spectrum, April 20-21, 2013, pp12.

John McDonald, `Outlook leaves much to be desired in this artistic landscape’, The Sydney Morning Herald Newspaper, 2013, September 19, pp 6.

Christopher Allen, `Encounters with nature’, The Weekend Australian Newspaper, Review, 2014, August 16-17, pp 10-11.

Christopher Allen, `A shifting canvas: 50 years of Australian visual arts’; `Ten artists of the era’, The Australian Newspaper, 2013, June 22-23.

Mémoires Vives; Une Historire De L’Arte Aborigène, Musée D’Aquitaine, Bordeaux Exhibition: The Archibald Prize, The Australian Newspaper, Arts, 2013, March 22.

Christopher Allen, `Portraiture that looks like a snap to paint’, The Australian Newspaper, Arts, 2013, March 15, pp 15.

Elena Guarracino, `Local artist finalist in Archibald Prize’, Cooma-Monaro Express Newspaper, 2013, March 14, pp 4.

`Imants Tillers interviewed by Helen Hughes’ in Helen Hughes and Nicholas Croggon (ed.s) Impresario: Paul Taylor, The Melbourne Years, 1981 - 1984, Surpllus, Monash University Museum of Art, 2013, pp 241-244.

Betty Churcher and Lucy Quinn, Nature Speaks: AT in Treasures of Canberra, Halstead Press, Canberra, 2013, pp 106 - 107.

Daniel Thomas, Elizapethan Post-Colonial 1950-2013 in `Australia’, Royal Academy of Arts, London, 2013, pp 226 - 288

2012
Graham Coulter Smith, “Imants Tillers’ canvasboard works as a holistic system”, MCA Collection: Volume One, (Sydney: MCA, 2001)

Sasha Grishin, “A real life study in contrasts”, Canberra Times, August 29, 2012.

Helen Hughes, ‘Review: Michael Nelson Jagamara and Imants Tillers’, Frieze, Issue 151, October- November, 2012

Bridget Cormack, `The Ethics of Cultural Borrowing’, The Australian, December 18

Zubin Kanga, `Seven composers, from emerging to venerable, each with a unique voice’, The Sydney Morning Herald Newspaper, Arts & Entertainment, August 20 2012, pp 14.

Christopher Allen, `Oh no, not you again’, The Weekend Australain Review, Visual Arts, April 21-22 2012, pp12-13.

Beckett Rozentals, Imants Tillers pp 196-197 in Kelly Gellatly (ed.) 101 Contemporary Australian Artists, The Council of Trustees of the National Gallery of Victoria, Melbourne, 2012, pp 6-7.

Andrew Hugill, `Pataphysics: A Useless Guide, The MIT Press, Cambridge, London. Lucy Moore, Imants Tillers: Pure Beauty, in Ewen McDonald (ed.) Site, Museum of Contemporary Art, Sydney, 2012, pp 41 - 47.

Graham Coulter Smith, “Imants Tillers’ canvasboard works as a holistic system”, MCA Collection: Volume One, (Sydney: MCA, 2001)

2011
Ian McLean (ed), `How Aborigines Invented the Idea of Contemporary Art’, Institute of Modern Art, Brisbane and Power Publishing Sydney, 2011, pp 40-41, 46, 49-55, 64, 67-68, 105, 133, 159, 212, 219-220, 263, 264, 266, 269-271, 273-277, 302, 317, 319, 338.

Terry Smith, Contemporary Art: World Currents, Lasurence King Publishing, London Stephen Jones, Synthetics: Aspects of Art and Technology in Australia 1956 - 1975, Massachusetts Institute of Technology, Cambridge, USA, 2011

Peter Hill, “Imants Tillers”, Australian Art Collector, Issue 56, Sydney 2011

2010
Stephen Farthing (editor), Art: The Whole Story, Thames and Hudson, London, 2010 Ian McLean, “9 shots 5 stories: Imants Tillers and Indigenous difference”, Art Monthly, Issues 228 and 229, Sydney, April and May 2010.

John Barret Lennard, `Imants Tillers-Written on the Land’, Art and Australia, Issue 48 No. 10, Spring, 2010, pp100-111

`Favourite things: Marah Braye, CEO, Biennale of Sydney’, The Sydney Morning Herald, Good Weekend, May 8 2010, p31.

John McDonald, `Breaking down the invisible walls’, The Sydney Morning Herald Newspaper, The Critics, pp14-15

2009
Ric Spencer, “Spaces to engulf the eye” The West Australian, February 20, 2009.

Joan Kerr, A Singular Voice: Essays on Australian Art and Architecture, Power Publications, Sydney, 2009, p. 117

John Barrett-Lennard, A Partial View: The University of Western Australia Art Collection, Laurence Wilson Gallery and The University of Western Australia, Perth, 2009, p.121

Terry Smith, “Wrapped Up in Art”, The Sun-Herald, November 1, 2009, p.8

Deborah Hart, “Imants Tillers”, in William McAloon (ed), Art at Te Papa, Te Papa Press, Wllington, 2009, p. 299

Harriet Edquist, George Baldessin: Paradox & Persuasion, Australian Galleries with the Estate of George Baldessin, Melbourne, 2009, p. 15, 172, 185-93, 209, 225

Tony Godfrey, Painting Today, Phaidon, London, 2009, p. 439, 414-415, 76, 82.

Sophie Forbat (ed), 40 Years: Kaldor Public Art Projects, John Kaldor, Sydney, 2009, p. 144-53, 20, 26, 41, 44, 64.

2008
Shimada Norio, ‘New Horizons: The Collection of the Ishibashi Foundation’, Bridgestone Museum of Art, Tokyo.

Australian Latvian Artists, Australian Latvian Artists Association, Sydney.

Jake Townsend, `Cultural Impressions’, Aston Martin Magazine, Issue 4 Spring 2008, London.

Maudie Palmer (ed.), ‘Encounters with Australian Modern Art’, Macmillan Publishers, Melbourne and Hermann Éditeurs, Paris.

Ron Radford (ed.), ‘Collection Highlights, National Gallery of Australia’, Canberra.

Ashley Crawford, `The Shock of the Independent: Imants Tillers and Tony Clark in Melbourne,’ Art Monthly Australia, number 209, pp.17-20.

2007
Lynne Seear and Julie Ewington, Brought to Light II: Contemporary Australian Art 1966 - 2006 from the Queensland Art Gallery Collection, Queensland Art Gallery,Publishing, Brisbane.

Sonia Payes, Untitled: Portraits of Australian Artists, Macmillan Art Publishing, Melbourne.

Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986 - 2006, Craftsman House, Melbourne

John MacDonald, Studio: Australian Painters on the Nature of Creativity, R. Ian Lloyd Productions, Singapore.

Bernard Smith, The Formalesque: A Guide to Modern Art and its History, Macmillan Publishers, Melbourne.

2006
Michael Fitzgerald, “Both Sides Now”, Time Magazine, 30 October 2006, pp. 64 – 66.

Prism: Contemporary Australian Art, Bridgestone Museum of Art, Tokyo, 2006 Charles Merewether, 2006 Sydney Biennale: Zones of Contact, Sydney: Biennale of Sydney, 2006

Sarah Thomas, “Imants Tillers: The Unpromised Land”, Clemenger Contemporary Art Award, Melbourne: National Gallery of Victoria, 2006, p. 23.

John McDonald, “From Japan with love”, Sydney Morning Herald, 16 – 17 September 2006, pp. 16 – 17 (Arts & Entertainment Section).

2005
Michael Eather (ed), Shoosh!: the history of the Campfire Group, Fortitude Valley: Institute of Modern Art, 2005.

Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Books, Canberra, 2005.

Leta Keens & Jean Wright, ‘Mountain frame’, Belle Magazine, April–May 2005, p.108- 111.

2004
Ivor Indyk, ‘Imants Tillers’ expresstionism’, in Transmissions from here and there – works by Imants Tillers, Melbourne: Monash University Museum of Art, 2004.

Alan Cruickshank, ‘Fragmented and fabricated: A biennial of what?’, Broadsheet, June – August 2004, vol. 33, no. 2, pp. 14–15.

2003
Ann Stephen (introduction), ‘Ian Burn and Imants Tillers in conversation’, Art Monthly Australia, no. 159, May 2003, pp. 16–19.

Peter Hill, ‘The timing is appropriate’, Spectrum, The Sydney Morning Herald, 10–11 2003, pp. 12–13.

John Kavanagh, ‘Tillers sampler, with wit and mischief’, Business Review Weekly, 8–14 May 2003, p. 89.

‘A serious crush on high-powered art’, The Sydney Morning Herald, 26–27 April 2003, p. 18.

‘The week’s best’, Metro, The Sydney Morning Herald, 2–8 May 2003.

Daphne Guinness, ‘Chance and the art of paradox’, Spectrum, The Sydney Morning Herald, 18–20 April 2003, p. 3.

Howard Morphy, ‘Imants Tillers and the dislocation of the avant-garde’, in Howard Morphy and Nigel Lendon (eds), Synergies.

2002
Anna Gray (ed), Australian art in the National Gallery of Australia, Canberra: National Gallery of Australia, 2002.

Ian North, ‘Imants Tillers and positive value’, Artlink, vol. 21, no. 4, 2002.

Lenny Ann Low, ‘Size does matter’, The Sydney Morning Herald, 15–16 June 2002.

Katrina Schwarz, ‘Art as Theatre’, Reviews, Monument, 46, February–March 2002.

Benjamin Gennochio, ‘The reign in Spain’, The Weekend Australian, 2–3 February.

2001
Charles Green (ed.), Postcolonial + art: where now?, Sydney: Artspace Visual Art Centre, 2001.

Andrew Sayers, Australian Art, Oxford History of Art Series, Oxford University Press, Oxford, 2001.

Helen Armstrong, ‘Shifting meaning: Multicultural Sydney’s public realm’, in Elizabeth Mossop and Paul Walton (eds), City Spaces: Art and Design, Craftsman House, Sydney, 2001.

2000
Martin Kemp (ed.), The Oxford History of Western Art, Oxford University Press, Oxford, 2000.

1999
Nicholas Thomas, Possessions: Indigenous art/colonial culture, London: Thames and Hudson, 1999.

James, Bruce, ‘Tillers goes bush’, The Sydney Morning Herald, 5 June 1999.

Benjamin Genocchio, ‘Grid tease from the Tillers man’, The Australian, 4 June 1999. Reid, Michael, ‘Bird-fanciers expected to flock to exhibition’, The Australian, 24–25 April 1999, p. 4.

Dutkiewicz, Adam, ‘Democratic success’, The Advertiser, 14 April 1999.

‘Visy Board Art Prize’, The Leader, 31 March 1999.

Millard, Russell, ‘Lightning visit worth $40,000’, The Advertiser, 29 March 1999.

Katrina Strictland, ‘Work for labour’s sake’, The Australian, 26 March 1999, p. 18.

Andrew Frost, ‘Australia’s 50 most collectable artists’, Australian Art Collector, January–March 1999.

1998
Ian North, Expanse: aboriginalites, specialities, and the politics of ecstasy, Adelaide: University of South Australia Art Museum, 1998.

Stephen Radok, ‘The figure ground relationship’, Art Monthly Australia, 1998 Leon Paroissien, ‘The Book of Power’, Art and Australia, vol. 36, 1998.

Tom Middlemost and Mary Eagle, Landscape, exhibition catalogue, Charles Sturt University, New South Wales, 1998.

Helen Greenwood, ‘A love of objects from the exotic to the everyday, dictated the style of this Rose Bay house’, Sydney Morning Herald, 8 October 1998.

Peter Wood, ‘Homing in on explorations of identity and landscape’, The Australian, 2 October 1998.

Joanne Harris, ‘Merging pragmatism with spirituality’, The Advertiser, 12 September 1998.

Joyce Morgan, ‘A brush with greatness’, The Sydney Morning Herald, 3 April 1998. John McDonald, ‘Notes from the margin’, The Sydney Morning Herald, 1 February 1998.

Joanna Mendelssohn, ‘Cerebral copies: The power of Imants Tillers in 50,000 pieces’, The Weekend Australian, 31 January – 1 February 1998.

1997
Michael Newman, ‘Imants Tillers’ in In place (our of time): contemporary art in Australia, Oxford: Museum of Modern Art, 1997.

Christopher Allen, Art in Australia: From Colonisation to Postmodernism, Thames and Hudson, London, 1997.

Michael Archer, Art since 1960, Thames & Hudson, London, 1997.

Jason Smith, ‘The John McCaughey Memorial Art Prize 1997’, Gallery, December 1997 – January 1998.

Myfanwy Warhurst, ‘Mid-career in high country’, The Age, Melbourne, 12 December. Robyn Usher, ‘Artsbeat: McCaughey Prize’, The Age, Melbourne, 2 December, 1997.

Dixie Gibson, ‘Artist honours Monaro, Snowy’, Cooma–Monaro Express, 27 November. Lauren Hill, ‘Eight who have designs on city’, The Sydney Morning Herald, 21 November 1997.

Robert Rooney, The Australian, 21 November 1997.

Ben Hopkinson, ‘Cash to “forgotten” artist’, Diamond Valley News, 19 November, 1997.

Ben Hopkinson, ‘Not so young at art but full of ideas’, Doncaster Templestowe News, 19 November 1997.

Maria Prerauer, ‘Where art meets industry’, The Bulletin, 18 November 1997.

‘High country work rewarded’, The Bendigo Advertiser/Weekender, 15 November. Susan McCulloch, ‘More than land for Tillers’s brush’, The Australian, 14 November.

Rebecca Lancashire, ‘Heading for the hills’, Metro Arts, The Age, Melbourne, 11 November 1997.

Helen Musa, ‘Country project wins city approval’, The Canberra Times, 11 November 1997.

Damien Woolnough, ‘Alpine lover’s triumph’, Herald Sun, 11 November 1997.

‘Artists in line for a $40,000 fellowship’, The Bendigo Advertiser/Weekender, 11 November 1997.

Usher Robin, ‘Artists shortlisted’, Metro Arts, The Age, Melbourne, 5 November, 1997.

Morgan Joyce, ‘Yen for the big league’, The Sydney Morning Herald, 31 October, 1997.

Susan McCulloch, ‘No boundaries in our sense of space’, The Weekend Australian, 2–3 August 1997.

Judith White, ‘Australia’s most wanted’, Australian Art Collector, issue 1, July– September 1997.

Giles Auty, ‘Exuberance truncated’, The Weekend Australian, 19–20 July, 1997.

‘Exhibit eh? How selling art to Asia raised eyebrows in Sydney’, Metro, The Sydney

1996
Rex Butler (ed), What is appropriation?: an anthology of crital writings on Australian art in the ‘80s and ‘90s, Sydney: Power Institute of Fine Arts and Institute of Modern Art, Brisbane, 1996.

Angela Bennie, ‘Spirit and Place’, Spectrum, The Sydney Morning Herald, 23 November 1996.

Akihiko Takami, ‘Compounding Australian identity’, Bijutsu-Techo, August 1996.

The Twentieth Century Art Book, Phaidon, London, 1996.

Tamaki Harada, ‘Probe into the present contemporary art in the southern hemisphere’, Mainichi Gravure Amuse, no. 14, 24 July 1996.

Joanna Mendelssohn, ‘Perennial exile comes home at last’, The Australian, 11 July 1996. Miki Yoda, ‘Strong aspect of multicultural society’, The Sankei Shimbun Newspaper, 7 July 1996.

T. J. McGuire, ‘Down under Asia’, Asahi Evening News, 27 June 1996. Neilton Clarke, ‘Beginning at the end’, The Daily Yomiuri, 7 June 1996.

Chris Ashton, ‘Off again, on again’, The Bulletin, 16 April 1996.

1995
Charles Green, Peripheral vision: contemporary Australian Art 1970 – 1994, Sydney Craftsman House, 1995.

Antipodean currents: ten contemporary artists from Australia, New York: Guggenheim Museum, 1995.

Miriam Cosic, ‘To all foreigners: We have art as well as outback’, The Sydney Morning Herald, 28 October 1995.

Sonya Voumard, ‘Imants: At last in control of his destiny’, The Sydney Morning Herald, 29 August 1995.

John McDonald, ‘Tillers’s white nights’, The Sydney Morning Herald, 8 July 1995.

Pepe Karmel, ‘Antidotes for a cartoonish image’, The New York Times, 23 June 1995.

‘Australian art in Japan’, Tomodachi, December 1994 – January 1995.

1994
‘Imants Tillers wins prestigious award’, Flash Art News, May–June 1994, p. 54.

Elwyn Lynn, ‘Caught in the moment’, Review, The Weekend Australian, 21–22 May. ‘Imants Tillers’ (article in Japanese), Nichigo Press, May 1994.

Artnotes, ‘Tillers wins Osaka Prize’, Art Monthly Australia, March 1994.

1993
Anne Marsh, Body and self: performance art in Australia 1969 – 1992, Melbourne: Oxford University Press, 1993.

Deborah Hart, Identities: Art from Australia, Taipei: Taipei Fine Arts Museum and University of Wollongong, 1993.

Joanna Mendelssohn, ‘Bunches of tens’, The Bulletin, 7 December 1993, pp. 79–81.

Julia Robinson, ‘Imants Tillers’ artful kaleidoscope’, Artist Magazine, Taipei, Republic of China, September 1993.

‘A brush with success’, The Sydney Morning Herald, 18 August 1993.

Lynn Fern, ‘A hero aground’, The Sydney Morning Herald, 4 June 1993.

Michael Hutak, ‘Art heavies rage over Sulman’, The Sydney Morning Herald, 12 May 1993, p. 2.

Robert Berlind, ‘Report from Australia: Winter walkabout’, Art in America, April 1993, pp. 3–44.

‘Art of the country: The big picture’, Australian Country Style, February–March 1993, pp. 141–143.

‘Fledgling gallery lays rivals on the canvas’, The Sydney Morning Herald, 10 February. Terry Ingram, ‘Olsen top prize in gallery war’, Australian Financial Review, 18 January.

1992
Evelyn Juers, ‘Imants Tillers: the phenomenon’, The Adelaide Review, June 1992.

Peter Hill, ‘A Life of Blank: Works by Imants Tillers’, Art Monthly Australia, May 1992 p.13.

1991
Bernard Smith and Terry Smith, Australian Painting: 1788 - 1990, Melbourne: Oxford Unversity Press, 1991.

Christopher Allen, ‘Commentaries: Maloney; Hawkes; Tillers; Oliver; Rudyard; Grech; Henneman’, Art Monthly Australia, July 1991, p. 14.

Stephen Bann and William Allen (eds), Interpreting contemporary art, London: Reaktion Books, 1991.

1990
Michael Eather and Marlene Hall, Balance 1990: views, visions, influences, Brisbane: Queensland Art Gallery, 1990.

Mary Eagle, ‘Imants Tillers’ in Art from Australia: eight contemporary views, Melbourne: Australian Exhibitions Touring Agencey, 1990

Robert Atkins, Artspeak: a guide to contemporary ideas, movements and buzzwords, New york: Abbeville Press, 1990.

Stephen O’Connell, ‘Imants Tillers’, Art + Text, September 1990, pp. 146–147.

Imants Tillers, ‘Imants Tillers as a site of conflict’, Art + Australia, vol. 27, no. 3, March

Ashley Crawford (ed.), ‘The 1980s: From leantime to dreamtime’, Tension, no. 19, January 1990.

1989
Chris McAuliffe, ‘A condition of suspended confusion’, Art and Australia, vol. 27, no. 2, Summer 1989

Imants Tillers and Wystan Curnow, ‘An exchange of notes’, Antic, Auckland, no. 6, November 1989.

John Hurrell, ‘A brief look at Gilgulim, the doctrine of metempsychosis, and other tenets of Lurianic Kabbalism, as revealed on p.19301 of Imants Tillers’s Book of Power when that was displayed in Wellington in 1989, and in his earlier books Rendezvous with and Three Facts’, Antic, Auckland, no. 6, November 1989.

Bridget Sutherland, ‘Sign of the Cross’, Antic, Auckland, no. 6, November 1989.

Jenny Harper, ‘Tillers’ McCahons’, Tension, no. 18, October 1989.

Roy Murphy, ‘Scene stealer’, City Life, Sydney, vol. 2, August 1989.

Nicholas Baume, ‘The interpretations of Dreamings: The Australian, Aboriginal Acrylic Movement’, Art + Text, no. 33, Winter Jenny Harper, ‘Imants Tillers in Wellington’, Art New Zealand, Auckland, no. 51, Winter 1989.

Gundega Repse, ‘Spraudisu netas globusa’, Literatura un Maksla, Riga, 15 July 1989.

Sally McMillan, ‘Tillers: Next he takes Manhattan’, The Australian, Melbourne, 1 June.

Michael Hubl, ‘The Australian exhibition’, Kunstforum, Cologne, March–April, 1989.

Nikolajs Bulmanis, ‘Par Imants Tillers’, Jauna Gaita, Hamilton, Ontario, issue 171, February 1989.

1988
Donald Richardson, Art in Australia, Melbourne: Longman Cheshire, 1988.

Eleanora Sturma, ‘6 Latvian Artists exhibiting in New York galleries’, Latvian Art, Rockville, Maryland, vol. 14, 1988.

Michael Archer, ‘Bicentennial exhibitions in London’, Art and Australia, vol. 26, no. 2, Summer 1988.

Imants Tillers, ‘Words of wisdom’, Art and Australia, Bicentenary Special Issue, vol. 26, no. 1, Spring 1988.

Nicholas Baume, ‘Learning from the Dreamtime’, Art and Australia, Bicentenary Special Issue, vol. 26, no. 1, Spring 1988.

Justin Hoffman, ‘Warum nicht Australien’, Wolkenkrater, Hamburg, no. 4, July–August 1988.

Michael Archer, ‘Imants Tillers in London’, Art Monthly, Sydney, no.12, July 1988.

Terry Smith, ‘Provincialism refigured’, Art Monthly, Sydney, no. 13, August 1988. Jennifer Slatyer, ‘The life-motif’, Art Monthly, Sydney, no. 9, April 1988

1987
Eleonara Sturma, ‘Seven Latvian artists exhibiting in New York’, Latvian Art, Rockville Maryland, vol. 13, 1987.

Sandy Nairne, State of the Art: Ideas and Images of the 1980s, Chatto & Windus, London, in collaboration with Channel Four Television, 1987.

Terry Smith, ‘Imants’ images: Fair borrowing is no robbery’, Times on Sunday, Sydney, 29 November 1987.

Jeffrey Rian, ‘Imants Tillers’, Art in America, November 1987.

Peter Ward, ‘Temple of light?’, The Australian, Melbourne, 7–8 November 1987.

Conrad Wolf, ‘Imants Tillers in der Galerie Susan Wyss’, Tages-Aneiger, Zurich, 9 October 1987.

John Miller, ‘AvantGarde in the Eighties’, Artscribe, London, September–October 1987.

Carl Pickering, ‘Il punto di vista di Casa Vogue’, Milan, no. 181, June 1987.

Jude Schwendenwien, ‘Refined vision’, East Village Eye, New York, May 1987.

Gunars Jurjans, ‘From Venice to Melbourne’, Australian Latvian News, Sydney, 10 April 1987.

Vivien Raynor, ‘Imants Tillers’, The New York Times, 3 April 1987.

Paul Foss, ‘Mammon and millennial Eden’, Art + Text, no. 22, March 1987.

Juan Davila, ‘Aboriginality: A lugubrious game?’, Art + Text, no. 22, March 1987.

Kim Levin, ‘Imants Tillers’, Village Voice, New York, 7 April 1987.

Vivien Raynor, ‘Imants Tillers’, The New York Times, 3 April 1987.

Lois Allan, ‘Issues for outsiders’, Artweek, Oakland, California, February, 1987.

Michael Brenson, ‘Two artists who flourish in a postmodern climate’, The New York Times, 22 February 1987.

Susan Morgan, ‘Sydney Biennale’, Artscribe, London, January–February 1987.

Jennifer Slatyer, ‘An interview with Imants Tillers’, The Australian bicentennial Perspecta, Sydney: Art Gallery of New South Wales, 1987.

1986
Terry Smth, Constructing the history of Australian art: eight critiques, Sydney: Power Institute of Fine Arts, 1986.

Eleanora Sturma, ‘Five Latvian artists in New York’, Latvian Art, Rockville, Maryland, no. 12, 1986.

Jurgen Hohmeyer, ‘Durch die Wunderkammer’, Der Spiegel, Cologne, no.27, 1986.

Ronald Millar, ‘Venice Biennale and past futures’, Art and Australia, Summer 1986.

Terence Maloon, ‘Imants Tillers and the museum without walls’, Studio International, London, December, 1986.

Peter Schjeldahl, ‘A visit to the salon of Autumn 1986’, Art in America, December, 1986

Thomas McEvilley, ‘Biennale of Sydney’, Artforum, New York, November 1986.

Paul Taylor, ‘Biennale of Sydney’, Flash Art, Milan, October–November 1986.

Milton Gendel, ‘Report from Venice’, Art in America, October 1986.

Michael Newman, ‘Mysteries and mercenaries: The Venice Biennale 1986’ Artscribe, London, September–October 1986.

Peter Ward, ‘The colour Tillers’, The Australian, Melbourne, 6–7 September 1986. William Feaver, ‘Venice: A user-friendly Biennale’, Artnews, New York, September 1986.

Catherine Millet, ‘Venice: l’art et l’alchemie des prix’, Art Press, Paris, September 1986

John McDonald, ‘John McDonald and painter Imants Tillers go on a gallery crawl’, The Sydney Morning Herald, 8 August 1986.

Timothy Morell, ‘Big drawings’, Art and Australia, vol. 23, no. 3, Autumn 1986.

John S. Weber, ‘Venice Biennale offers art from the ingenious to the dismal’, The Oregonian, Portland, 22 July 1986.

Sophia Willems, ‘Alles gesagt und nichts gemeint’, Dusseldorfer Nachtrichten, 5 July 1986.

John Young, ‘Murmur of the soul’, Tension, no. 9, May 1986.

Ronald Fishman, ‘Under 40 and on top’, Good Weekend, The Sydney Morning Herald, 3 May 1986.

Robert Nickas, ‘The sublime was then (search for tomorrow)’, Arts Magazine, New York, March 1986.

Eleanor Hartney, ‘Imants Tillers’, Artnews, New York, January 1986.

1985
Michele Cone, ‘Imants Tillers’, Flash Art, Milan, December 1985 – January 1986. Carter Ratcliff, ‘Modern life’, Artforum, New York, December 1985.

Paul McGillick, ‘American visions, Australian accents’, Art and Australia, vol. 23 no. 2., Summer 1985.

Robert Nickas (ed.), ‘Hunger for words’, New Observations, New York, no. 29. 1985. Kim Levin, ‘Imants Tillers’, Village Voice, New York, 12 November 1985.

John Russell, ‘Imants Tillers’, The New York Times, 8 November 1985.

Robert Nickas, ‘Inversion, perversion, subversion’, Figura, Seville, Spain, no. 6, Autumn 1985.

Nicholas Baume, ‘Original sin’, Studio, Sydney, August–September 1985.

Kerry Leves, ‘Creating works out of feelings’, The Australian Financial Review, 26 July 1985.

Donald E. Kuspit, ‘Imants Tillers’, Art in America, March 1985.

Elizabeth Parsons, ‘Imants Tillers’, Follow Me, Sydney, February–March 1985.

1984
Paul Taylor (ed), Anyting goes: art in Australia 1970–1980, Melbourne: Art and Text, 1984.

Kate Linker, ‘Imants Tillers’, Artforum, New York, December 1984.

‘Ken Sofer, ‘Views from Down Under’, Artnews, New York, December 1984.

Michael Brenson, ‘Imants Tillers’, The New York Times, New York, 5 October 1984.

Kim Levin, ‘Upstarts from Down Under’, Village Voice, New York, 5 October 1984.

Thomas McEvilley, ‘An Australian Accent’, Artforum, New York, October 1984.

Thomas McEvilley, ‘On the manner of addressing clouds’, Artforum, New York, Summer 1984.

Eric Gibson, ‘An Australian Accent?’, The New Criterion, New York, September 1984. Benjamin Forgey, ‘The edge of night’, The Washington Post, 22 July 1984.

Robert Atkins, ‘Australians arrive at PSI’, Newsday, New York, 11 May 1984.

Kay Larson, ‘Seeing Australia’, New York Magazine, 7 May 1984.

Kim Levin, ‘PS1’s report card’, Village Voice, New York, 1 May 1984.

John Russell, ‘The irony of Chirico’, The New York Times, 27 April 1984.

John Russell, ‘3 vigorous artists from Down Under’, The New York Times, 20 April 1984.

Ashley Crawford, ‘Imants Tillers’, Tension, no. 3, February 1984.

John Roberts, ‘Principles of motion’, Art Monthly, London, no. 73, February 1984.

Sue Cramer, ‘Vox pop’, Art + Text, nos 12 and 13, Summer 1983, Autumn 1984.

Daniel Thomas and Jonathan Fineberg, An Australian Accent: three artists, Mike Parr, Imants Tillers, Ken Unsworth, Sydney: John Kaldor, 1984.

1983
Leon Paroissien, Australian Art Review 1983, Warner Associates, Sydney, 1983.

Michael Archer, ‘We are not all in the same boat’, Art Monthly, London, no. 72, December 1983.

Anna Murdoch, ‘One of a new breed’, The Age, Melbourne, 25 November 1983.

Robert Rooney, ‘Tall Poppies’, Flash Art, Milan, November 1983.

Catherine Millet, ‘Special Australie: Art, musique, literature, peinture, aborigine’, Art Press, Paris, no. 74, October 1983.

Paul Taylor, ‘Art news: Artists in Paris’, Vogue Australia, October 1983.

John Young, ‘Anything still’, Art + Text, no. 11, September 1983.

Sue Cramer, ‘Masterpieces and Tall Poppies’, Art Network, June 1983.

Terrence Maloon, ‘Son of Dada moves on to masterpieces’, The Sydney Morning Herald, 16 April 1983.

Susan Hely, ‘Tillers seeks a sense of belonging’, The Sydney Morning Herald, 7 April 1983.

Germano Celant, ‘From alpha trainer to subway’, Art + Text, no. 9, March 1983

Paul Taylor, ‘Popism: The art of White Aborigines’, On the Beach, Sydney, no. 1, March 1983.

1982
Leon Paroissien, Australian Art Review 1982, Warner Associates, Sydney, 1982.

Margaret Plant, ‘The encounter of Baldessin and Tillers on an etching plate according to des Esseintes 1976’, Art Bulletin of Victoria, Melbourne, no. 22, 1982.

Paul Taylor, ‘Popism’, Real Life, New York, no. 9, Winter 1982.

Annelie Pohlen and Wolfgang Max Faust, ‘Documenta 7’, Kunstforum International, Cologne, September 1982.

Stuart Morgan, ‘Kangaroo Court’, Art Network, no. 7, September 1982.

Richard Dunn, ‘The pursuit of meaning: A strategy of parts’, Art + Text, no. 6, June 1982.

1981
Suzy Gablik, ‘Report from Australia’, Art and Australia, vol. 18, no. 4, June 1981.

Margaret Plant, ‘More than just coincidence’, The Australian, Melbourne, 6 August 1981.

Mary Eagle, ‘Tillers’ facts’, The Age, Melbourne, 12 November 1981.

John Young, ‘From Three Facts to’, Art + Text, no. 4, December 1981.

Suzi Gablik, ‘Report from Australia’, Art in America, vol. 69, no. 1, January 1981.

1978
Dianne Beevers, ‘According to des Esseintes’, Artemis, Newcastle, vol. 9, no. 4, October 1978.

Imants Tillers and Michael Scullion, ‘Dialogue on False Mount Hayward’, ZX, Sydney, no. 2, August 1978.

Mary Eagle, ‘Picture of Duchamp a success’, The Age, Melbourne, 12 July 1978.

1975
Donald Brook, ‘Imants Tillers and the redefinition of art in Australia’, Art and Australia, vol. 13, no. 1, July 1975.

1974
Ian North, ‘Link exhibitions at the Art Gallery of South Australia’, Art and Australia, vol. 12, no. 2, Spring 1974.

Imants Tillers, ‘Moments of Inertia’, Contemporary Art Society Broad sheet, Sydney, January 1974.

1973
Donald Brook, ‘Peeling the onion in post object art’, Nation Review, Sydney, 14 September 1973.

Julie Ewington, ‘The Joe Bonomo Story: A show of strength’, Art and Australia, vol. 10, no. 3, January 1973.

2009
John Barrett-Lennard, Imants Tillers: The Long Poem, Laurence Wilson Art Gallery and The University of Western Australia, Perth, 2009.

2008
Olivia Sophia, Imants Tillers: Melancholy Landscape, Arc One Gallery, Melbourne Michael Eather, Michael Nelson Jagamara: from the studio, Fireworks Gallery, Brisbane

2007
Robert Leonard (ed.), Richard Bell: Posititivity, Institute of Modern Art, Brisbane

2006
Rex Butler, Imants Tillers: The Last Australian Painter, Jan Manton Art, Brisbane

Deborah Hart, Imants Tillers: one world many visions, National Gallery of Australia, Canberra.

2005
Imants Tillers: Land Beyond Goodbye, Sydney: Sherman Galleries, 2005.

2004
Ivor Indyk, Transmissions: from here and there – works by Imants Tillers, Melbourne:

Monash University Museum of Art, 2004.

Imants Tillers, Adelaide: Greenaway Art Gallery, 2004.

2003
Imants Tillers, Melbourne: Australian Art Resources, 2003.

2002
Imants Tillers: not yet post-Aboriginal, Sydney: Hazelhurst Regional Gallery and Arts Centre, 2002.

Imants Tillers, Melbourne: Span Galleries, 2002.

1999
Imants Tillers: Nature Speaks, Sydney: Sherman Galleries, 1999.

Charles Merewether, Towards Infinity: works by Imants Tillers, Mexico: MARCO Museo de Arte Contemporaneo de Monterrey, 1999.

1998
Ian North, Imants Tillers: 1997 Lowenstein Sharp Arts 21 Fellow, Melbourne: Museum of Modern Art at Heide, 1998.

1997
Imants Tillers: the enigma of arrival, Sydney: Sherman Galleries, 1997.

1995
Diaspora in context: connections in a fragmented world. Imants Tillers makes a painting by Georg Baselitz, Joseph Beuys, Bernhard Blume, Carlo Carra, Giorgio de Chirico, Mike Kelley, Byatutas Landsbergis, Colin McCahon, Arnulf Rainer, Nicholas Roerich and Isidore Tillers, Pori, Finland: Pori Art Museum, 1995.

1994
Imants Tillers: JUMP, Sydney: Sherman Galleries, 1994.

Telepathic music: Imants Tillers, Brisbane: Michael Milburn Gallery, 1994.

1993
Diaspora: Imants Tillers, Sydney: co-published by Imants Tillers and the Museum of Contemporary Art, Sydney, to accompany the exhibition at the National Museum of Art, Riga, 1993.

1992
A life of blank: works by Imants Tillers, Hobart: Plimsoll Gallery, University of Tasmania, 1992.

1990
Mary Eagle, Imants Tillers: Poem of Ecstasy, Deutscher Brunswick Street, Melbourne, 1990.

Bernice Murphy, Rene Daumal, John Young and Imants Tillers, Imants Tillers: One Painting, Cleaving, Wollongong City Art Gallery, Wollongong, 1990.

1989
Jennifer Harper, Imants Tillers 19301, National Art Gallery, Wellington, 1989.

1988
Iwona Blazwick, Michael Newman, Jennifer Slatyer and Paul Foss, Imants Tillers: Works 1978–1988, Institute for Contemporary Arts, London, 1988.

1987
John S. Weber, Australian Appropriations: The Recent Paintings of Imants Tillers, Reed College Art Associates, Portland, Oregon, 1987.

1986
Kerry Crowley (ed), Imants Tillers: Venice Biennale 1986, The Visual Arts Board of the Australia Council, Sydney and Art Gallery of South Australia, Adelaide, 1986.

1983
John Nixon and Imants Tillers, One Painting with Many Titles, Art Projects, Melbourne, 1983.

Paul Taylor, Imants Tillers: White Aborigines, Matt’s Gallery, London, 1983.

1982
One painting: one horizon, Brisbane: Institute of Modern Art 1982.

1980
Peter Myers, Imants Tillers: Survey 13, National Gallery of Victoria, Melbourne, 1980

52 displacements, one year’s work 1979, Sydney: n-space, 1980.

1978
Imants Tillers and Noel Sheridan, Rendezvous with Configuration P Experimental Art Foundation, Adelaide, 1978.

Brian Lindman, Have you ever been taken the same way?, Royal Melbourne Institute of Technology, Melbourne, 1978.

1975
Charles Merewether and Imants Tillers, Imants Tillers, George Baldessin: XIII Bienal de São Paulo, The Visual Arts and Crafts Board of the Australia Council, Sydney, 1975.

2017
‘Metafisica Australe’ in Art + Australia Issue One (53.2): Extraterritoriality http://www.artandaustralia.com/online/metafisica-australe

2013
`Imants Tillers’ in The Skullbone Experiment; A Paradigm of Art and Nature, Tasmanian Land Conservancy, Launceston, 2013

`The Emergency of Being’ in 2013 Archibald Prize, Art Gallery of New South Wales, Sydney, 2013

2012
An Auspicious Entanglement’ in The Loaded Ground; Michael Nelson Jagamara & Imants Tillers, Australian National University Drill Hall Gallery, Canberra, 2012

`Images of Flow’ in Ariel Hassan; About Madness, Greenaway Art Gallery, Adelaide `Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953 - 1997’, Art & Australia, vol. 50:2, pp 316.

2011
`Nature Speaks’, in `Imants Tillers; Nature Speaks’,Greenaway Art Gallery, Adelaide Papunya painting ins conceptual art, 1983, White Aborigines, 1982 , Post-Aboriginality, 2001 with Ian North in Ian McLean (ed), `How Aborigines Invented the Idea of Contemporary Art’, Institute of Modern Art, Brisbane and Power Publishing Sydney, 2011, pp 138 - 139, 160 - 162, 320 - 321.

2010
`What was I thinking?’ in Paul Greenaway (ed), Fairweather, Paul Greenaway Gallery, Adelaide, 2010

2009
`Leap of Faith’, Greenaway Art Gallery, Adelaide, 2009

2008
`The Faith’ on Marianne Baillieu, The Unquiet World, Australian Centre for Contemporary Art, 2008

2007
`In Two Minds’ in Imants Tillers; In Two Minds, Greenaway Art Gallery, Adelaide, 2007

2005
`Land Beyond Goodbye’, in `Imants Tillers; Land Beyond Goodbye’, Sherman Galleries, Sydney

2004
‘When locality prevails’, Heat, no. 8 new series, 2004.

2003
‘Bringing forth a world’, in Marketta Seppala (ed), Empathy: beyond the horizon, Pori, Finland: Pori Art Museum and FRAME Finnish Fund for Art Exchange, 2003.

‘Mexico, etcetera and Surrender’, in Marketta Seppala (ed), Empathy: beyond the horizon, Pori, Finland: Pori Art Museum and FRAME Finnish Fund for Art Exchange.

1998
‘Five portraits of Murray Bail’, Heat, no. 8, 1998.

1996
‘Perbutations in the image field’, in Wystan Curnow and Diorine Mignot (eds), The world over/under Capricorn: art in the age of globalization, exhibition catalogue,

Wellington and Amsterdam: National Gallery and Stedelijk Museum, 1996.

1994
‘Poetic justice: a case study (due allocation of reward of virtue and punishment of vice)’, Midwest, no. 5, 1994.

1990
‘Imants Tillers as a site of conflict’, Art and Australia, vol. 27, no. 3, Autumn 1990.

1989
Imants Tillers with Wystan Curnow, ‘An exchange of notes’, Antic, no.6, Nov. 1989.

1988
‘Words of wisdom’, Art and Australia, vol. 26, no. 1, Special Bicentennial Issue, spring 1988.

1985
Dick Watkins: XVIII Bienal de Sao Paulo, Sydney: Broken hill City Art Gallery and The

Visual Arts Board of the Australia Council, 1985.

The classicism of Tony Clark’, Follow Me, Sydney, June–July 1985.

1984
‘In perpetual mourning’, ZG/Art + Text (joint issue), New York, July 1984.

‘Style master: Dick Watkins’, Express Australia, New York, April 1984.

1983
‘One painting’, in Bernice Murphy (ed), Project 40: Australian artists at Venice and

Kassel, exhibition catalogue, Sydney: Art Gallery of New South Wales, 1983. ‘Fear of texture’, Art + Text, no. 10, June 1983.

‘Koala-boy’, Virgin Press, Melbourne, no. 24, April 1983.

1982
‘Interview with James Gleeson’, Art + Text, no. 8, December 1982.

‘The temple of the winds’, Virgin Press, Melbourne, no. 19, November 1982. One Painting, One Horizon, Institute of Modern Art, Brisbane, 1982. ‘Locality Fails’, Art + Text, no. 6, June 1982.

1981
Three Facts, Double Vision, Melbourne, 1981.

‘Some impressions’, Art and Australia, vol.18, no. 3, March 1981.

1980
Fifty-two displacements, one year’s work 1979, n-space, Sydney, 1980.

1974
‘Moments of inertia’, Contemporary Art Society Broadsheet, Sydney, January 1974.

1973
91 Missing Works, Sydney, 1973.

2014
Projecting Skullbone Plains, Steve Thomas, Steve Thomas, Matt Newton, ABC Television

2006
The Deepend, Sasha Grishin, ABC Radio National, 10 August 2006, (Producer: Debra McCoy).

2000
Poles Apart, Rymer Bayly Watson, Sydney, for SBS, 11 November.

1999
Eye to Eye with Betty Churcher: Imants Tillers, ABC television, Sydney (Director: John Lewis).

Snapshot: Imants Tillers, ABC television, Melbourne (Director: W. Proud). Millennium Day Broadcast, ABC television, Canberra (Director: Arthur Hill).

1990
Es Esmu Latvietis, Riga Film Studio, Riga, Latvia (Director: Ansis Epners).

1987
State of the Art: Ideas and Images in the 80s, Channel Four Television, London (Producer: John Wyver).

L’Object d’Art a l’Age Electronique, La SEPT, Paris (Director: Geoff Dunlop).

1978
Australian Artists: ABC Radiovision Feature for Secondary Schools, Australian

Broadcasting Commission, Sydney (Producer: Harvey Broadbent).