PUBLICATIONS
SELECTED PUBLICATIONS
2010 http://www.abc.net.au/local/stories/2010/08/04/2972921.htm?site=adelaide
2010 Asian Art News May/June 2010 Exhibition Reviews Australia, Dr. Christine Nicholls.
2009 World Sculpture News Vol.15 No.2, ‘Sun, Sand, Surf, Sculpture’, Dr. Christine Nicholls.
2004 Catalogue essay, ‘Invisible Energies’ Dr. Varger Hosseini, published Flinders Uni. Art Museum.
2003 Hansard Report House of Assembly – Paul Caica MP re ‘On Occupied Territory’.
2003 Waterfronts III PAO Congress – invited paper ‘Creating Significance in Public Places Art’, Barcelona, Spain.
2001 ICOMOS International Conference, Adelaide, SA, invited Discussion Paper ‘Public Places Art & Artworks’.
2002 Artlink ‘Place’ Vol 22 No.2 ‘Tjukurpa Wangkapai – A Story Telling Place’ M. Worth.
2000 Work Paper published Contemporary Art Centre SA, Margaret Worth by Timothy Morrell.
1999 Broadsheet vol.28/3 Dr. Linda Marie Walker
1997 The Weekend Australian Dec 5 Page 42 'Salt Shakes up Town' Michael Mobbs.
1997 Australia Council publication, It Looks Good and Feels Good Too, 3 projects of M.Worth, Malcolm McKinnon.
1997 Australia Council publication Better Places Richer Communities 'Facilities Development' Editor Marla Guppy.
1997 Australia Council publication Swallowcliffe Schools Redevelopment Project, A Collaborative Approach to Public Places, C.Kenneally, N.Hughes, M.Worth.
1994 Artwork, June No. 23, 'Evaluating Collaborative Design', Malcolm McKinnon.
1993 Artwork, July No. 19, 'Riverbanks & Creek beds', Nick Hughes.
QUOTES:
On ‘Drop the Dust’:
“Worth, in this show, is the surprise packet, particularly as seen in her The Secret Life of Domestic Dust vitrines.
… the artist’s deliberate exploration of contrasts between “formal design and seeming randomness” is deftly realised.
That they are intriguing to look at and think about suggests that their metaphoric potential has been tapped.
A similar comment can be made about a series of low-mounted constructions with a common title prefix of Ancient Accumulations Under Pressure.
They come alive as sloughed reptile skins.”
John Neylon The Adelaide Review August 2010
“This is a very Australian exhibition that takes a new look at a very well covered homage to our outback ...”
“The intensity of these panels give the viewer the opportunity to see them either as cross sections of an ancient outback soil profile or aerial views of a seemingly never ending desert.”
RAW: SALA Kryztoff Rating 4K 2010 Kryztoff.com
“The unseen flows and forces of energy that circulate throughout the landscape … are the focal points of a substantial quantity of Worth’s … works. One of the virtues … is the ability of … the works to merge and confuse distinction between ‘objective’ and ‘abstract’ perspectives on landscape … and to consider landscape, not merely as a genre of painting but, to quote Mitchell, as ‘a physical and multi-sensory medium.”
Dr. Varga Hosseini, catalogue essay ‘Land Marks – Sounds for the Soul’, Flinders Uni. Art Museum 2004, quoting from WTJ Mitchell (ed.) Landscape and Power, University of Chicago Press, London 1994.
“She (Worth) regarded the role of the artist as being like that of … an intermediary between this world and Nirvana. So-called public art … is an opportunity to do precisely this, suggesting to viewers a more enlightened way of experiencing their surroundings.
In purely visual terms, many of the constructions now produced by Worth for public art commissions are closer to the hard edge abstractions of thirty years ago …This has a lot to do with the requirements of architectural fabrication, but also reflects (her) interest in structural systems.” Timothy Morrell, Work Paper Margaret Worth, published Contemporary Art Centre SA 2000.