Staatsoper unter den Linden, Opernhaus, Berlin

Signatur des Originals: S 36/F07903

Staatsoper unter den Linden, Opernhaus, Berlin

Signatur des Originals: S 36/F07904

Marie Linden, Brustbild

Signatur des Originals: S 36/F09096

Aircraft accident report : American Airlines, inc., Boeing 707-323, N7595 and a Linden Flight Service, inc., Cessna 150, N60942 over Edison, New Jersey, January 9, 1971 /

Mode of access: Internet.

Passenger vehicle median crossover and head-on collision with another passenger vehicle, Linden, New Jersey, May 1, 2003 /

"PB2006-916202."

Iohannis Antonidae vander Linden ... Medicina physiologica : nova curataque methodo ex optimis quibusque auctoribus contracta & propriis observationibus locupletata

Mode of access: Internet.

Ioh. Antonidae Vander Linden ... De Scriptis Medicis libri duo

Mode of access: Internet.

The linden-tree cottage and the accepted sacrifice.

Poem.

A. Corn. Celsi De medicina libri octo, ex recognitione Joh. Antonidae Vander Linden.

Bound in vellum; brown leather label on spine, stamped in gold; all edges marbled.

Crop

Solo exhibition of sculptural works that use the portrait bust as a vehicle for problematising notions of subjectivity, authority and representation. The exhibition comprised three life-sized figurative busts, each portraits of the artist, sparsely positioned throughout the gallery space to convey a sense of isolation and abandonment. By emphasising the fragmented nature of the bust format by removal of all supports (ie. Socle, plinth or alcove) the works sought to address the vulnerability that frmes this apparently authoritative Enlightenment portrait format. In so doing the exhibition aimed to offer, by example, a new way of seeing and interpreting the portrait bust in history. The exhibition was exhibited at the Institute of Modern Art (Brisbane) and the Perth Institute of Contemporary Arts. Works fro the exhibition were included in group shows at Linden Centre for Contemporary Arts, Ballarat Fine Art Gallery. Work from the exhibition was purchased for the collection of MONA, Hobart.The exhibition received favourable reviews in Eyeline, Art and Australia and Machine magazines.