OrganisationTitleAcquiredEarliestDateLatestDateDateCommentDurationMediaDescDimensionThesisConditionCopyrightRelatedCollectionArtistsCreditNotesAccessionEprintSierra
ACMI 2 Spellbound 1999 Les LEVEQUE Les Leveque takes Alfred Hitchcock's classic psychoanalysis and memory loss thriller and injects it with a large dose of adrenalin. What remains is a speeded up frenzy of image, light and hardcore techno music as Ingrid Bergman and Gregory Peck flash before our eyes, subverting our own memory of the film into a hazy waking dream. B1003079
ACMI 37 Stories about leaving home Purchase 1996 00:52:00:00 Shelly SILVER In 37 Stories About Leaving Home, a group of Japanese women living in the Tokyo area recount personal stories of their own experiences of leaving home. In these stories one can begin to see, from very personal and individual perspectives, the societal changes that have occurred over the last three generations for women in Japan, bringing an exciting and often conflicting array of choices and positions. Many of the stories revolve around the relationships these grandmothers, mothers and daughters have with each other, filled with respect, rebellion, loss and love. The interviews are framed by a traditional Japanese folktale, a magical and somewhat shocking narrative of a mother's search for her abducted daughter, kidnapped by a monster on the eve of her wedding. B1000129
ACMI 4 Vertigo Licence 2000 00:08:52:00 Les LEVEQUE Les LeVeque is a New York-based artist who has produced a number of videos and video installations exploring the cultural implications of technological change. Recently he has been making video works that use Hollywood classics as their starting point, transforming them into sensuous, hallucinatory works which aim to unveil the repressed representations that loiter inside so many 'wholesome' American classics. These include '2 Spellbound' (1999), a reworking of Alfred Hitchcock's 'Spellbound' (1945), and 'Backwards Birth of a Nation' (2000), in which D.W. Griffith's 1915 feature film is reversed and re-edited into a 13-minute phantasm. LeVeque's works have featured at the New York Video Festival, the Sundance Film Festival, the 2000 Whitney Biennial and the Pompidou Centre in Paris. In '4 Vertigo', Hitchcock's 128-minute feature film 'Vertigo' has been processed anew by capturing one frame for every two seconds of the original movie. The condensed film was duplicated four times, shifting the horizontal or vertical orientation of the frame with each duplication so that the first image is right side up, the next is sideways, then upside down, then sideways, and finally right side up again. This is only evident when the video is examined frame by frame: played at normal speed the result is a stuttering kaleidoscopic engine that gives the viewer a nauseating yet thrilling sensation of physical and psychic weightlessness. In LeVeque's treatment the layered plot line and psychological depths of the Hitchcock original are overtaken by the patterns and rhythms of the new aesthetic centrifuge. LeVeque states: 'Building on the notion of obsessive looking, I wanted to transform the original movie into a spinning mandala to generate a sensuous viewing where the dramatic narrative becomes unstable and elusive, a viewing experience where the hypnosis of cinematic spectacle is articulated to such a physical degree that it engenders a consciousness of watching.' B1001831
ACMI 5,000 calls 1999 David CHESWORTH, Sonia LEBER Commissioned by Olympic Co-ordination Authority Public Art Program. B1001227
ACMI A New Year Licence; 2004 1989 00:06:02:00 Sadie BENNING B2000274
ACMI A Place called Lovely Licence; 2004 1991 00:13:43:00 Sadie BENNING B2000272
ACMI Aderlab = Blood-letting Licence (perpetual'); 2005 1981 00:11:00:00 Peter TSCHERKASSKY B2000220
ACMI Aerobicide Licence; 2004 1998 00:03:10:00 Sadie BENNING Set against a backdrop of a woman singing and the constant image of a woman's legs making energetic cycling movements, a room full of men attempt to cultivate female trends but are ultimately unsuccessful. The energy of the women in this short music clip, singing and exercising is a stark contrast to the inertia of the males around them. B1000601
ACMI Alternate interfaces Licence; 2003 2003 STELARC B1005894
ACMI Antiques of advertising Purchase 1988 Alexander KLUGE Ads for defunct and foreign products are interspersed with newsreel and documentary footage. The result is a distanced view of the link between desire and commodities. For instance, footage of the Hitler youth with 'S' shirts performing a swastika is overlaid with an ad for 'Stabil'. Products become strange interlopers when they pop up in romantic movies of the Nazi period. Ads in other languages also strip products of desire: Soviet fashion is demonstrated in Cyrillic, phallic chocolates unwrap magically, and a product named 'Time' is sucked dry to a Japanese voiceover. A hollow product of unknown use floats in space like the monolith of 2001. B1000112
ACMI April 2nd, 1993 Purchase 1994 Shelly SILVER Silver casts her female gaze onto a series of anonymous male subjects that she follows through the streets of the Marais district in Paris. The resulting `surveillance narrative,' which features the music of Jo Privat, is an observation of viewing, power, and privacy in a public space. B1000132
ACMI Arabesque Licence (perpetual'); 2003 1975 00:06:46:00 John WHITNEY The geometry of Islamic art is translated into computer graphics set to the music of composer Manoochelher Sadeghi. B1003529
ACMI Artificial illuminations Purchase 1997 00:10:14:00 Dan ASHER In 'Artificial illuminations', Asher records the patterns, shadows, and traces of ambient light. Each glowing particle embodies a temporary life. B1000071
ACMI AstroTurf Licence (perpetual'); 2001 1996 00:06:25:00 Ian HAIG 'AstroTurf' is a 3-D animation that tours through periods of time that mark different technologies, from the prehistoric to beyond the 21st century. As the technology advances, human evolution is virtually at a standstill, always at odds with the technology that is demonstrated to be fallible. Ian Haig uses bold graphic style drawing on influences such as; 1950s television, sci-fi imagery, computer games, cartoons and comic books. 'AstroTurf' becomes a platform to celebrate computer imaging and the alternate aesthetics that the medium allows for. B1001955
ACMI BLO nightly news 1994 00:29:00:00 Melinda STONE, Igor VAMOS Igor Vamos is a media artist and culture jammer living and working in New York. Vamos is well-known for his collaborative public art projects such as the Barbie Liberation Organization and the Center For Land Use Interpretation, a non-profit organization dedicated to the increase and dissemination of knowledge about the nature of human interaction with the Earth. Currently, Vamos is teaching at Renslaaer Polytechnic Institute. The Barbie Liberation Organization is a cultural activist organization with 25 members that uses donations from anonymous donors to challenge gender stereotyping in the toy industry. BLO NIGHTLY NEWS - In this new form of subversive media terrorism, BLO operatives purchased talking Barbie and G.I. Joe dolls, both of which are programmed to speak crude cultural cliches. The dolls are then taken to the BLO headquarters where 'corrective surgery' is performed by switching the voice boxes on the two dolls. The dolls are then placed back on the store shelves in a process of reverse shoplifting -'shopgiving'. In the format of a nightly news program, this witty and satiric video documents the activities of the Barbie Liberation Organization, including the 'corrective surgery' procedure and the 'shopgiving' actions. The tape functions as a witness to and instruction manual on 'cultural jamming,' an interference strategy used by guerrilla art and media activists to expose and undermine the logic and domination of corporate-controlled media and capitalist culture. B1001826
ACMI Bachdisc Purchase 1988 Juan DOWNEY The Bachdisc marks a milestone in the treatment of musical subjects in laserdisc format. How does one add visually to something that is not only heard, but is considered to be the most subjective of the arts? Bachdisc creator, Juan Downey, incorporates onto a multiple-image screen various images of the famous New York harpsichordist Elaine Comparone playing Bach's Fugue #24 in B minor. On side 2 of the disc is a documentary of Bach's personal life and work. B1000097
ACMI Basilisk Purchase; 2002 1998 Panos COUROS, Lloyd SHARP, Wayne STAMP 'Basilisk' is an interactive CD-Rom that operates as a conceptual journey into an ancient illustrated philosophical text and an imaginary bestiary. Through labryinthine visuals and language, 'Basilisk' charts a fiction of the genesis of the male as a queered perspective on subjectivity. As the artists state: 'It derives its intensities from an alchemistry of mediaeval marvels and a bricolage of contemporary nomadic thought... Basilisk diagrams the multiple relations that converge upon a making of the male that is monstrous and virtual. As a queered perspective on subjectivity, it derives itself from a hybrid relation between the alchemistry of wonder and a wander in the fourfold thought of the subject in Felix Guattari's philophical text 'Chaosmosis'. B1004157
ACMI Behind the mountain Commission; 2004 2004 video, projections and cardboard Darren DALE, Jonathan JONES This collaborative video installation presents floor projections in randomly scattered blank cardboard boxes, encased within the borders of each the image of a moving figure of a mixed Aboriginal demographic, confined and enclosed in the space through the image size. The viewer moves in amongst and interacts with these images, their shadow visible over the image as they lean to look into each box. The figures within, dancers filmed from the Bangarra Dance Company, contort and rotate in the limits of the space, pulling inwards and pushing outwards, visually and spatially engaging in the historical and contemporary forces which construct and confine the Aboriginal body. In interaction with these images the use of a surround sound composite creates an aural journey that evokes pulsing electrical currents in a storage space, interrupted sporadically by the sound of tearing packing tape and a strong bass sound from below each box which creates a sensorial engagement with the movement in the images within. B1006109
ACMI Bilderbuch fur Ernst Will 1993 00:10:56:00 Peter CALLAS The most complex and multi-layered of Callas' CVI works, 'Bilderbuch' focuses on the geographic continent and turbulent political history of Europe. The primary image source of the work is a children's wartime pictorial scrapbook (or 'bilderbuch'). Callas has described 'Bilderbuch fur Ernst Will' as an 'electronic rendering of a form of proto-televisual iconomania', involving the collecting and collating of seemingly random images which, when seen together, reveal underlying narratives and belief systems. Seen in this context, images from the child's scrapbook come together to create a startling picture of wartime Europe and its legacy. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001506
ACMI Black Hole Radio Purchase; 1999 1992 00:07:00:00 Jem COHEN Over the past 20 years, filmmaker Jem Cohen has assembled a massive visual archive of Super 8 and 16mm by filming everyday images and experiences as he negotiates his way through the spaces of New York City. Filled with enigmatic glimpses, gestures and images seeming to come from half-remembered dreams, memories and snatches of conversations, this archive contains hints for unearthing the many secrets of contemporary metropolitan life. In the mid 1990s Cohen encountered a series of advertisements for a New York City 'Phone Confession Line'.To call in and confess was free; to listen cost money. Cohen acquired recordings of these taped confessions of murderous thoughts, desire and treachery, and used them to form the audio heartbeat of his video installation 'Black Hole Radio'. Accompanied by ghostly Super 8 images filmed by the artist during his nocturnal wanderings, the installation reveals the anonymous lives and restless spirits that haunt the phonelines, televisions and sleepless nights of the city. For this version of the installation, ACMI has worked with the artist to create a small confessional cell where images shimmer like paranoid hallucinations while disturbing whispers hang in mid-air, semi-publicly. The elusive images that linger on the edge of visual perception provide the evidence of Cohen's investigation into the small confessed 'crimes': loving the wrong man, harbouring hatred or greed. Visitors leave 'Black Hole Radio' feeling the way they do when a shameful memory wakes them in the dead of night. Inside Cohen's confessional, it is understood that it is both a privilege and a curse: to live as social beings and to know that isolation and forgetting can't conceal the troubled heart of the city. B1000385
ACMI Black/White/Text Purchase 1980 00:07:19:00 Gary HILL B1002877
ACMI Blind grace Purchase 1993 Adam COHEN New York City -- a huge, slow pulse of light steaming through daytime and night time. A study of the soul of the city, its radiance, its isolates and its irates -- the special souls who are lost to the vision of the workaday world but scorched into the vision of Cohen's video world. A world of blindness, grace and vision. A world made more sacred by noise -- the special noise composed in response to the city's scorching radiance, another kind of soul music. B1000092
ACMI Blood disco: Dirk wears white socks Licence (perpetual'); 2004 2004 00:00:30:00 Scott REDFORD Scott Redford's visually rampant fist-in-mouth and Egyptian eye images riff on the early surrealist films of Luis Buñuel, via a queer punk aesthetic, in this pop-savvy work. B1006502
ACMI Blow-up Purchase; 2002 2000 00:01:39:00 Siegfried FRUHAUF 'Blow up' is a visual pun. Austrian experimental film-maker, Siegfried Fruhauf, uses discovered footage of a man demonstrating mouth to mouth resuscitation on celluloid. The film is displayed in a way that show-cases the celluloid format as an object, rather than viewing the film with the content frame by frame. As the footage rolls the film is objectively abstracted with penetrating sounds of heavy breathing. As the 'camera' pans closer, the image takes over and we enter the film. It is our breath that now fills the image. B1002793
ACMI Blurring the boundaries Licence (perpetual'); 2004 2004 00:00:30:00 Craig WALSH Repurposing documentation of his wild installation, where unexpected images are projected onto a shop window in Vietnam, Craig Walsh captures the interaction between art and its audience. B1006508
ACMI Bobe's legend 1998 © the artist Robert GLIGOROV Bobe's Legend shows the artist joined in a symbiotic relationship with a young chick which, over a time-lapsed seqence, we see hatched and nurtured in the artist's mouth until it eventually takes flight. B1001285
ACMI Booth at ACMI 2003 Grant HILLIARD The Booth at ACMI is an intimate venue designed for the exhibition of short custom made audio visual works. A cross between the world's smallest cinema and largest photobooth with a companion Boothsite that can take the portraits of Booth visitors generated by the encounter and admit them into a growing, online, interactive community of Booth visitors. It is a coin-operated vending machine that vends cinema itself and, like the black and white photobooth, provides its visitors with a take away souvenir record of their encounter in the form of a photographic portrait. It includes an evolving soundscape that shifts as day turns to night, enlivened by lighting that plays over and under the 120 mother of pearl discs in the Booth's shell. B1003637
ACMI Boxing fragments 2001 00:01:58:00 Tina GONSALVES B2000260
ACMI Buried in light Licence (perpetual) 1994 01:00:00:00 Jem COHEN In this work originally commissioned as a multi-screen installation, Cohen meditates on 'a time between times' as he travels through Central and Eastern Europe. The filmmaker invests his own dreamily elegiac images of sites of past horror and devastation with 'found' commentaries taken from radio announcers and museum guides. With a considered use of archival material, Cohen restores a deep and affecting agency to the ghosts of the past, even as he signals a concern with the encroaching signs of change being wrought on contemporary European societies. A lightness emerges, ultimately, in Cohen's visually poetic and spiritually consoling 'seven possibilities for colour beyond advertising'; a wry melancholy postscript the filmmaker proposes as a parting gift. B1000140
ACMI Burnout 2001 2002 Ben MORIESON Burnout 2001 is an interactive game which allows users to use a catalogue of authentic burnout movements to create various markings on the screen. A variety of vehicle's available each having a particular speciality to their burnout. B1004071
ACMI Carbon, sampler 1.0 1993-1998 John LYCETTE B1003708
ACMI Cartes postales video Licence (perpetual'); 2005 1984 1988 1984-1988 01:03:57:00 Robert CAHEN The conventions and style of the postcard's photographic moment are transformed by movement and sound in this exquisite collection of thirty-second video postcards. Time worn images fade in, only to be suddenly and momentarily released with a gesture, a punctuating sound - and then frozen again. Witty and often poignant, these revealing documents of time, place and memory capture a fleeting, ephemeral reality. We are invited into a narrative of what the artist calls 'thirty seconds worth of dreams'. Produced in Paris, New York, Rome, Quebec, Iceland, Lisbon, Cairo, Algiers, and other sites around the world, these video postcards form fragments a perceptual voyage by way of the subtle magic of a temporal trompe l'oeil. B1000087
ACMI Cerebellum 2002 2002 Charles ATLAS, Leigh BOWREY, Gary CARSLEY, KINGPINS, Monika TICHACEK Cerebellum was a video installation exhibition curated by Gary Carsley in 2002, and investigated the modes of self-transformation through an art of public display. In doing so, Gary paired the work of two contemporary Australian artists with their more senior performative counterparts. In the exhibition Monika Tichacek responded to the work of Charles Atlas and the Kingpins to Leigh Bowrey's performance group 'Raw Sewage'. The cd-rom contains images and information about the exhibition - inc. video interview with Charles Atlas, a unique set of archival documents pertaining to the work of Leigh Bowery and Raw Sewage, and essays by German curator and writer Rafael von Uslar and Rachel Kent, Senior Curator at the Museum of Contemporary, Sydney. Submitted by Blair French, Assoc. Director The Performance Space Ltd, Sept 2003. B2000172
ACMI Chain times three Commission; 2001 2002 30 December 2002 Jem COHEN As regional character disappears and corporate culture homogenizes our surroundings, it's increasingly hard to tell where you are. Landscapes from L.A. to New Jersey, Vancouver to Melbourne, share a strange indeterminate quality. A new Wal-Mart megastore opens, somewhere, every four days. CHAIN is a multi-screen installation in CHAIN, this global, 'superlandscape' sets the mood and serves as mortar for a series of linked narratives and mini-documentaries that will be joined into a unique hybrid feature. CHAIN explores the effects on humans of an altered environment made not only of architecture and geography, but of the shift in economic and social horizons brought on by the increasing commercialism and surveillance that mark the 'Age of Information'. Cohen was in residence with ACMI during 2000. The idea for this project was developed during his time in residency. B1001823
ACMI Changing time (quickly) Purchase 1988 Alexander KLUGE We see the celebration of New Year's Eve with fireworks in 1988, repeated exactly in 1923, in 1908, and in munitions explosions in 1812, as well as an air attack in World War II and there is no difference in the image. Meanwhile, a group of women tries to remember the words of the third stanza of Schiller's lyrics to Beethoven's Ode to Joy. Freeways, clocks and the solar system form categories which shape experience, while Lenin's lying in state reminds us of the previous one we saw of Gardel. Martin Heidegger and Hannah Arendt are philosophers of the city, which is visualized as a gigantic clock. Finally, Freder in Metropolis tries to hold back the hands of the enormous clock/machine anticipating the turn of the century. B1000113
ACMI Children's tapes Purchase 1974 Terry FOX Children's Tapes is a classic early video work, a seminal investigation that translates the aesthetics of minimalism, performance, perception and real time into the vernacular of the everyday. With ingenuity and wit, Fox constructs phenomenological dramas from the science of the quotidian. Suspense and surprise suffuse a series of anecdotal episodes that demonstrate basic physical phenomena. Fox builds dramatic tension and mystery with an extreme economy of means, focusing a stationary black-and-white camera on ordinary household objects. With the camera close to his still-life subjects, Fox constructs a series of elementary experiments that illustrate fundamental principles of physical science: A piece of fruit is placed under a tin lid held up by a single match, as an unsuspecting fly approaches the bait; a spoon, balanced on a fork, holds a piece of ice until the melting water topples it; a candle in a pan of water is extinguished when a pot is placed over it. The intimate scale, magnified view, and suspenseful unfolding of minute events in real time all serve to intensify the viewers' perceptions and expectations in these engaging mini-narratives. B1000102
ACMI Chromos 2000 Paul BROWN Chromos is a computer-generated work which uses computational processes called 'cellular automata' to produce patterns which change over time. Cellular automata were conceived by Stanislaw Ulam and John von Neumann in the 1940s, and popularised by John Conway's Game of Life in the late 1960s. Each cell - like the individual tiles that make up chromos - is a discrete system that follows its own simple rules. These rules govern the transitions of the tiles over time. Although both the tiles and the rules are simple, the overall behaviour of the system is complex and unpredictable. Chromos, like any beautiful design, invites contemplation, so rather than try to identify the mathematical rules at play, most viewers will happily lose themselves in the entrancing visual maze. The work engages aspects of behavioural and cognitive theories and theories of creativity. The human brain has evolved to seek meaning and so many viewers of cellular automata believe they are witnessing a much higher degree of intelligence and lifelike-ness than is implicit in the system itself. Conversely these systems also enable us to perceive that many aspects of human intelligence and creativity are perhaps nothing more than the outcome of simple but unpredictable behavioural processes. B1005533
ACMI Cinco anos [interactive] 1993 Angela BARNETT Interactive online work about Barcelona, containing a montage of multi-layered colourful images using hand-drawn animation, newspaper cuttings and stills to convey a sense of the local community and the use of street art. B1007081
ACMI City of chromatic dissolution 1999 00:16:01:00 Arthur CANTRILL, Corinne CANTRILL Arthur and Corinne Cantrill used footage of Melbourne's cityscapes and buildings from the mid 1980s to create this evocative piece on movement, colour and the city. The various parts of inner city Melbourne were originally shot on black and white negative in three colour separation, then printed on Eastmancolor film. The results are static shots of the city, where the movement of people and vehicles have a quality that is colour saturated and ghostly. This is complemented with a sountrack both urban and discordant in tone. This is one of a series of films made by the Cantrills that experiment with dramatic distortions of colour through three-colour separation processes. The original inspiration for this project (as the filmmakers report in the final edition of Cantrills Filmnotes) came back in the mid-1970s when Kodak stopped making the Cantrills' preferred 16mm reversal colour film stocks. B2000672
ACMI Closer Commission; 2002 2002 video, software, sensor pads and vinyl interactive pillars Peter HENNESSEY, CHUNKY MOVE, Gideon OBARZANEK, Darrin VERHAGIN A commission of the Australian Centre of the Moving Image, 'Closer' is an interactive dance installation created and produced by renowned contemporary dance company Chunky Move. A constantly changing audiovisual environment with a single large projection of a solo dancer, Closer plays with the relationship between the audience and the interactive structures created by artists Gideon Obarzanek (Choreography), Peter Hennessey (Interactive and Visual Design), and Darrin Verhagin (Audio Landscape). Closer combines real time video processing with sensor pads that respond to audience members using their bodies to modify the moves of the on-screen dancer. The choreography is endlessly modified by the actions of the audience, and the audience's actions are in turn shaped and defined by the installation, which calls upon them to touch, throw or press their bodies against the upholstered, torso-size sensor pads mounted on the walls in the installation space. Closer redefines the installation space as a choreographic instrument, which is played by its audience to create new works every time. The work can also be described as an investigative tool, allowing the audience to explore, in more a more detail, the structure and topography of the movement and the body of the dancer. The work literally brings the audience closer to the work in every sense -closer to its creation, closer to the subtle details of its movement and closer to the body of its dancer. As the audience engages with the work, they become increasingly aware of the reflective relationship they share with the dancer. Their interaction, via large physical actions or movements, is very different from the usual 'mouse and keyboard' interface that commonly defines multimedia installations. As they activate the large wall pads, their bodies are pushed into a kind of physicality that is especially unusual in a traditional gallery context. They literally impact on the work. The choreography in Closer is itself based on impacts. A lone dancer bounces her body against a wall and, as the audience's input increases, this gentle rebounding is transformed into something far more intense and extraordinary. Closer, the audience's experience of dance, usually felt from the passive distance of theatre seats, is active and intimate. The minute complexities of the body - the ripple and flex of skin and muscles, hair, pores and subtle expression - form part of the choreographic palette of Closer. This is micro-choreography. This is Closer. B1002680
ACMI Collaborator 1999 Daniel CROOKS, Peter CIRCUITT Collaborator presents a unique opportunity for teachers and students of theatre to explore issues, processes and the personnel associated with the creation of a new piece of Australian Theatre. This CD-ROM provides insights into the creation of Arena Theatre's Panacea through interviews, both formal and informal, with the artists involved and presenting footage of the production in both rehearsal and in performance. Over two hours of video clips, extensive audio interview, animation, script and text help demystify the creation of the project. It allows students to closely examine the text of the play and the ideas that went into it. The artists are seen as they are; articulate, passionate and committed, but also exhausted and often unsure of the outcomes. Collaborator is a particularly useful tool for the teaching of both Units 4 for Drama and Theatre Studies as it allows your students to explore the process of play making by one of the most successful professional theatre companies working in Australia today. B1001135
ACMI Confession from the Commander's diary: a narration in five parts 1998 Alexander SOKUROV Observing the rituals, gestures and trance-like states of his crew, a naval Commander ponders his life. How did he get here? What went wrong? And right? Will he ever know light again? Probing the dark, unspecified seas, the ship becomes contemporary Russia: dazzling midnight snowstorms; plain human actions shaped by centuries of weariness and wanting; persistence; inquiry. B1001775
ACMI Convergence 2001 00:02:28:00 Tina GONSALVES B2000259
ACMI Corroded grooves 2000 Chris HENSCHKE This interactive installation consists of two re-designed turntables, a computer, a monitor, audio speakers and a mixing console. The computer plays a variety of samples taken from the turntables which have been digitally manipulated and recomposed to create minimal rythums, melodies and bass tones. B1003078
ACMI Cultural dislocation Licence (perpetual'); 2003 2002 Lydia HOHL Created as a Victoria University Multimedia After Effects assignment, this short work examines the question 'What is Culture?' B1005048
ACMI Cyberdelia [documentary] 1991 00:26:00:00 Jaffers ADEM, Steve SPANGARO In Cyberdelia we see the best of video and computer art that was available in Australia in the analogue pre-digital period. The self identified 'cyber artists' include Stelarc, Gus Till, Adem Jaffers, Captain ROM, Troy Innocent, Jeff Jaffers and Ollie Olsen. These early techno-artists used low-cost, high-result technology like the Amiga computer in innovative ways to achieve remarkable results. The show is a visual feast. Clever integration of conceptual art practice, video editing, digital and analogue effects, fractal generation, optical effects, and camera effects, provide a stunning range of visual experience. Passing time and mundane commercialisation of technology may have dampened the ardour of cyber ideologists, yet the philosophy and lifestyle evidenced in these artist interviews came from true believers in an alternative sub culture. B1004103
ACMI Cyberdelia [extended] Donation; 2016 1991 03:03:54:00 Adem JAFFERS Billed as a cyberdelic experience about the art form of technology, Cyberdelia was a public broadcasting event created in Melbourne. This recording of the event was captured during the live broadcast in 1991. Originally intended to be a thirty minute documentary broadcast, the event was spontaneously extended by several hours at the encouragement of impressed RMITV producers who claimed it 'was some of the best stuff they've ever seen on Public TV'. Utilising studio vision mixing equipment, the video jockeys (VJs) were able to combine, filter and manipulate the live-action and computer-generated images with accompanying techno rave audio. The collaboration featured local established and emerging artists including Stelarc, Third Eye, Jeff Jaffers, Cyber Dada, Adem Jaffers and Captain ROM. Enthusiasm for Cyberdelia paved the way for Cyberthon, a series of live VJ endurance broadcasts between 1991 and 1995, which continued to push the envelope of broadcast television as an experimental ar B2004204
ACMI Cyberflesh Girlmonster 1995 Linda DEMENT Donated body parts collected during Artists' Week of the Adelaide Festival 1994 have been used to construct a computer based interactive work. About 30 women participated in the original event by scanning their chosen flesh and digitally recording a sentence or sound. Conglomerate bodies were created from the information donated. These have been animated and made interactive. When a viewer clicks on one of these monsters, the words attached to that body part could be heard or seen, another monster may appear, a digital video could play, a story or medical information about the physical state described by the story, may be displayed. The user moves relatively blindly between these. There is no menu system or clear controllable interface. The work is a macabre, comic representation of monstrous femininity from a feminist perspective that encompasses revenge, desire and violence. This project was assisted by the Art Research & Development Fund of the Australian Network for Art and Technology and was produced in association with the Australian Film Commission. B1001952
ACMI Cyberthon I: For the Mind, Body and Soul Donation; 2016 1992 Adem JAFFERS ‘Cyberthon I: For the Mind, Body and Soul’ was the first guerrilla style T.V broadcast event of its namesake following the success of the Cyberdelia broadcast a year prior. Born from the idea of doing a ‘marathon cyber’ event, ‘Cyberthon I: For the Mind Body and Soul’ saw a group of artists broadcast, remix, JV and DJ mastered footage, experimental Amiga graphics and experimental art alongside performers and a live band at RMITV’s studio in Melbourne. Collaborator and curator to the events, Adem Jaffers said this is where the Cyberthon events really began and over the next five years they would expand in scope to feature over 300 VJ’s, DJ’s, artists and performers. Artists: Adem Jaffers, Troy Innocent, Dale Nason, Elenor Poppa, Steve Middleton, and Attillio Gangemi, Jason (Rudeboy) Mac, Terence Ho (Blast Off Sound System), Jeff Jaffers, VJ Kimberley Hughes, Ollie Olson, Darren Porter and Paul Wayne (Acid Death Bed). ‘Cyberthon I: For the Mind, Body and Soul’ is pa B2004200
ACMI Cyberthon II: The Virtual Transmission Donation; 2016 1992 Adem JAFFERS B2004201
ACMI Cyberthon II: The Virtual Transmission [1-hour compiltation] Donation; 2016 Adem JAFFERS Billed as 'an event that is sure to input Melbourne to the matrix of cyber-tek-fusion-modem', Cyberthon II: The Virtual Transmission was the second in a series of marathon video jockey (VJ) public broadcasts created in Melbourne. This one-hour edit was made a year after the live broadcast in March 1992, which spanned approximately 24 hours. The Virtual Transmission was made at the TVU's Studio in Footscray, Victoria and broadcasted live on frequency UHF-31 (RMITV). Exhibiting hypnotic animations, often rapidly mixed with still and live-action images accompanying a trance-like soundtrack. The work presents it's own disclaimer 'Warning: Optical orgasm may occur'. The work is a collaboraton of established and emerging artist with an enthusiasm for computer technologies and the underground rave scene. Artists inclue Tekno Madala, Stelarc, Cyber Dada and many more. Utilising Amiga computers and a vision mixer, VJ artists were able to manipulate, filter and mix footage in realtime. This work B2004314
ACMI Cyberthon III: The Underground Connection Donation; 2016 1992 Adem JAFFERS B2004202
ACMI Cyberthon III: The Underground Connection [1-hour compilation] Donation; 2016 1994 Adem JAFFERS Cyberthon III: The Underground Connection is the third in a series of live marathon video jockey (VJ) broadcasts created at TVU Studios in Footscray, Victoria. This one-hour compilation was created several months after the original broadcast which aired on 12th July 1992 lasting approximately nine hours. The work was a true collaboration, including performative contributions from live bands, DJs and VJs. The event also included two 3RRR Radio hosts conducting interviews and introductions. Viewers were encouraged to interact with creators during the broadcast via the bulletin board system (BBS) or fax. Artists involved in the event include Tekno Mandala, Cyber Dada, Don't Shoot the Messenger, Gstaud, Magnetic Head Circuit and more. With RRR Radio presenters Kate Bathgate and Liz Millar. This work is part of the Cyberthon Archive, generously donated to ACMI by Adem Jaffers (aka Tekno Mandala). B2004315
ACMI Cyberthon IV: EPIC Omnicast Donation; 2016 1995 Adem JAFFERS Cyberthon IV: EPIC Omnicast was the fourth in a series of marathon video jockey (VJ) broadcasts made in Melbourne, this one created as part of the 1994 Experimenta Festival on the 27th of November. The event was a true collaboration of broadcast media - with a multitude of artists and performers contributing via 3RRR Radio, Channel 31 Television and, as a world-first, on the internet using a video conferencing network. Encouraging global interaction, organisers set up a BBS dialup service for viewers to upload images and text to be included in the broadcast. The EPIC Omnicast was the first Cyberthon event where VJs mixed images simultaneously, opposed to having individual segments. Advertising for the event claimed it would 'push the barriers of experimental art based television'. Featuring VJs Tekno Mandala, Cyber Dada, Don't Shoot the Messenger, and DJs Voodoo Moon, Zen Paradox, Mystic Force, Fred Disco and The Visitor. This work is part of the Cyberthon Archive, generously donated t B2004203
ACMI Cyberthon V: Spectrum 1 - Red Donation; 2016 1995 Adem JAFFERS Cyberthon V: Spectrum is an eight-episode series of 60-minute video jockey (VJ) broadcasts, with each episode named after different colours. Red is the first episode in the series which aired on Channel 31 in Victoria. Featured VJs include Tekno Mandala, Third Eye, ABCTVXYZ along with DJs The Visitor and Future Films. This work is part of the Cyberthon Archive, generously donated to ACMI by Adem Jaffers (aka Tekno Mandala). B2004205
ACMI Cyberthon V: Spectrum 2 - Orange Donation; 2016 1995 Adem JAFFERS Cyberthon V: Spectrum is an eight-episode series of 60-minute video jockey (VJ) broadcasts, with each episode named after different colours. Orange is the second episode in the series which aired on Channel 31 in Victoria. Featured VJs include Tekno Mandala, Troubled Waters, Saphire, Air Fiction, Digital Primate along with DJs The Visitor and Future Films. This work is part of the Cyberthon Archive, generously donated to ACMI by Adem Jaffers (aka Tekno Mandala). B2004234
ACMI Cyberthon V: Spectrum 3 - Yellow Donation; 2016 1995 Adem JAFFERS Cyberthon V: Spectrum is an eight-episode series of 60-minute video jockey (VJ) broadcasts, with each episode named after different colours. Yellow is the third episode in the series which aired on Channel 31 in Victoria. Featured VJs include Tekno Mandala, DSTM, Phuture, ABCTVXYZ, Surfis along with DJs Digital Primate, 2120. This work is part of the Cyberthon Archive, generously donated to ACMI by Adem Jaffers (aka Tekno Mandala). B2004235
ACMI Cyberthon V: Spectrum 4 - Green Donation; 2016 1995 Adem JAFFERS Cyberthon V: Spectrum is an eight-episode series of 60-minute video jockey (VJ) broadcasts, with each episode named after different colours. Green is the fourth episode in the series which aired on Channel 31 in Victoria. Featured VJs include Tekno Mandala, Xmix, Rave Safe, Troubled Waters, Surfis along with DJ The Visitor. This work is part of the Cyberthon Archive, generously donated to ACMI by Adem Jaffers (aka Tekno Mandala). B2004206
ACMI Cyberthon V: Spectrum 5 - Blue Donation; 2016 1995 Adem JAFFERS Cyberthon V: Spectrum is an eight-episode series of 60-minute video jockey (VJ) broadcasts, with each episode named after different colours. Blue is the fifth episode in the series which aired on Channel 31 in Victoria. Featured VJs include Tekno Mandala, Space Between The Gaps, Cyber Dada, GSTAAD, Video Grafitti, ABCTVXYZ, Surfis and DSTM, along with DJ The Visitor. This work is part of the Cyberthon Archive, generously donated to ACMI by Adem Jaffers (aka Tekno Mandala). B2004246
ACMI Cyberthon V: Spectrum 6 - Indigo Donation; 2016 1995 Adem JAFFERS Cyberthon V: Spectrum is an eight-episode series of 60-minute video jockey (VJ) broadcasts, with each episode named after different colours. Indigo is the sixth episode in the series which aired on Channel 31 in Victoria. Featured VJs include Tekno Mandala, Force Fed, Magnetic Head Circuit, Antartica, Phuture, Wake up Return 2 Heart, Rave Safe and Air Fiction, along with DJ The Visitor. This work is part of the Cyberthon Archive, generously donated to ACMI by Adem Jaffers (aka Tekno Mandala). B2004247
ACMI Cyberthon V: Spectrum 7 - Violet Donation; 2016 1995 Adem JAFFERS Cyberthon V: Spectrum is an eight-episode series of 60-minute video jockey (VJ) broadcasts, with each episode named after different colours. Violet is the seventh episode in the series which aired on Channel 31 in Victoria. This work includes performing artist Stelarc with featured VJs including Tekno Mandala, Meltdown and Phuture along with DJ The Visitor. This work is part of the Cyberthon Archive, generously donated to ACMI by Adem Jaffers (aka Tekno Mandala). B2004207
ACMI Cyberthon V: Spectrum 8 - Black & White Donation; 2016 1995 Adem JAFFERS Cyberthon V: Spectrum is an eight-episode series of 60-minute video jockey (VJ) broadcasts, with each episode named after different colours. Black & White is the eighth episode in the series which aired on Channel 31 in Victoria. This final episode in the Spectrum series was an interactive experiment, allowing visual sequences to be compiled by participants controlling an Amiga computer situated at the Lounge Cafe in Melbourne's CBD. Featuring audio by DJ The Visitor. This work is part of the Cyberthon Archive, generously donated to ACMI by Adem Jaffers (aka Tekno Mandala). B2004248
ACMI Cyberthon VI: Telstra Edge Donation; 2016 Adem JAFFERS After the success of Spectrum, the Cyberthon crew were invited by Telstra to create a submission for an exhibition called The Edge, to be displayed at the Telstra Corporate Center on Exhibition Street. This demo was presented to Telstra at an annual meeting held at Dallas Brooks Hall. The first section of the demo shows a CGI artists impression of the proposed The Edge exhibit space. The middle section focuses on a simulation of the media submission process via the interactive Cyberthon VAT (V=Video, A=Audio, T=Text) porthole created using Deluxe Paint, with presentation edited in Scala on an Amiga 2000. Animation loops that appear in simulated submission section were created by Ian Haig, Cyber Dada (Dale Nason), Dont Shoot The Messenger (Steve Middleton & Attillio Gangemi), Tekno Mandala (Adem Jaffers), Julian Wong, Mish Fingers (Misha Hollenbach), Derek Shiel, Martine Carompt, and Force Fed (Stuart McCormick). Video camera footage was shot by Dale Nason from back of a Chris Wrights m B2004117
ACMI Dark cave Purchase 1996 Tom KALIN Dark Cave (previously `That poured its hot breath') is an evocation of memory and identity that takes the form of a poetic video diary. Kalin endows intimate 'home movie' scenes of travel and personal life with mystery and melancholy. A quote from Alfred Chester serves to destabilize the lyrical nostalgia of the rhythmic images. B1000109
ACMI Darling child Purchase 1993 Tom KALIN Kalin's short video works function both as visual poems and as alternative music videos. With their astute conjunctions of image, music and text, these tapes respond to issues of sexuality and human interaction in the 1990s. In Darling Child, Kalin uses an economy of means spare visuals of an interior space, minimalist music to create an evocative, metaphoric interpretation of a text by Truman Capote. 'But we are alone, darling child, terribly, isolated from the other; so fierce is the world's ridicule we cannot speak or show our tenderness; for us death is stronger than life, it pulls like a wind through the dark, all our cries burlesqued in joyless laughter; and with the garbage of loneliness stuffed down us until our guts burst bleeding green, we go screaming round the world, dying in our rented rooms, nightmare hotels, eternal homes of the transient heart.' -- Truman Capote, Other Voices, Other Rooms. B1000110
ACMI Das Duracellband Purchase 1980 00:10:04:00 Klaus VON BRUCH In this dynamic collage, vom Bruch assembles powerful metaphors for threat and force, using fragmented, repeated images from media advertising and archival documents from World War II. The central image, appropriated from a popular TV commercial, is both riveting and ironic: A Duracell battery snaps together with a loud crack. This violent action, which is repeated over and over again, is intercut with flash-frame glimpses of the Nagasaki explosion, an American bomber pilot, aerial views of wartime destruction, victims of the nuclear bomb, and the artist's face. Vom Bruch constructs a landscape of associations through mediated images, building relational discourse on the violence of war and capital. Through the aggressive confluence of advertising, World War II destruction and self-images, vom Bruch positions contemporary identity within the context of the representational and historical apparatuses of the military and the mass media, as signifiers of collective memory. B1000085
ACMI Data panic! Purchase; 2003 1998 00:04:46:00 Ian ANDREWS Close to trillion dollars a day changes hands globally in foreign exchange transactions. Only 15 percent corresponds to actual commodities or capital. The incredible speed of the New York Stock Exchange's Superdot electronic order routing system means that the Dow Jones can swing back and forth by more than 50 points in a matter of minutes. These conditions bring about a condition known as 'data panic' a feeling of insecurity and anxiety that engulfs every transfer of digital information, from international trade to electronic banking. Data Panic combines images of computers, tape streamers, ATMs, terminals, workstations, printers, status indicators, traces and scans with computer animated icons, diagrams, pictograms, error messages, warnings, numbers, barcodes and binary digits. An advertorial style voice over narrates a non-sensical computer generated text interspersed with information technology advertising slogans. B1005587
ACMI Deeper 2001 00:02:23:00 Tina GONSALVES B2000251
ACMI Departure Purchase; 2003 2000 Ian ANDREWS In Departure, Ian Andrews has used mostly analogue techniques to evoke the decaying process that occurs in a film or photographic image over time, but in doing so, he has created an altogether different visual landscape in which different layers of image contest and compete against each other. A small strip of found film footage of a man 'departing' loops endlessly back and forth, and as it does so, the repeated actions of the man seem to physically alter the layers, the skin of film and image through which we watch this action take place. The figure is marking out the landscape by traversing it, by exiting the frame and leaving a ghostly trace of his presence - but it is the surface of the visual form itself that is left marked. B1005530
ACMI Dial history Purchase; 2004 1997 01:08:00:00 Johan GRIMONPREZ, Rony VISSERS In the found footage tradition, 'Dial H-I-S-T-O-R-Y' takes the viewer on a journey through media footage of airplane hijacking and other terrorism. B1003080
ACMI Dissect 2001 00:02:56:00 Tina GONSALVES B2000252
ACMI Dissonant particles Submission; 2004 2004 00:07:02:00 Gordon MONRO An abstract animation based on experiments with sound. Gordon describes the work as follows “Psychoacoustic experiments have indicated that two pure sine tones are played simultaneously, they will sound most dissonant when they are around a semitone apart in pitch. In Dissonant Particles, each particle emits a sine tone. The dissonance between them acts as a repulsive force that pushes the particles apart, both in position and in pitch. There is also a long-range (“cosmological”) attractive force that prevents the particles from flying off to infinity. The particles pulsate and slowly evaporate; both of these processes affect the way they 'feel' the forces acting on them. The colour of a particle indicates pitch: red for low pitches, green for intermediate, and blue for high. The camera tracks one particle, which is always shown in the centre of the screen.” Psycho acoustics is the study of subjective experience of audio versus the scientific measurement of sound by various devices. For example, the frequency of a signal may not change but we may perceive pitch changes if the amplitude changes. http://www.gordonmonro.com/pieces/dissparticles.html B2000085
ACMI Double Trouble 1986 00:05:45:00 Peter CALLAS One of the earliest works made by Callas using a Fairlight Computer Video Instrument (CVI) processor, a pioneering compositing and special effects system he utilised regularly from the mid 1980s to early 1990s. 'Double Trouble' is the first video made by Callas for a large exterior street screen form (in Tokyo). The image appears as though spliced into vertical halves, an array of imagery and characters appearing in double on either side of the division, and moving with alternating motion upwards and downwards. This two-frame animation technique creates two images from one checkerboard stencil which are then reversed, or asynchronously 'mirrored', producing an apt metaphor for cultural differences in 'body language' between East and West. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001500
ACMI Drift Licence (perpetual'); 2002 1968 00:06:53:00 Michael LIGHT Since the first Apollo moon landing in the 1960s, NASA has compiled an enormous photographic record of its lunar saga. San Francisco photographer Michael Light gained access to the original negatives, presenting his collection of photography in major American and European museums including San Francisco Museum of Modern Art. As a reprise to his photographic exhibition 'Full Moon', Light has created 'Drift', an epic seven-minute loop of composite still imagery taken during NASA's moon missions. B1003093
ACMI Electronic Linguistic Purchase 1977 00:03:37:00 Gary HILL B1002867
ACMI Emerge 2001 00:04:09:00 Tina GONSALVES B2000249
ACMI Equalibrium Purchase; 2003 2001 01 January 2001 Ian ANDREWS One of the layers of this Equalibrium consists of an image of a Sufi like spinning dancer in a white lab coat. This out-take from an earlier film, Phonogramme, had somehow become splattered with a kind of mould that formed small flower like shapes in the frame. It is combined with a loop of hand-painted film which deteriorates slowly each time the loop repeats. B1005854
ACMI Erosion 2001 00:01:46:00 Tina GONSALVES B2000261
ACMI Erotique Licence (perpetual'); 2005 1982 00:01:40:00 Peter TSCHERKASSKY B2000219
ACMI Essentials of tap technique Purchase 1989 00:06:00:00 Skip BLUMBERG, Brenda BUFALINO, Joseph CICALI, Charles COOK, Jim DENNY, Scott DONIGER, Mike FRIESE, Susan GOLDBETTER, Kevin RAMSEY In this delightful performance collaboration, Blumberg highlights the tap skills of dancers Charles 'Cookie' Cook, Brenda Bufalino and Kevin Ramsey. Focusing on the performers' movements from the knee down, Blumberg uses slow motion to isolate such tap techniques as the 'toe stab,' 'flam with pull-back,' and 'trenches.' The syncopated tapping forms a rhythmic counterpart to the dancers' demonstration of the essentials of their art. B1000083
ACMI Experiments in motion graphics Licence (perpetual'); 2003 1967 00:12:05:00 John WHITNEY In this documentary film exploring his working processes, John Whitney explains some of the techniques and philosophies involved in programming and animating his computer-made abstract films. He attempts to define his new art of 'motion graphics' by comparison with music and language. As well as an intriguing investigation into his work, this film is a visual feast of his remarkable dynamic abstractions. B1003525
ACMI Faces 1976-1996 Licence (perpetual'); 2002 1976 1996 1976-1996 Sue FORD Director Sue Ford features in this fascinating project which presents several individual's faces shot in the mid-1970s, and then again in the 1990s. Ford has drawn upon a stable of 19 artists and friends to present their faces to her on film, but as if in a still photo. Her return to them in the 1990s using the same technique reveals striking differences in some of the faces, whilst at the same time reveals an inherent sameness about their poses. B1001727
ACMI Film Ist Purchase 1998 00:59:21:00 Gustav DEUTSCH Austrian filmmaker Gustav Deutsch is one of contemporary cinema's pre-eminent avantgarde artists. After several years combing a massive archive of scientific films, Deutsch released 'Film Ist (1-6)', a film made up of found footage edited together into extraordinary assemblages of sound and image. The fragments of film traverse a vast range of human experimentation with time, light, motion, and the human form. We see vocal chords at work while we hear a singer rehearsing. As if peering into the suppressed memory of cinema itself, we see an eye being excised from the socket, the slow motion movement of apes, bullets, children and cats, and the world offered back to us as a phantasmagoria of wave forms, wind patterns, lightning flashes and electrical currents. Cinema was born out of scientific endeavour and has since redefined so much of how we understand the physical and temporal properties of the world. 'Film Ist' is a remarkable surrealistic report on cinema's own memory of its mysterious role in the creation of the modern world. B1002225
ACMI Finally destroy us Purchase 1991 Tom KALIN Kalin's short video works function both as visual poems and as alternative music videos. With their astute conjunctions of image, music and text, these tapes respond to issues of sexuality and human interaction in the 1990s, more than a decade into the AIDS crisis. In finally destroy us, Kalin uses found film footage, home movies, and haunting pop music (Annie Lenox singing Cole Porter) to poignantly recall moments of love, shared and lost. The title is taken from Virginia Woolf: 'But these meetings, these partings, finally destroy us'. B1000107
ACMI Fire of time 2000 Adam COHEN Urban development in Barcelona has all but destroyed the once vibrant Barrio Chino where the nights were days and the days were long. This is an evocative film shot through windows, on street corners and in small rooms. People, clouds, and the swift tail lights of cars glide past and through, as fleeting traces of the passage of time. And as this one working-class Red Light district is transformed and changed by the process of gentrification, the former residents appear as ghosts, their prescence - as graffiti, as shadows - a reminder of the real history of the city. Larger forces cause buildings and neighbourhoods to vanish but they are rebuilt again in memories, worn photographs and in light. Adam Cohen's handling of light gives people the substance of phantoms and their passages through the half deserted streets evoke Eliot, Proust, and Chris Marker. Sounds of this world are orchestrated with cello, organ and guitar to form a profoundly beautiful work about memory, longing and loss. B1000187
ACMI Fishtank Licence (perpetual'); 2001 1998 00:46:43:00 Richard BILLINGHAM A high-rise flat in the U.K. Midlands. Ray is the father who drinks, Liz the mother, Jason the brother. There are some animals and the brother kills flies. The older brother films them with his handycam - intently observing whatever is going on. In 1996 Richard Billingham's 'Ray's a Laugh' was hailed as the photo book of the decade. His photographs were one of the talking points of 'Sensation'. Billingham has now made 'Fishtank', a commission for television by Artangel in collaboration with film-maker Adam Curtis and Illuminations TV for BBC2's acclaimed TV series. The 'video verite' of Fishtank is contained within the compressed space/fishtank of the flat. Sometimes they talk, sometimes they argue. Billingham's film registers the emotional temperature of this space and the family who live there with a closeness that transcends camera conventions. Like the paintings of Lucian Freud, Billingham crafts a terrible beauty from the landscape of family life and its patterns of pathos, despair and hope. B1000151
ACMI Flat is beautiful Licence; 2004 1998 00:49:48:00 Sadie BENNING Partly shot in Pixelvision and partly in Super 8 and using a combination of hand-drawn masks, animation and live action, this experimental film explores the theme of gender identity through the eyes of androgenous 11-year-old Taylor (Sammy Steel). B2000280
ACMI Forced into images 2001 Destiny DEACON DESTINY DEACON has shown in exhibitions including the 2001 Yokohama Triennale, Das Lied von der Erde at the Museum Fridericianum in Kassel, the 2000 Biennale of Sydney and the 1995 Havana Biennial and the Yokohoma triennial. Using people and objects close to her - friends and family, dolls and other toys - the artist creates strange, unsettling images that address some of the most difficult aspects of contemporary Australian life. Cultural stereotyping, domestic violence and the status of Aboriginal women all inform Deacon's photography, and her gift for storytelling and biting sense of humour provide her work with a compelling edge. With her photographic series Forced into Images (a title taken from a poem by Alice Walker), a dramatic narrative unfolds, following a girl's troubled life from birth to womanhood. B1003224
ACMI Fragments Purchase 1994 Shelly SILVER Writes Silver, `These tapes can be seen as small sketches, snatches of overheard conversations, or as advertising that doesn't sell anything.' Fragments is an ongoing series of short tapes, each designed to be shown between other videotapes; that is, no two 'fragments' in the series are to be shown one after the other. Fragments appear on the Access Overscan in this order: 0:00 to 0:59 Belong, 1994, 59 sec, color, sound 1:00 to 1:59 - break 2:00 to 2:44 Desire, 1994, 44 sec, color, sound 2:45 to 3:59 - break 4:00 to 4:34 Fly, 1994, 34 sec, color, sound 4:35 to 5:59 - break 6:00 to 6:07 Apple, 1994, 7 sec, color, sound 6:08 to 6:59 - break 7:00 to 7:14 All, 1994, 14 sec, color, sound 7:15 to 7:59 - break 8:00 to 9:10 Jump, 1994, 1:10 min, color, sound 9:11 to 9:21 - break B1000131
ACMI Freeze frame Licence (perpetual'); 2005 1983 00:09:38:00 Peter TSCHERKASSKY B2000218
ACMI Fugitive II Licence (perpetual) 1996 1997 1996-1997 Simon PENNY Fugitive II is the second iteration of the interactive digital video installation Fugitive (I), developed in 1996-7 at CMU, Pittsburgh USA and ZKM, Karlsruhe, Germany by Simon Penny, with the assistance of Jamie Schulte and Andre Bernhardt. The question 'what is FugitiveII' may be answered from two directions. As a piece of interactive media research, Fugitive (I+II) attempt to move beyond a simplistic state-machine model of interactivity in which raw instantaneous location of the user triggers events. Fugitive responds to the ongoing behaviour of the user. Fugitive (I+II) attempt to remove the levels of abstraction and encoding common to most interactive paradigms. Users interact in Fugitive with no special clothes or headgear, no input devices and no training. Fugitive responds to the natural embodied expression and dynamics of human users. It models a more convivial kind of human-computer interaction. Theoretically, Fugitive has much in common with situated, embodied and phenomenological critiques of conventional Artificial Intelligence approaches. The imagery in Fugitive II speaks to the conflicted nostalgia of the expatriate. The movement of the user undoes the original cinematography: for instance, the moving projected image puts the frames of a pan back on the wall at angles relative to each other that correspond to the original arc of the camera. In so doing, FugitiveII falteringly, fragmentally, reconstructs a virtual recreation of a place, only to be disrupted, deconstructed, or to collapse, due to user movement. FugitiveII speaks to the impossibility and the folly of dwelling in memory. B1000213
ACMI Garden of chromatic disturbance 1999 00:11:00:00 Arthur CANTRILL, Corinne CANTRILL B2003699
ACMI Gastropoda Licence (perpetual'); 2005 2004 00:04:22:00 Anto SKENE A fascinating look at the common snail through a kaleidoscope of shapes, sounds and color using computer animation. No dialogue. B2000700
ACMI Gather Commission; 2001 2001 Hilary BLACKMAN, Scott MILLWOOD A restrained, observational study of the groupings, gestures, and postures of people who gather to form temporary communities in the city. People are observed gathering for entertainment, for commemoration, for debate and contestation, for celebration. The city is seen as a shifting flux and flex of momentary comminglings. B1001820
ACMI German Song Licence; 2004 1995 00:06:21:00 Sadie BENNING B2000279
ACMI Get ready (Viennale '99 trailer) Licence (perpetual'); 2005 1999 00:01:04:00 Peter TSCHERKASSKY B2000221
ACMI Gift Licence (perpetual'); 2004 1997 Mike STUBBS Gift was shot in the Wolfen-Bitterfeld region of Germany, formerly part of the GDR. Home to intensive chemical production powered by local open-cut coalmines, Bitterfeld has been referred to as the filthiest city in Europe. Since the reunification of Germany, attempts have been made to redress the environmental damage, but the long-term effects remain evident in both the scarred landscape, and the poor health statistics of the people who live there. Gift is a mesmeric, impressionistic collage of images of industry, mining, pollution and community. Gift is the German word for poison B1002569
ACMI Girlpower (Part 1) Licence; 2004 1993 00:13:39:00 Sadie BENNING B2000278
ACMI Global groove Purchase; 1999 1973 00:30:00:00 Charlotte MOORMAN, Merrily MOSSMAN, Nam June PAIK `This is a glimpse of the video landscape of tomorrow, when you will be able to switch to any TV station on the earth, and TV Guide will be as fat as the Manhattan telephone book.' So begins Global Groove, a seminal tape in the history of video art. This radical manifesto on global communications in a media-saturated world is rendered as a frenetic electronic collage, a sound and image pastiche that subverts the language of television. With surreal visual wit and an antic neo-Dada sensibility, Paik manipulates an emblematic pastiche of multicultural elements, artworld figures and Pop iconography. Pepsi commercials appropriated from Japanese television are juxtaposed with performances by avant-garde artists John Cage, Merce Cunningham, Allen Ginsberg and the Living Theatre; dancers moving in a synthesized, colorized space to Mitch Ryder's Devil with a Blue Dress On are intercut with traditional Korean dancers. Charlotte Moorman, her image wildly synthesized, plays the TV Cello; Paik and Moorman play the TV Bra for Living Sculpture; Richard Nixon's face is distorted by a magnetically altered television. In an ironic form of interactive television, Paik presents "Participation TV," in which he instructs viewers to open or close their eyes. Paik subjects this transcultural, intertextual content to an exuberant, stream-of-consciousness onslaught of disruptive editing and technological devices, including audio and video synthesis, colorization, ironic juxtapositions, temporal shifts and layering -- a controlled chaos that suggests a hallucinatory romp through the channels of a global TV. With its postmodern content, form and conceptual strategies, Global Groove has had a profound influence on video, television and contemporary art. B1000127
ACMI Godspeed verticals Commission; 2004 2004 Shaun GLADWELL A dual screen digital video installation, godspeed verticals explores BMX bicycle riding and skateboarding and its relations to and functions within the urban environment through the large scale projection of two sequences of actions skewed at 90 degree angles. Recorded in a deliberately anonymous and generic underground carpark and walkway and presented in slow motion, these sequences subtly reference visual cultural practices and spectatorship in an art historical context while engaged in a meditative study of contemporary activities of urban expression. In the first sequence, the camera follows a single BMX bicycle rider as they maneuver towards the darkened exit/entrance of a vast walkway, the bike and rider alike appearing to be pulled up and beyond the frame through the skewed presentation of the image. A loose translation of Caspar David Friedrich's 'Wanderer above the Sea of Fog' (1818), the image stages the sublime position of the loan character in Friedrich's painting in its representation of the BMX bicycle rider's spatial orientation in and interaction with the contemporary urban landscape. Sequence two presents an aerial view of skateboarders falling into a tiled wall, some alone and others grouped together, with subtle reflections in composition on the geometry of Abstract art and the distant framing of imagery and figures in Western religious artworks. A layered soundscape of the sounds derived from the focal environment accompanies the projections to produce a low volume ambience for the on screen movements. B1006116
ACMI Grass lands Licence (perpetual'); 2005 2004 00:05:17:00 Zoe SCOGLIO Surrealistic and dream-like this animated experimental work uses cut-out animation to create some very strange and eerie images. No dialogue. B2000702
ACMI Guns and poses (remix) Purchase 1995 1997 1995-1997 X-PRZ This single-channel tape is a remix of the video component of the installation NT YT FREE STYLES. X-PRZ constructs a powerful collage of rap music, authorial text, and iconic visuals to confront the politics of race in the context of the American media. Cokes writes,`Slick and easily legible Pop surface: deploying the Black male media projection as central model, heroic figure, and exploited buffoon of fear-mongers in the media. Moving images: clips from Gangsta rap videos, LA Rebellion 1992, the 'Jam' Michael Jackson/Michael Jordon video and other film sources.Sound: Adapted from the 'Murder was the Case' soundtrack with works by Dr. Dre, Ice Cube, and Snoop Doggy Dog.' B1000138
ACMI Haiku dada 1993 Felix HUDE One of 6 works selected by AIM director David Atkinson as representing the best interactive work produced by the AIM centre up until 2004. A wickedly humorous but thoughtful work. Very rich in content demonstrating how animation and interactivity can work seamlessly together. ' Explore the culture and contradictions of Japan. View beautiful woodblock prints in motion, select a haiku. Look into the personal profiles of typical Japanese citizens. Make your own haiku! Loads of fun for the culturally wise or just plain curious. Recommended by four sumo wrestlers out of ten. Basic Japanese and English phrases throughout.' B1000218
ACMI Happy-end Licence (perpetual'); 2005 1996 00:10:56:00 Peter TSCHERKASSKY B2000210
ACMI Headskin 2005 2005 00:05:55:00 Robert HUTTER, Ingrid MWANGI Layers of identity and expression exposed through the often raw and violent process of intercultural dialogue reveal a universal vulnerability. B2000346
ACMI Heaven Licence (perpetual'); 2003 1997 Tracey MOFFATT Surfing, sexuality and masculine bodies beneath the female gaze. A handheld camera closes in on private space of surfers as they disrobe in carparks and attempts to catch them 'out'. Filmed in and around Sydney beaches, Moffatt and female friends have documented a playful but edgey representation of surfer culture as the interaction between the filmmaker and subject moves towards active voyerism. The heavy drum beats and lapping waves of the soundtrack mirror the thrill and excitement of gender mis-representation. How do the males react, or perform, on camera and how do audiences interpret their own voyeuristic desires? What does it suggest about the role of the film maker, of ethics or 'surveillance'? B1001361
ACMI Hikikomori: alienation through technology Licence (perpetual'); 2001 2005 00:03:55:00 Gary BUI 'In the year 2004, it was expected that 1 million young adults will withdraw from the Japanese society.' This interpretative performance piece explores Hikikomori through representational images - a sculpture of animation and art. Performers: Yee Wei, Lester King. No dialogue, music soundtrack only. B2000725
ACMI History of a day 2005 2005 00:20:00:00 Simon CARROLL, Craig CARTER, Martin FRIEDEL, Uri MIZRAHI The time lapse photography in History of a Day offers an exhilarating view of a 'day' unfolding before our eyes in just four minutes. The five screens of the installation surround the viewer with multiple sunrises, sunsets and lightning storms - a global dance of energy and light not available to us from our usual fixed and single perspective. History of a Day shows us the Earth as a spinning ball of elements, driven by the laws of gravity and physics, producing, in the words of the artists, 'a cosmic special effects theatre in continuous production, simultaneously all over the earth.' Cinematographer Simon Carroll has been photographing time-lapse sequences for twenty years, and has amassed a large archive of material from which History of a Day was constructed. His work has been used in many films, including The Matrix (1999). Composer Martin Friedel has written music for film, theatre, opera and the concert hall, using both traditional and new media forms. He is currently a Creative Fellow at the State Library of Victoria. (FT 30.03.05) B2000110
ACMI Hold: vessel #1 and vessel #2 Purchase; 2004 2001 Lynette WALLWORTH Hold: Vessel 1 is a magical interactive experience in which visitors to the gallery try to catch a mesmerizing series of projected visions in a delicate glass bowl - echoing the wondrous views of the world made possible with the first microscopes, underwater cameras and astronomical cinematography. Lynette Wallworth began her career in photography, and has also worked in short film, installation and performance. She creates installation spaces that require activation by the participant/viewer. To collect the images used in Hold: Vessel 1 she collaborated with scientific image libraries and specialist cinematographers, as part of her ongoing investigation into imaging technologies that enable us to see the world in ways otherwise inaccessible to the naked human eye. Hold: Vessel 1 consists of video projections with directional sound scape beamed from above into a darkened space. The visitor is invited to take hold of a glass bowl and catch the images within it, finding the point at which the vision is most clear and resolved. A personal portal opens to us as we cradle the bowl in our hands. Imagery in 'Hold' is derived mainly from Australian scientists and specialist cinematographers including: David Hannan, who has adapted medical imaging technology to film extreme macro images of the Great Barrier Reef, Anya Salih, who investigates coral fluorescence and Greg Rouse, Marine Biologist. The work is designed as a vessel to hold a changing pool of imagery. Hold: Vessel 1 will change in time as time changes the environments it reflects. B1001976
ACMI Hollow 2001 00:03:44:00 Tina GONSALVES B2000250
ACMI Homing Licence (perpetual'); 2004 1994 Mike STUBBS B1002567
ACMI Host Purchase 1997 Kristin LUCAS Lucas states: In this video, I participate in an on-line therapy session directed by the system operator of a streetside multi-media kiosk. As I indulge in a virtual conversation about a troublesome relationship, the session instantly becomes an amalgamation of daytime television and tabloid, wherein the surveillance camera becomes the eye of the media. B1000120
ACMI How to make the famous pisco sour 1986 00:16:20:00 Peter CALLAS 'Pisco Sour' represents a shift beyond earlier works in its dense layering of subject-matter and imagery. Initiated in Australia and completed in Japan, the work draws upon the core imagery of a bullock dray, a male figure in silhouette, a Japanese mask and a bottle of Pisco Sour. These appear in varied permutations alongside other seemingly random images to form a series of telescopic views (screens within screens). Verbal narrative and textual statement create a sense of tension whilst suggesting that history and meaning are never fixed. The work presents something of a conundrum, its title a metaphoric recipe for the potential 'souring' of things. Produced with the assistance of the Visual Arts Board of the Australia Council. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001498
ACMI Hurt Commission; 2001 2001 BIG HART, Phillip CRAWFORD 'Hurt' is an extraordinary project in which film and video cameras were put in the hands of 250 under-privileged young people from rural regions of northern New South Wales and Western Victoria. The basic materials derived from this process comprised hundreds of poignant, beautiful, cruel and comforting stories. Filmmakers Phillip Crawford and Matthew Priestly from youth arts organization BIG hART worked with the young people to create an AFI award winning film, 'Hurt' in which fragmented, poetic and haunting stories of isolation and hardship are told through the words and images created by the young artists. In this new ACMI commissioned project filmmakers from BIG hART have turned the material into a multi-screen spatial installation that puts the viewer into the midst of this fragmented world of broken lives, beauty and bravery. B1001818
ACMI I Hung back, held fire, danced and lied Purchase 1995 Tom KALIN In I hung back, held fire, danced and lied, Kalin confronts loss, intimacy and estrangement. This visually arresting piece is constructed of Super-8 fragments that document familiar and foreign spaces, lovers and strangers. Rapidly intercut with these images are brief glimpses of names of individuals who have died from AIDS -- some famous, others not so well known -- that further notions of anonymity and immortality. Kalin's imagery serves as an 'imprint' of the living world, preserving for an unknown viewer personal experiences that have already fled. Kalin concludes with a quote from The Black Boy Looks on the White Boy by James Baldwin: 'I hung back, held fire, dance and lied. I was not going to come crawling out of my ruined house, all bloody, no, baby, sing no sad songs for me. B1000108
ACMI I Look up, I look down Licence (perpetual'); 2004 2001 Pernille SPENCE A body falls gracefully through the air, kilometres from the earth, seeming to hover between falling, then rising again in a fluid dance that suspends and evades gravity. This looping video installation playfully dispels any laws of science as the casually dressed skydiver that we see floating through the air never gets closer to the ground. Moving hypnotically around the camera the body disorients all sense of up and down until at one point it seems to float, buffeted by the air, toward a passing plane. B1002573
ACMI I am a singer 1997 Megan HEYWARD This award winning interactive CD-Rom weaves a fragmentary narrative about an amnesiac famed for her singing. Exploring notions of performance, autobiography and memory this is an intriguing and compelling story in which the viewer helps to reconstruct the events of a life lived through song. B1002823
ACMI I don't know you 2001 00:01:56:00 Tina GONSALVES B2000258
ACMI Idea >On! 1992 Troy INNOCENT One of 6 works selected by AIM director David Atkinson as representing the best interactive work produced by the AIM centre up until 2004. : Idea-ON>! presents the manifestation of fragments of Troy's own personal reality in what appears to be a living, breathing world. The approach to multimedia rejects traditional flat user interface design, and offers the user many different forms of engagement through four new realities, each prototyping different aesthetic, structural and communication based approaches to virtual space. It is interactivity for interactivity's sake, experimentation with what is possible, experience based as opposed to information based. Things may happen without user interaction, more obscure exploration may be required to find hidden places, or responses given by the objects and beings will vary, often following a surreal kind of logic. A significant early work within the emergence of multimedia as art. Exhibited at Siggraph, BURNING THE INTERFACE: Museum of Contemprary Art, Sydney, Australia, 1996. PERSPECTA: Art Gallery of NSW, Sydney, Australia. ARS 95: Museum of Contemporary Art, Helsinki, Finland. Digital Salon: New York, USA 1995 B1005840
ACMI If Every Girl Had a Diary Licence; 2004 1990 00:09:00:00 Sadie BENNING Sadie Benning's video diaries form a unique record of the development of a young artist. Within the confines of her bedroom, she creates a dense experimental work about a teenagers search for sexual and non-conformist expression. 'If Every Girl Had a Diary' is an intimate insight into suburban malaise and alienation, as well as being a defiantly accomplished piece of video art. B1000246
ACMI If pigs could fly (the media machine) 1987 00:04:19:00 Peter CALLAS Produced for the Bicentennial Travelling Exhibition which circumnavigated Australia during the 'celebration of a nation' in 1988, this work represents a return by Callas to distinctively Australian imagery: the Anzac, a kangaroo playing the fiddle, the swagman, and the surfer. These patriotic and nationalistic icons are intercut with references to contemporary media culture to reflect a process of 'cultural de-territorialisation', brought about by the advancement of communications technologies in the late 20th century. The irony of the national media promoting and perpetuating the notion of a unitary, cohesive Australian identity in a nation made up of multiple racial and ethnic groups and founded on a largely unresolved colonial past, is not lost on Callas. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001503
ACMI Immemory 1997 Chris MARKER Marker charts a haunting journey through memory, cinema, photography, war and literature tracing an itinerary or map of an imaginary country. This voyage takes us from the 'Madeline' at the intersection of Proust and Hitchcock through an archive of image and text that culminates as a self-portrait. (Electonic Arts Intermix) B1003072
ACMI In My Gash Linda DEMENT 'She had a bad childhood. For a while they thought her mad. She got sent to jail for nothing. Much. It only made her worse. She turned to drugs and murdered men. Fell again again into the black hole of despair. This is the story of Lying Ugly Mess Bitch. These are the insides of Lying Ugly Mess Bitch. In My Gash takes you into the flesh of a depressed and dangerous girl, drug fucked and damaged. Four wounds are entrances to the nightmare interior where the stories and horrors of bodily memories emerge under the cursor on screen. Each gash leads to the black hole of despair where soundloops and suicide circle endlessly.' B1001954
ACMI Infected Licence (perpetual'); 2003 2001 Gina CZARNECKI Infected is a projected video installation about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still a sexual, stark, brutal, organic, pounding bloody system with ripping tendons. It is beautiful and repulsive, indulgent, curious, emotional, un/controlled, breeding, changing. Gina Czarnecki is an artist originating from the UK whose films and installations have been exhibited widely across the UK and around the world. Infected continues her work around the visceral, biological and emotive body and its politics in relation to new technologies. This video is made in collaboration with Iona Kewney, a Glasgow-based dance artist. It features a specially commissioned score by Fennesz, whose computer-manipulations of sounds derived from guitar and other acoustic sources have won him worldwide acclaim as one of the most innovative and important artists working in electronic music. B1005332
ACMI Instrument Licence 1987 1997 1987-1997 Jem COHEN Jem Cohen is a New York-based producer working in 16mm and 8mm film and video. His poetic, often ephemeral, work is marked by a blurring of the distinctions between documentary, narrative, and experimental genres. Cohen frequently shoots in hundreds of locations without any additional crew, in the tradition of documentary street photographers such as Robert Frank. His projects include collaborations with poets, writers, and bands such as R.E.M. and Fugazi, creating alternatives to generic and commodified 'music video.' 'Instrument' is a collaboration between Jem Cohen and the Washington DC band Fugazi, the project covers the ten year period from the bands inception in 1987. Far from a traditional documentary, the project is a musical document: a portrait of musicians at work. B1001825
ACMI Internal tantrum Purchase 1975 Charlemagne PALESTINE In Internal Tantrum, Palestine sits before the camera with a severe expression of concentration, his body tense and his fists tightly wound. He begins to slowly chant and sway, evoking a powerful sense of grief and pain. He writes that the tape provides 'a reading, like on the Richter Scale, of a certain kind of emotional internal roller coaster or earthquake. I used only one tone so the deliverance of energy becomes directly articulated in the sound.' This performance is a simple yet intense rendering of pain, and the desire to move that pain outward from the internal. B1000128
ACMI Interpolation Purchase 1979 Kit FITZGERALD, John SANBORN Divided into ten abstracted 'stories,' this study of sound and image juxtaposition employs rapid cutting as its primary visual strategy. Although such strategies have become standard conventions of music videos and television advertising, the artists broke new ground at the time with fast edits, dissolves, real-time manipulation and altered synchronization of sound and image. In deftly orchestrated interpretations of gesture and movement, simple events are reassembled into compelling compositions - rhythmic, stream-of-consciousness flows of images and sounds that play with illusion and reality. In 'Entropy', the everyday ritual of eating breakfast is fragmented into rapid, staccato images and sounds. A new language of sounds and chants is generated through rapid-fire editing and repetition in 'Aphasia'. Editing and dissolves are used to re-choreograph movement in 'Motive'. B1000099
ACMI It wasn't love Licence; 2004 1992 00:19:10:00 Sadie BENNING B2000277
ACMI Jollies Licence; 2004 1990 00:11:19:00 Sadie BENNING An intimate and sardonic work about being an adolescent in mid-American suburbia. From touching the genitals of boys in school to finally getting to kiss the girl she wants, this very funny and accomplished experimental work was filmed while the director was herself a teen. B1003646
ACMI Jumpcut 2001 00:05:37:00 Ian ANDREWS Two pieces of found footage were used to produce 'Jumpcut', a series of frames cut from the head and tails of various takes of a talking head shot for a 1970s industrial film or commercial; and a piece of 1950s/60s home movie footage depicting a jumping child interrupted by the perforation marks at the end of the reel. Both images are processed through the Cox Box. The loop of the jumping boy had developed, over time, a network of miniscule cracks in the emulsion which were further emphasised by the increased contrast of the processing and the slow motion. B1005853
ACMI Just hold still. Parts one and two Licence 1989 00:31:38:00 Jem COHEN In his New York City Landscape, Cohen finds inspiration in disturbance. Looking to life for rhythm and to architecture for state of mind, he locates simple mysteries. `Just Hold Still' is comprised of an interconnected series of short works and collaborations that explore the grey area between documentary, narrative and experimental genres. Part One concerns a personal, poetic approach to narrative while Part Two involves hybridized use of verite footage and the confrontation of documentary concerns with the music video format. The work can be considered as a whole or each piece in the project can be viewed (and rented) as a separate entity. B1000093
ACMI K-Rad Man Licence (perpetual'); 2001 1991 00:11:00:00 Ian HAIG A Mad Scientist creates the ultimate computer virus and locates a suitable test subject: K-Rad Man - to whom he can expose the computer virus and gauge its results. B1001959
ACMI Kelimba Licence (perpetual'); 2005 1986 00:10:00:00 Peter TSCHERKASSKY B2000214
ACMI Kinema no yoru / Film Night 1986 00:02:31:00 Peter CALLAS 'Kinema No Yoru' introduces the motif of the menko playing card as a recurrent symbol in this almost entirely 'animated' work. Popular amongst Japanese children, menko's colourful appeal is underscored by a darker ideological bias in the set of cards at Callas' disposal. Disjunctive images of war and territorial conquest (human bombs, brave feats, gas masks) thus convey more about Japan's colonial aspirations that of the game's competitive nature in the simple winning and losing of the iconic cards. The introduction of political and propagandist imagery reflects the artist's profound scepticism toward notions of universal truth and authenticity of experience. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001501
ACMI Kiru umi no yoni / Cutting like the ocean 1986 00:04:11:00 Peter CALLAS One of Callas' most personally confronting works, it is made up of six parts, and utilises the image of a knife slicing horizontally through the pictorial screen as its central and linking motif. Its starting point was an installation by Callas which incorporated a photograph from the 1920s of two severed heads belonging to a male and female of an indigenous tribe in Formosa (Taiwan). At once horrific and enigmatic, this image forms a potent metaphor for Japan's pre-Second World War imperial past. The significance of the work is not confined to Japan alone - it also offers a kind of mirror with which to face atrocities committed in colonial Australia. Produced with the assistance of the Australian Film Commission. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001499
ACMI Kissing Mark 1998 00:00:48:00 Tina GONSALVES B2000248
ACMI L'île Mystérieruse Purchase 1991 00:15:46:00 Robert CAHEN French videomaker Cahen eloquently captures atmospherics to create a sound and colour scape of Easter Island, The Mysterious Island. He writes, 'Traversed by light and colors, images of the empty landscape seem to be haunted by a gaze, a desire to see, to know.' Children play in the shallows of a small boat harbour. Is this a clue to the mystery? B1000088
ACMI LDTV Purchase 1997 00:20:23:00 Dan ASHER LDTV, refers to the artist's term for 'low definition television'. This work is a collection of television fragments videotaped directly from the TV screen in an array of countries in which Asher has travelled. On the one hand LDTV reflects the nomadic character of Asher's work, but at the same time it reproduces the effect of a satellite fixed in space, giving unlimited access to a homogenised world. With vitality and humor, LDTV traces the speed at which Western culture is transmitted globally. B1000069
ACMI Labours Licence (perpetual'); 2005 2004 00:06:44:00 Jessie SCOTT Exercise, weight, clothes, makeup - the labours of image. Performed by Hayley Owens. No dialogue. B2000699
ACMI Landscape Purchase; 2002 1998 Anna SZEPESI, Tamas WALICZKY In a small German village, time stops in the middle of a storm. Raindrops glitter frozen in the air, and the only living thing is the roving eye of the camera which moves through this frozen moment of time. Using complex digital animation techniques, Tamas Waliczky invites the viewer to reimagine how time and space are perceived and proposes a new virtual experience of the body's movement through space. B1003532
ACMI Liebesfilm = Film of love Licence (perpetual) 1982 00:07:59:00 Peter TSCHERKASSKY B1000575
ACMI Life water Licence (perpetual'); 2004 1990 Mike STUBBS B1002565
ACMI Little England Licence (perpetual'); 2004 1998 Mike STUBBS B1002570
ACMI Living inside Licence; 2004 1989 00:05:13:00 Sadie BENNING Sadie Benning, at the age of 16, dropped out of high school for three weeks and stayed inside with her camera, TV and a pile of dirty laundry. The result is an introspective work of stop and start edits, grainy images and Benning's reflective commentary invoking a sense of isolation and sadness as she retreats from the outside world. B2000271
ACMI Lost book found Purchase 1996 00:36:41:00 Jem COHEN The result of over five years of Super 8 and 16mm filming on New York City streets, 'Lost Book Found' melds documentary and narrative approaches into a complex meditation on city life. The piece revolves around a mysterious notebook filled with obsessive listings of places, objects, and incidents which serve as the key to a hidden city. It is a city on unconsidered geographies and layered artefacts - the relics of low-level capitalism and the debris of countless forgotten narratives. The project stems from the filmmaker's first job in New York - working as a pushcart vendor on Canal Street. As usual, Cohen shot in hundreds of locations using unobtrusive equipment and generally without any crew. Influenced by the work of Walter Benjamin, Cohen created 'an archive of undirected shots and sounds, then set out to explore the boundary' between genres. During the process Cohen said, 'I found connections between the street vendor, Benjamin's 'flaneur' and my own work as an observer and collector of ephemeral street life'. B1000094
ACMI Lost in Translation 1999 00:05:59:00 Peter CALLAS 'The double movement of displacement and circulation, loss and regeneration, constitutes a means of uncovering the disjunction between history and memory 'in Latin America'.' - Charles Merewether. The cartographer's 'invention' of the world and the role of slavery in the process of the colonisation of South America form an 'anti-historical' reconstruction of 'Brazil'. Produced in association with the Australian Film Commission. Notes reprinted courtesy of d/Lux Media Arts. B2001507
ACMI MEART Commission; 2004 2004 08 May 2004 Guy BEN-ARY, Stuart BUNT, Oran CATTS, Ionat ZURR Located at the School of Anatomy and Human Biology, University of Western Australia. The SymbioticA Research Group (Sarg) has collaborated with the Laboratory for Neuroengineering at Georgia Tech in the US for the last 3 years. The collective is: Oran Catts, Research Director; Ionat Zurr, New Media; Guy Ben-Ary, Biological Artist; Phil Gamblin, Artist; Dr Stuart Bunt, Founder & Scientific Director. B1005846
ACMI Man act Licence (perpetual'); 2004 1995 Mike STUBBS B1002568
ACMI Maniac de Luxe Commission; 2004 2004 David ROSETZKY A dual screen video installation with thematic furnishing elements including low light household lamps, Maniac de Luxe interrogates the implications of private activities relocated into public space. Through a conceptual focus in the screen images on the interiors of large designer furnishing outlets and the cross cutting of footage on one screen between these public interiors and private dwellings which feature similar furnishings, the realm of private and public is increasing blurred and their boundaries rendered increasingly ambiguous. On a large rear projection screen, a group of characters sit and discuss private thoughts and issues in a designer furniture showroom, a further problematic to the division between private and public space. An ambient soundtrack along with two discrete soundscapes including dialogue from a group of characters and original music, will also inform the atmosphere of the installation, itself furnished as a room in a generic designer home. B1006105
ACMI Manufraktur = Manufracture Licence (perpetual'); 2005 1985 00:02:54:00 Peter TSCHERKASSKY B2000215
ACMI Mapping a city of fragments v.2 Licence 1997 00:09:31:00 Chip LORD Using the opening of Godard's film 'Alphaville' as a foundation, Lord constructs a vision of the evolving global city during the last years of the 20th Century. Structured as a series of repetitions, the montage of the changing city is offset by shots of Silicon Valley corporate facades. The result is a dialectical contrast between urban and suburban space, body and mind, chaos and order, and the post-modern and the modern. Shot in Hi-8 video in Tokyo, Fukuoka City, Mexico City, Rome, San Francisco, Naples and Los Angeles. B1000119
ACMI Matrix Purchase 1971 John WHITNEY Another of John Whitney's important investigations into technology and the moving image, this particularly geometric animated abstraction uses industrial computers to render Whitney's light musical forms onto the screen. Computer generated forms evolve, merge and subdivide on a black background, each motion and movement as carefully orchestrated and synthesised as the accompanying music. B1003527
ACMI Mauve Desert Purchase 1997 Adriene JENIK 'As you drive Mauve Desert I hope you keep in mind where you sit and what drives you to understanding.' This a story about Melanie, a fifteen year-old, who steals her mother's car and drives into the desert. How she feels about herself and the process of becoming is echoed by her spoken thoughts on the desert landscape she drives through. Low-resolution graphics and a distinctive design style support the raw, and grungy atmosphere of Melanie's world. The main interface is a map. The map promises adventure and danger, hinted at by the areas of the map lighting up. The offscreen sounds include dogs barking, gunshots and a car engine turning over. The narrative structure of Mauve Desert makes the user get stuck at certain points. We can only sit back and watch. Sometimes an area is available to click on, sometimes that area will not respond, encouraging the user to be opportunistic in future encounters. Different pieces of video will be produced at particular intervals, suggesting that an underlying logic holds the project together. The theme of understanding and interpretation is also reflected in the layers within the project where fact is merged with fiction. There is Maude Laures, the academic, who stumbles upon Melanie's life in a second-hand bookshop. The project is based on the novel Le Desert Mauve by Quebeýoise author Nicole Brossard, `Mauve Desert'. B1000106
ACMI Me and Rubyfruit Licence; 2004 1989 00:05:37:00 Sadie BENNING B2000275
ACMI Measures of distance Licence; 2004 1988 00:15:26:00 Mona HATOUM Reading out loud from letters sent by her mother in Beirut, Hatoum constructs a visual montage that evokes feelings of separation and isolation from her Palestinian family. The personal and political are inextricably bound in a narrative that explores personal and family identity against a backdrop of traumatic social rupture, exile and displacement. B1001832
ACMI Media Ecology ads Purchase 1999 Antonio MUNTADAS Muntadas, since the 1970s, has been preoccupied with the translation of information. In this series of three short films; Fuse, Timer and Slow Down, the artist focuses on the immediacy of the subjects chosen for each film (a burning fuse, an hourglass, a running tap). An exploration of temporality and semiotics. B1000124
ACMI Media wall loops. Tape 1- Keely Licence (perpetual'); 2003 2003 Keely O'SHANNESSEY Constructed out of 1950s slides from the dept of education as well as video captured by the artist. B1005395
ACMI Meet the People Purchase 1986 00:16:32:00 Shelly SILVER Blurring the line between documentary and fiction, truth and artifice, Meet the People presents fourteen 'characters' who face the camera in talking head close-ups and speak about their lives and dreams. The intimacy and honesty of their fragmented, autobiographical storytelling is illusory; the credits reveal that these people are professional actors, playing fictional roles, reading a script. As Silver writes, this work points to a complicity on the part of the viewer in his desire to believe and identify with the traditions of and characters on TV. The same television that mimics a perfected form of the identity of the 'average person' is also in part responsible for creating this identity; it both researches, uses and manufactures this `average person's' hopes and dreams. And so the question of a `real person' becomes `real' compared to what? B1000130
ACMI Memory of Moholy-Nagy Licence (perpetual'); 2003 1990 Tamas WALICZKY An digitally animated journey through the abstract colors, compositions, and constructions of the Hungarian artist Laszlo Moholy-Nagy. Using 3D animation tools, the artist has created a landscape of the mind of this important 20th century artist. B1004269
ACMI Mind of Tibet Commission; 2001 2001 02 January 2001-01 November 2001 Geshe Sonam THARGYE In the late 1990s in Tibet a ceremonial Buddhist teaching festival was conducted. A monk was asked to take a VHS handycam through the crowd, documenting the event so that the undeniable existence of these devout people could be 'captured'. The tape was to be an enormous family album for exiled Tibetans around the world. But it was also a witnessing document in case any misfortune befell the pilgrims. It was a subtle, pragmatic act of remembrance. Years later, when Australian artist Sue Ford sat with eminent Buddhist scholar and teacher Geshe Sonam Thargye to view the tapes in Geelong, they felt it was extraordinarily clear that the camera had absorbed something more than a crowd at a festival. They realised that they had the makings of a meditative environment that could bear witness to the compassion that is the subject of so much Buddhist teaching. As they began to assemble the shots, they found that the sequencing of the ceremonies and teachings guided their editing decisions for the installation. The video footage was composed of all-encompassing loops radiating around the viewer as the monk's camera traced circle after circle through the crowd, and as the chants and ceremonies of nourishment enfolded the crowd in a compassionate assembly of learning and witnessing. To complete this concentric aesthetic, the artists suggested the array of eight screens as a way of immersing visitors within the crowd of pilgrims. Sitting within the circumambient mandala, visitors to the installation find themselves in the midst of a consciousness that knows how the past, present and future are all folded into each other, in the endlessly remembering 'Mind of Tibet'. Geshe Sonam Thargye is an eminent Tibetan lama serving with the Tibetan government in-exile based in Dharamsala, India. He also spends a significant portion of his time teaching in Geelong, Australia. Sue Ford is a Victorian filmmaker and one of Australia's leading photographic portrait makers. She also produced one of the classic independent films of the 1970s, 'Faces'. B1001742
ACMI Motion picture (La Sortie des Ouvriers de l'Usine Lumiere a Lyon) Licence (perpetual'); 2005 1984 00:03:23:00 Peter TSCHERKASSKY B2000216
ACMI Murray muse Licence (perpetual'); 2006 2004 00:20:20:00 John R. HIPWELL 'Murray muse' is a suite of four digital video paintings titled Earth, Fire, Air and Water. The environmental issues affecting the sustainability of one of Australia's most precious resources, the Murray River and its surrounding ecosystems inform this Digital Video artwork. This emergent video painting process is a vehicle whereby the consideration of other media forms (photography, painting, printmaking, cinema and television) are remediated, blended and transformed. The four films in this Digital Video Painting DVD can be played and viewed randomly and continuously, culminating in a symbiotic relationship between sight and sound, editing and postproduction techniques, allowing the viewer to interact with the digital imagery and ambient audio either actively or passively. B2000355
ACMI Nano-cadabra Purchase 1998 00:05:05:00 Phyllis BALDINO, David CHMURA Baldino takes the theory of 'Nano-technology' as her jumping-off point to explore the connections between science, magic and wonder. Nano-Cadabra is composed of forty abstract narratives, each lasting five seconds or less. In these mini-events, an array of ambiguous objects interact, eerily suggesting movement on the molecular level. Nano-Cadabra also exists as a four-channel installation. B1000075
ACMI Neo Geo: an American purchase 1989 00:09:16:00 Peter CALLAS 'Neo-Geo' was produced by Callas during an artistic residency at PSI Studio in New York, 1988-89. It exposes the profound contradictions inherent in the twin gods of contemporary American culture – capitalism and democracy – by the intense layering of diverse visual cues and associative references drawn from popular culture, the entertainment industry, religion, warfare and technology. The effect is one of visual and aural overload, culminating with the screaming sound of falling bombs, guns and thunder, accompanied by images of war and death. A postmodern Babylon, America is portrayed here at bursting point. Produced with the assistance of the Australian Film Commission. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001505
ACMI Nest of Tens 1999 Miranda JULY 'Nest of tens' is comprised of four alternating stories which reveal mundane yet personal methods of control. These systems are derived from intuitive sources. Children and a retarded adult operate control panels made out of paper, lists, monsters and their own bodies. 'A young boy, home alone, performing a bizarre ritual with a baby; an uneasy, aborted sexual flirtation between a teenage babysitter and an older man; an airport lounge encounter between a businesswoman (played by July) and a young girl. Linked by a lecturer enumerating phobias in a quasi-academic seminar, these three perverse, unnerving scenarios involving children and adults provide authentic glimpses into the queasy strangeness that lies behind the everyday'. New York Video Festival, 2000. B1001829
ACMI Night's High Noon: an anti-terrain 1988 00:07:24:00 Peter CALLAS Created amidst Australia's 1988 Bicentenary celebrations, 'Night's High Noon' proposed a flipside to stereotyped notions of recent Australian history and identity. For Australia's Aboriginal peoples the Bicentenary represented 200 years of dispossession from their land, cultural destruction and racial prejudice. Representations of indigenous cultures allude to the appropriation and objectification of Aboriginal peoples, their artforms and traditions, in white Australian popular culture. Truth and Meaning are similarly problematised. Produced with the assistance of the Australian Film Commission. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001504
ACMI Nomads Purchase 1993 00:04:00:00 Tom KALIN Kalin's short video works, which use literary quotations as starting points, function both as visual poems and as alternative music videos. With their astute conjunctions of image, music and text, these tapes respond to issues of sexuality and human interaction in the 1990s, more than a decade into the AIDS crisis. In Nomads, a brief text by Jane Bowles is the point of departure for a vivid music video that presents an elliptical view of the realities of contemporary urban life. 'I fear nomads. I am afraid of them and afraid for them too.' -- Jane Bowles, Camp Cataract. B1000111
ACMI Notes from the underground Purchase 1996 00:17:57:00 Dan ASHER The displaced eye of an unyielding, handheld camera studies the faces, hands and feet of commuters on the London Underground. The sequence begins as the train is leaving Temple Station, a center for the city's law practises and named for the Order of the Knights Templars, the suppressed Medieval Order from which the Freemasons claim decent. A middle-aged commuter pulls a variety of bored expressions while Asher's camera focuses on the gold signet ring he wears, a symbol of a Freemason. Successive characters show differing reactions, to the presence of the camera which has a pervasive power that admits no concessions to the rhythmic progress of daily routines. B1000070
ACMI Nuclear body Licence (perpetual'); 2003 1999 01 March 1999, 01 March 1999-02 March 1999 Davide GRASSI A project by Davide Grassi, Nuclear Body is the result of research into one of the diagnostic techniques used in the field of nuclear medicine: radio-isotopic scanning or schintigraphy. This technique allows the evaluation of a body organ's state by rendering on a computer monitor a digital image of it. An isotope, introduced intravenously into the patient, after reaching the target organ starts to emit gamma rays, which are than detected by a special gamma camera. By following this procedure methodically, the whole artist's body was 'copied' and 'pasted' into a virtual dimension. In Nuclear Body, Grassi utilises schintigraphy not simply as a diagnostic technique, but as a means by which to create a virtual double of a body which could be used in digital environments. The project was realised in partnership with the Oncological Institute of Ljubljana's Clinic Centre, and was supported by the Ministry of Culture of the Republic of Slovenia and the City of Ljubljana's Cultural Department. It was premiered in March 1999 at the Ljubljana's Cultural and Congress Centre Cankarjev dom in the frame of the festival 'the Beauty of Extreme II'. [ text edited from www.cd-cc.si/kultura/grassi/intro.htm ] B1003957
ACMI O Panama Purchase 1985 00:27:19:00 Burt BARR, James BENNING, Cadin CASTELLO, Willem DEFOE, Susan DOWLING O Panama, scripted by Burt Barr and filmed by James Benning, was made for TV. Immigrant (Willem Dafoe) comes to New York from an unidentified Latin American country and appears to fall ill in the middle of winter. He drifts through this illness, confined to his apartment where his imagination is free. The tedious reality of the sickness and the vivid hallucinatory visions of his delirium, are stitched together by the polarities of light and dark, hot and cold, sound and silence, day and night, presence and absence. There is no dialogue and little action as a `mental landscape...rife with heat and color' emerges from the backdrop of a bleak urban winterscape. B1000077
ACMI Of day of night 2001 Megan HEYWARD This experimental interactive CD-ROM explores the intersections of narrative, subjectivity and interactivity. A hybrid of cinematic, textual and interactive elements, it finds resonances between dream experience and the unexpected associations inherent in new media forms. A map of sorts. A handful of objects. A problem with dreaming. Found objects and their imagined traces and histories assist a woman who has a problem with dreaming. B1002824
ACMI Old man: new world Commission; 2001 2001 01 July 2001 Miles BENNETT, Natascha STELLMACH The life of an Old Man is viewed unfolding before us, jumping like memory through time and through everyday spaces with the blinking quickness of an edit. From shot to shot and from screen to screen, a life re-editing itself. Through the 'old' eyes of the central character, we glimpse anew the details of our ordinary world and time. B1001902
ACMI Orchestra of rust 1998 Chris HENSCHKE 'Orchestra of rust' is an installation based interactive that allows the user to create soundscapes and musical pieces via the medium of an entropic industrial environment. The user can explore a zone of decay within an old factory that contains a selection of obsolete machinery. Operating these machines creates particular sounds and corresponding animated sequences. Complex sound structures can be built up from turning on several machines at once. This provides access to other zones of the factory where remixes of the musical creations exist. Also included is extensive interactive information on the background of the machines and sounds, historical sources and concept rationale/hypothesis. B1003077
ACMI Our potential allies 1999 00:05:41:00 Peter CALLAS 'Our Potential Allies' is an intuitive and ironic critique of Eurocentric belief-systems founded upon the dichotomy of self (the West) and the Other. Callas appears on the left monitor in black and white facial paint – the so-called 'mask of primitivism' – while compressed news imagery appears upon the right. Facial gestures are enacted by the artist seemingly in response to the voice-over (instructions issued by General Douglas MacArthur to American soldiers fighting in Papua New Guinea during the Second World War) or to imagery on the right monitor. Questions of intent – a constant theme throughout Callas' career – are thus raised in relation to the creation of apparently random meaning. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001497
ACMI Outer space Licence (perpetual'); 2003 1999 00:09:58:00 Peter TSCHERKASSKY Prolific Austrian avant-garde filmmaker and theorist, Peter Tscherkassky, reinvents a 1981 Barbara Hershey horror vehicle, leaving the original's crystalline surface intact only to violently shatter its narrative illusion. Sounds of crickets, static and distorted music give way to explosions, screams, and garbled voices. The actress' face multiplies across the screen as the frame is invaded by sprocket holes, an optical soundtrack, and flashes of solarized imagery. B1000564
ACMI Parallel space: inter-view Licence (perpetual'); 2005 1992 00:18:20:00 Peter TSCHERKASSKY B2000211
ACMI Passing through 2001 00:04:11:00 Tina GONSALVES B2000262
ACMI Pathways Commission; 2001 1999 2001 08 November 1999-March 2001 video, projections, text, audio, bespoke screens, tiered wooden seating , timber and LED strips Jeff DORING, NGARINYIN ABORIGINAL CORPORATION A collaboration between artist-filmmaker Jeff Doring and the Ngarinyin Aboriginal Corporation. This spatial installation provides access and insight into the art and culture of the Ngarinyin people. The intention is to record and interpret a broad spectrum of Ngarinyin knowledge and law. The work consists of five discrete and interrelated elements: 1. The Introduction zone: a space consisting of a text, audio, visual introduction to the installation. 2. The Water and Wanjina zone: a corridor with apertures that open on the side to reveal visual works. 3. The Man Blood Law zone: a three screen installation with tiered seating that lies at the end of the Water and Wanjina corridor. 4. The Cave zone: an exhibition space which spatially represents a cave with images projected inside it. 5. The Today zone: a space which provides a contemporary perspective on the exhibition via a web installation. B1000096
ACMI Pentimento Commission; 2001 2002 Dennis DEL FAVERO PENTIMENTO is based on real events which took place in the Blue Mountains on the outskirts of Sydney, during 1999, involving the discovery of an unidentified body. It fictionalizes these events to dramatize some of the key elements surrounding the murder and the sexual violence which formed its backdrop. It presents these events in the form of recollections from the point of view of a father, sister, brother and the crime scene itself. B1001878
ACMI Permutations Purchase; 2003 1966 John WHITNEY An early example of computer generated animation; several hundred dots move about the screen according to a set of instructions in a graphics program which were input into a IBM digital computer and coloured by an optical printer. Action sequences, proceeding from order to disorder and back to ordered patterning, suggest a parallel to harmonic phenomena of the musical scale ... The effect is to subtly generate and resolve tension - which is similar to the primary emotional power of music composition' (John Whitney). B1003528
ACMI Persuaders 2001 David CHESWORTH, Sonia LEBER, WAX SOUND MEDIA The installation is composed from 'fragments' of video and audio captured in real time from short bursts of activity to longer passages of action or inaction. Each monitor contains an individual person who has been videotaped while barracking for a particular sport. Each person is presented in close-up, with the eyeline straight to camera, staring directly at the viewer. The sound of each person is also in 'close-up', transmitted through a number of loudspeakers in the space. With apparent proximity, we can hear great detail in the breath and voice. B1002820
ACMI Phantom Licence (perpetual'); 2001 2001 00:05:05:00 Matthias MULLER This video work is a mysterious, ghostly geography of cinematic shadows. Silhouettes that never quite take shape shift and glide across the screen, anaemic figures, seen in the negative, forced to wander between narratives restlessly but caught in a loop. These remnants from faint memories of filmic melodrama are a living dead confined to a space they cannot leave. They are the secret that lies between stories. B1003858
ACMI Pick up your feet: the double dutch show Purchase 1981 00:28:25:00 Skip BLUMBERG, Carol BRANDENBURG, Joel GOLD, Bill MARPET A powerful examination of the determined spirits who compete in the Double Dutch rope-jumping championships in New York City. In this raw work, both the camera and the microphone have the incidental presence of a trusted insider. Moving between the training and the competition, Blumberg manages to capture the excitement of the crowd, as young athletes drive themselves and their partners to the edge of the possible. The rhythmic beat of the ropes, the chants, and the strain of concentration, taps into an unexpected well of emotion through which we seem to be almost participants in the event itself. B1000084
ACMI Platform 1 Commission; 2001 2000 2002 01 October 2000-30 March 2002 Emily WEIL As a visitor descends the stairway into the Screen Gallery, her path will leave a trace through which imagery will emerge from the past -- people ascending from a train platform in Australia one hundred years ago. The artwork is a live interplay between the present and the past. As ACMI visitors descend the stairs to encounter the future of screen arts, they pass through the lingering and ever-present influence of cinematic history. A wondrous, benign space of haunting, the staircase initiates Screen Gallery visitors into the ever-present power of cinematic history. B1002023
ACMI Portraits: New England Fishermen Purchase 1985 Joan LOGUE Presented with a straightforward charm, Logue's abbreviated portraits of fishermen in Gloucester, Massachusetts are more than mere 'fish stories'. Seen on their boats in the open sea, the fishermen speak directly to the camera, relating anecdotes and observations that are alternately comic or poignant. Logue documents the fishermen's individual characters and evokes a sense of their rituals and traditions. With humor and pride, the fishermen chronicle their close ties to family, the ocean, and their community. Logue applies elegant video effects that heighten the resonance of these brief vignettes. B1000118
ACMI Prayers of a mother Licence (perpetual'); 2001 2001 Kate MURPHY A video installation that centres around a mother's prayers for her children. Her hopes and concern for her family are expressed through edited sequences of her children's faces contrasted by a single image of her hands holding a prayer book and rosary. B1003524
ACMI Prism of purpose Licence (perpetual'); 2002 2002 00:03:00:00 Alexandra LYALL Gabo Island - Artist Alexandra Lyall's paintings of the Gabo Island lighthouse provide haunting visuals to her moving account of the role the lighthouse played in a tragic family history.This work uses digital technology cleverly to allow you to experience Alexandra's paintings in a new way. B1005712
ACMI Prosthetic Head Licence; 2003 1975 STELARC Prosthetic Head, is a computer-generated head that has real-time lip synching, speech synthesis, and facial expressions. Through a vision or sensor system, the Prosthetic Head will be able to acknowledge the presence and position of any physical body that approaches it and speak to the person who interrogates it. B1005386
ACMI Psycho samba Licence (perpetual'); 2001 1999 00:03:22:00 Ian HAIG 'Suddenly a bolt of electricity sprang forth from the screen and hit me in the head, scorching my forehead with uncanny resemblance of a burn that looked like a human eye. I could hear a buzzing in my ears, my newly formed third eye then began to secrete a special metallic-tasting liquid, as I saw visions of atomic bomb mushroom clouds.' - Ian Haig (Chicago Underground Film Fest) B1001960
ACMI Pulse Commission; 2001 2001 01 July 2001-01 December 2001 Emma SLEATH A series of silent epiphanies of night-time Melbourne. Young Melbourne filmmaker, Emma Sleath, has proposed a poignant and haunting series of tableaus for the 'public imaging' zones of the ground floor of ACMI. B1001822
ACMI Rainy season Purchase 1987 00:28:00:00 George KUCHAR The latest `chapter' of the remarkable Weather Diary series finds Kuchar observing his personal, social and natural environment with wry humor and introspection. Writes Kuchar: `Set in central Oklahoma during May, I spend 3 weeks in a motel and get talked at by a small weather-radio that seems to rule my life. I, myself, get to talk at the lady who runs the motel and who runs a cosmetic empire downtown. The viewer gets to see her equipment and her corner of the world as storms lurk somewhere off-camera, waiting to enter stage left and bring down the house. This is one of the more social instalments of the weather diary series.' B1000117
ACMI Random cuts Licence (perpetual) 1997 Christoph GIRARDET At first glance, 'Random cuts' is a violent, rapidly shifting assemblage of images of violence, flight and impact from manga cinema, samurai films and a brutal cock-fight. On closer inspection, the apparent randomness of the images is revealed to be constrained by a mathematical formula. 12 images, each 1.6 seconds in length add and divide, repeating 12 times, increasing by the duration of the accumulating time units. The forceful incisions of the images and cuts find a taut restraint within this order, each element unresolved amid the visual violence. B1001935
ACMI Resistor Licence (perpetual'); 2004 2000 Mike STUBBS B1002572
ACMI Resonate 2001 02:13:00:00 Tina GONSALVES B2000257
ACMI Rev Licence (perpetual'); 2005 1997 00:11:30:00 Seoungho CHO This painterly observation of pedestrian traffic through a revolving door finds a counterpoint in the flickering of a candle flame. As separate lives are blurred with the energy of constant movement, individuals merge into an abstracted urban sound and light space. B1000090
ACMI Salt Creek Purchase 1998 Seoungho CHO With 'Salt Creek', Seoungho Cho turns his hypnotic camera eye on the harsh terrain of Death Valley. Through a series of delicate formal manipulations, he folds representations of a coldly beautiful landscape into images of seething video static, water sluicing out of a tap, and a surveillance view from one office tower into another. Stephen Vitiello's score echoes the image track in describing a gradual arc of inhospitable elegance, rhythmic grace, and decay. B1000091
ACMI Sept Visions Fugitives Purchase 1995 00:26:55:00 Robert CAHEN Sept Visions Fugitives was produced in China. Cahen creates impressionistic transformations of landscape and people. He writes: 'The looking and listening audiences are confronted -- in addition to the pure impressions -- with basic questions about work (the boy using a traditional device to shake the feathers from the mattress) about freedom, about life in China ... and ultimately about life and death: the burial, the bird, the man with a sheaf of straw on his back symbolizing the passage, the beyond ..... I had to struggle to make what I know are stereotyped images my own. The pure impressions and raw filmic material are completely reworked, going much further than the original takes.' Source: Electronic Arts Intermix [www.eai.org] B1000089
ACMI Shadow Monsters Purchase; 2009 2005 Philip WORTHINGTON Phillip Worthington's 'Shadow Monsters' evokes childhood memories of the telling of ghost stories in the dark in this playful real-time interactive that casts creatures on a screen, formed from your silhouette. It is a playful real-time interactive that recreates, in digital form, the traditional shadow puppet show. Participants move in front of a large-scale light box as a camera captures their shadow, inputs it into a computer, and projects it - transformed and augmented - onto a screen. As an interactive work, 'Shadow Monsters' very successfully incorporates ideas of play and adventure - it is immediate, fun, accessible to a wide audience, and self explanatory. On another level, by actively engaging with the artwork, 'Shadow Monsters' turns the viewer into a performer and explorer. The exhibit is completed only with the interaction of people actually observing or participating in the work. In this way 'Shadow Monsters' injects spirit and humanity into our increasingly technologically driven society. B2002761
ACMI Shanghaied text Purchase 1996 00:20:00:00 Pierre BONGIOVANNI, Ken KOBLAND, Isabelle TRUCHOT In this first part of a projected series on the notion of landscape as 'artefact,' images of landscape and industrial history are interwoven and juxtaposed. Notions of 'civilization' and 'progress' are set against an apparently indifferent nature which continues calm and unchanged in the face of struggle, suffering and wars for dominance. In a radical visual gesture that endows the physical terrain with symbolic content, the land is animated as the theater upon which political struggles have been staged throughout history. Onto austere, seemingly benign landscapes, Kobland superimposes archival footage of peasants in China, revolutionary heroes from early Soviet cinema and footage of Paris during the May '68 student riots. Images of the female body from pornography are also projected onto the landscape, eroticizing the land and suggesting both the symbolic colonization of the female body and the notions of the 'mother country.' Note: Video Data Bank description: A self-described `collage piece' of `stolen images' Shanghaied Text starts with quiet Montana landscapes, among which are views of a powerful dam. When the dam breaks loose, you find yourself `shanghaied' to places unknown, where Kobland confronts you with a provocative mix of historical, lyrical, sexual and political references. Using quotes and pieces from movies by Vertov, Dovjenko and Buñuel, along with archival images of social protests from the liberation of Paris, the piece builds to an operatic culmination with Turandot's final choir. Shanghaied Text is a remarkable dense and gripping work that leaves the viewer pondering our political and cultural heritage as well as the role of technology in our future. B1000115
ACMI Shot/Countershot Licence (perpetual'); 2005 1987 00:00:22:00 Peter TSCHERKASSKY B2000213
ACMI Singing Stone 1980 00:04:22:00 Peter CALLAS A hand clutches an oval stone which is drawn back and forth in tight circular motions, grinding pigment. Produced with a black and white half inch reel-to-reel portapak video recorder (manufactured c1975). 'Singing Stone' demonstrates Callas' early experimentation with colouriser painting techniques. The effect is one of visual distortion in which pictorial surface and depth oscillate, creating a sense of dislocation and hallucination. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001496
ACMI Slow Service Licence (perpetual'); 2004 2003 00:06:29:00 Marcus LYALL 'Slow Service' is a series of portraits shot using a high speed video camera. This camera, which is normally used for filming mine detonations, science experiments and military tests, captures 1000 frames a second. The footage, when played back at 25 frames per second, has been slowed down so that a second of real time takes forty seconds on the screen. 'I asked the subjects to pose as if for a passport photograph. We see the transition between this artificial pose and their natural instinctive reaction to the bucket of food that is being thrown at them, and then the impact of the food itself. I liked the idea of capturing a wasteful, slapstick, human gesture using a medium that is normally reserved for 'serious' scientists and bomb designers'. (Marcus Lyall, 2004) B1005943
ACMI Sodaconstructor Purchase; 2003 1998 Ed BURTON Sodaconstructor is a web based work which enables users to construct two-dimesional models from lines and dots, and then add and manipulate gravity and muscle/spring tension. The resulting models move, walk, sprawl or collapse according to the laws of physics. This site has featured heavily on 'best of the web' lists, and often receives 200,000 hits per day. B1005385
ACMI Sodium vapor (including Constellation and Oracle) Purchase 1979 Bill VIOLA Writes Viola: `Sodium Vapor was recorded over a period of several weeks in the hours between one and five in the morning on the streets of an industrial area in lower Manhattan. The title derives from an interest in the particular qualities of sodium vapor street lighting -- its characteristic color temperature, the shadows it casts, and the eerie quality it seems to impart to the objects it illuminates. The essence of the work is the spell which the hour has over the physical spaces of the streets in the early morning. There is always the unseen presence of the large number of people surrounding you, most of them sleeping; the camera is awake in their dreamtime. The recording of these locations in the middle of the night rather than in daylight represents a transformation -- like figure/ground reversal -- of these physical spaces from the familiar thoughts and activities of the day to the night time shadows of emptiness and obscurity.' B1000135
ACMI Space splice 1994 Van MCELWEE B1003223
ACMI Spin Licence 1992 00:57:00:00 Brian SPRINGER Pirated satellite feeds revealing U.S. media personalities' contemptuous plans for their viewers come full circle in Spin. TV out-takes appropriated from network satellite feeds unravel the tightly spun fabric of television, a system which silences public debates and furthers the intolerance of anyone outside the pack of journalists, politicians, spin doctors, and televangelists who manufacture the news. Spin moves through the L.A. rebellion and the 1992 floating TV talk-show called the U.S. Presidential election. B1000133
ACMI Spitfire 123 Licence (perpetual'); 2003 1996 Lyndal JONES The third in an ongoing six-part series collectively titled 'From the Darwin Translations'. This series, like Jones' previous projects, shifts between installation, video, and performance, in an exploration of human (sexual) attraction. The installation spans two rooms, one with a large screen and another with three video monitors. The monitor room shows a more meditative, transitional space, 'poppy fields'; a repeating image series of swaying poppies, accompanied by the rustle of wind, bird song and insect noises and interrupted now and then by the roar of airplanes flying overhead. The large screen in the other room presents, 'Spitfire', showing shots from the cockpit of the legendary World War II fighter plane, accompanied by engine-sounds, dramatic computerized noises and oscillating-music, as well as whispering voices. Sky and land spiral, falter, and blur as intimate fantasies are imparted. Thus the result is fragmented and disorientating. The position of the audience shifts between that of voyeur and that of participant. She threatens to undo you with the romance of memory, aeroplanes and youth; you have to look, listen and feel. B1003854
ACMI Storm and stress Purchase 1986 Doug HALL A line of satellite dishes stretches to the horizon as storm clouds loom overhead. A tornado funnels across a plains landscape at high speed. Through remarkable imagery of majestic natural phenomena, Storm and Stress evokes the beauty, terror and power of the tension between the forces of nature and technology. Hall's sequences are based on natural elements -- air, fire, water -- and the industrial counterparts that echo them -- wind tunnels, Tesla coils, hydroelectric plants. Hall's allusions to Sturm und Drang, the 19th-century Romantic aesthetic of the apocalyptic sublime, and the notion of the Pathetic Fallacy, in which natural upheaval reflects the individual's inner turmoil, are expressed through powerful visual metaphors. B1000105
ACMI Strange cities Mark LYCETTE, Tatiana PENTES 'Strange cities' is an experimental interactive multimedia work that tells of the survival of the Russian and Chinese Communist Revolutions by two Russian exiles. It draws upon the legacy of the Shanghai milieu, the Chinese gangster film, a musical cabaret genre, orientalist erotic literature, intrigue novels, and the films of Josef von Sternberg to explore memory, transience and the urban imagination. It is an experimental interactive multimedia work authored for CD-Rom release and exhibition. Through the disclosure of evidence, Sasha dreams, discovers, remembers the exilic identity of her grandparents Xenia and Sergei Ermolaeff (a composer and orchestra leader) in fragments and traces of their music, memories, personal effects and photographs, in their struggle to survive the Russian and Chinese Communist Revolutions. The inspiration for the work is a tune of the same name - a musical illustration, an imaginary vision of old Shanghai, Chinese metropolis, and International Settlement, conjuring mythic, filmic, musical and personal images of the city port. The 'Strange cities' musical score1 written by Alexander Vertinsky, Serge Ermoll and Ira Bloch, was first performed by a jazz orchestra of White Russian emigres in the cabarets of the International Settlement of Shanghai, China in the 1930's and 40's. 'Strange cities' draws upon the legacy of the Shanghai milieu, the Chinese gangster film, a musical cabaret genre, orientalist erotic literature, intrigue novels, and the films of Josef von Sternberg. Coined capital of the international underworld, the city of Shanghai became a seductively strange locale symbolized in the Western imagination, in reality the city was most often the final port of call for political refugees. B1001957
ACMI Street XRays 2004 Ross GIBSON Drawing on the NSW Police Department's photographic archive, Street X-Rays interprets approximately sixty crime scenes from the 1950s, to evoke the power of the continuing life of the past in our ordinary, everyday places. The police images are placed beside contemporary footage recorded in the same location, from the same camera position. Each screen holds two moments in time, two disparate attempts to interrogate a location. Texts from police records and the artist's enigmatic narrative prompts punctuate this essentially visual dialogue. The effects of time linger in each scene and across the entire imaginative space of this half-historical/half-mythical city that is evoked in the installation space. I've tried to conjure a place that's haunted by persistent little pulses of history. I hope viewers feel as if they've wandered into a vaguely familiar 'otherworld' that's being buffeted by a kind of 'spirit weather' - Ross Gibson. Taken from PROOF exhibition 2004 B1006595
ACMI Suggested photo spots 1997 00:10:00:00 Melinda STONE, Igor VAMOS Strap on your seat belts and get comfortable for a 7,000 mile drive. This documentary invites you to travel along with the Center for Land Use Interpretation as they find Suggested Photo Spots across North America. Journey from coast to coast stopping long enough to take snap shots of unusual or exemplary land use sites across North America. You will even get to take a picture of Kodak's own waste water treatment plant in Rochester, New York. B1000147
ACMI Suicide box Purchase 1996 BUREAU OF INVERSE TECHNOLOGY (B.I.T.) A documentary video tape about the 'Suicide Box' - a motion triggered camera developed by the Bureau of Inverse Technology (a private information agency) and installed in range of the Golden Gate Bridge, San Fransisco. This vertical-motion triggered device is designed to capture a video record of anything that falls from the bridge in order to provide an accurate measure of the suicide rate at the bridge. Accuracy of measurement is often compromised by the presence of seagulls and brought into question by ironic observations about the contradictory roles played by technology within contemporary culture. B1000082
ACMI Summer, or grief Purchase 1998 Mary LUCIER In this single-channel videotape, a sequence of personal, light-filled images alternates with single words and short phrases in a stark white font against black background. The imagery consists of stills, pans, tracking shots, and long pulls-to-focus of everyday subjects photographed in and around the artist's summer home in Upstate New York over the course of several summers. The text, an excerpt from `The Conversation' by poet Allen Grossman, is an eloquent but dark meditation on loss and the passage of time. The tape is about appearance and interiority, surface and undercurrent, and the coexistence of the dark in the light, apprehension and beauty in common experience. B1000121
ACMI Sums & differences Purchase 1977 00:08:23:00 Gary HILL B1002875
ACMI Suspension 2002 1997 00:08:33:00 Anthony DISCENZA A meditation on the narcissistic nature of the consumption of advertising images, 'Suspension' consists of footage of hundreds of models' head shots taken from magazines that Discenza has repeatedly re-taped and re-scanned into an endlessly mutating image of cut-and-paste beauty. This hypnotic video artwork literally suspends the viewer in a cycle of visual engagement, an energetic interchange from eye to eye, viewer to model, consumer to consumed. B1001833
ACMI Sweatlodge Licence (perpetual'); 2004 1991 Mike STUBBS B1002566
ACMI Tabula rasa Licence (perpetual'); 2005 1987 1989 1987-1989 00:17:02:00 Peter TSCHERKASSKY B2000212
ACMI Techno Dumb Show 1991 John GILLIES B1002339
ACMI The Blinds and the shutters Purchase; 2002 2001 Joyce HINTERDING, David HAINES Created in 2001, this work shows a modernist house in a rural setting gradually losing its domestic contents in a turbulent flow across four screens. Tables, chairs, cutlery, clothing and bedding are propelled into outerspace and taken on a journey through NASA space. The work is an ironic comment on experiments with Artificial Life, and has a surreal atmosphere that is underpinned by the ambient sound track. B1001970
ACMI The Body Malleable Commission; 2004 2003 Philip BROPHY The Body Malleable is an intimate interactive work where a custom built 'gromit' is physically engaged with by the viewer to create a display combining digital animation and synchronised audio in the installation space. The custom interface, placed on a desk for one viewer to interact with at a time, is internally configured with a 100 key keyboard broken up and reassembled within the spherical space. Darkness within the pod, the viewer is asked to insert their finger into a small opening to probe the key board lining. The keys pressed act as switches to key events programmed into Director and thus set off a series of audio-visual responses via surround sound and a single circular screen projection to create an intimate experiential space determined by the audiences interaction. B1006115
ACMI The Bridge 2003 00:08:00:00 John R. HIPWELL 'The Bridge' is a celebration of a childhood sense of place and belonging to the filmmakers' birthplace, Warrandyte by video artist John Hipwell. Created to celebrate the artists' early nexus with the neighbourhood, landscape and ambience of Warrandyte and its surrounds. 'The Bridge' over the Yarra River also symbolises the journey from childhood to manhood. The Visaural (video painting with sound scape) is made up of 8 x 30 sec. short films each representing an important particular place central to the artists' maturation. When played conitnuously and randomly 'The Bridge' becomes a metaphor for the filmmakers' early journey of adventure, discovery and development. The titles are: 1. Home, Presbyterian Church and The Bridge 2. Gold mines, Petrol Station and The Bridge 3. Research Look Out, Monsalvat and The Bridge 4. Primary School, Folk Art and The Bridge 5. Creek, Yarra River and The Bridge 6. Moonlight Cottage, Potters Cottage and The Bridge 7. War Memorial, Car wrecks and The Bridge 8. Bush fire, North Warrandyte Fire Brigade and The Bridge Music composed by John B. Hipwell (John Hipwell's father) and cinematography and editing by Adis Hondo. B1006776
ACMI The Cute machine 1997 Martine COROMPT 'The Cute machine' is an exploration into the morphology of cute characterisation and iconography and its relationship to the biological world, seeking to analyse this 'Cute ideal' by correlating it with the Zoological process known as Neoteny The CD contains two sections that had already been exhibited as installations (Sorry! and Activity Station) but were then adapted to a screen version. The remaining sections elaborate on the themes of cute iconography and its analysis. The Cute Machine proposes an environment where cute iconography and user friendliness have rampantly accelerated, and reduced computer interface design to the look and sophistication of an infant toy, while also taking the premise, Cute = young to the extreme, where the 'Cutest', becomes an abstracted mutation of the original sentiment. B1001948
ACMI The Day Before I Went Away Licence (perpetual'); 2004 2004 00:00:30:00 Guo JIAN Guo Jian's saucy and sinister reappropriation of Chinese propaganda painting techniques is heightened by this animation of his allegorical work 'The Day Before I Went Away'. B1006500
ACMI The Esthetics of Disappearance 1986 00:06:05:00 Peter CALLAS This work, which takes its title from Paul Virilio's publication of the same name, explores notions of the cinematic in relation to recent global history, with particular focus on the role of the media in conveying information and events into the home via the medium of the television. Virilio's thesis upon cinema and temporal experience proposed that 'with the cinematic accelerator...the measure of the world becomes that of the vector of movement, of the means of locomotion that desynchronize time'. Notions of heightened speed and the distortion of perception are conveyed visually in the work by the rapidity of images and their intense colouration. Notes by Rachel Kent, reprinted courtesy of the author and d/Lux Media Arts. B2001502
ACMI The Fang Licence (perpetual) 1999 00:06:13:00 Alastair MACINNES The Fang is an animation that uses the animated contributions of past AIM students. Produced and directed by Al MacInnes with the song performed by his band Dan and Al, the Fang celebrates and displays the vast animation techniques and styles used by Al's peers. The Fang himself is a character around town who wonders what the fang is and discovers that he is the fang, a very much sort after man. B1001809
ACMI The Games: Olympic Variations Purchase 1984 Michel AUDER Auder's alternative vision of the 1984 Olympic Games in Los Angeles is composed entirely of re-scanned and re-edited footage shot directly from a television set. The athletes' exertions, fragmented and abstracted by Auder into an incessant flow of crotch shots and body parts, take on a highly sexual, often sadomasochistic edge. Auder exploits the subliminal, raising the violent and sexual subtext of TV sports coverage to the surface. His seamlessly re-edited images and discordant sound pull the viewer into an enigmatic narrative of physicality that is intensely subjective, almost obsessive, in its focus. The underlying principle behind appropriation and 'scratch' video of this kind is an inclination to subvert, artistically, the political ideology reflected in the industrial source of the material and TV entertainment (Bob Riley). B1000072
ACMI The Golden Dark Age of Reason 1987 1988 1987-1988 00:22:30:00 Jem COHEN An exploration of the beauty of New York's classically inspired architecture; the Chrysler Building, a blimp passing over the Brooklyn Bridge, a young boy performing backflips on a street corner. B1002650
ACMI The Hundred Videos. No. 01. Excuse of the real 1997 Steve REINKE B1002404
ACMI The Hundred Videos. No. 02. Family tree 1997 Steve REINKE B1003184
ACMI The Hundred Videos. No. 03. Watermelon box 1997 Steve REINKE B1003185
ACMI The Hundred Videos. No. 05. Eleven dreams 1997 Steve REINKE B1003186
ACMI The Hundred Videos. No. 06. Emergence of democratic memory 1997 Steve REINKE B1003187
ACMI The Hundred Videos. No. 07. Speculative anthropology 1997 Steve REINKE B1003188
ACMI The Hundred Videos. No. 08. Why I stopped going to foreign films 1997 Steve REINKE B1003189
ACMI The Hundred Videos. No. 09. Falling 1997 Steve REINKE B1003222
ACMI The Hundred Videos. No. 10. Barely human 1997 Steve REINKE B1003190
ACMI The Hundred Videos. No. 11. Room 1997 Steve REINKE B1003191
ACMI The Hundred Videos. No. 15. Walking the dog 1997 Steve REINKE B1003192
ACMI The Hundred Videos. No. 17. Language of rats 1997 Steve REINKE B1003193
ACMI The Hundred Videos. No. 18. Language of flowers 1997 Steve REINKE B1003194
ACMI The Hundred Videos. No. 21. Squeezing sorrow from an ashtray 1997 Steve REINKE B1003195
ACMI The Hundred Videos. No. 22. In the realm of perpetual embarrassment 1997 Steve REINKE B1003196
ACMI The Hundred Videos. No. 23. 80 prominent dermatologists 1997 Steve REINKE B1003197
ACMI The Hundred Videos. No. 24. Visual elf 1997 Steve REINKE B1003198
ACMI The Hundred Videos. No. 27. Disturbed sleep 1997 Steve REINKE B1003199
ACMI The Hundred Videos. No. 28. Testimonials 1997 Steve REINKE B1003200
ACMI The Hundred Videos. No. 30. Long train ride 1997 Steve REINKE B1003201
ACMI The Hundred Videos. No. 32. I love you, too 1997 Steve REINKE B1003202
ACMI The Hundred Videos. No. 34. Ice cream 1997 Steve REINKE B1003203
ACMI The Hundred Videos. No. 36. Request 1997 Steve REINKE B1003204
ACMI The Hundred Videos. No. 37. Jason 1997 Steve REINKE B1003205
ACMI The Hundred Videos. No. 42. My personal virus 1997 Steve REINKE B1003206
ACMI The Hundred Videos. No. 48. Artifact 1997 Steve REINKE B1003207
ACMI The Hundred Videos. No. 49. Monologue (with provocation) 1997 Steve REINKE B1003208
ACMI The Hundred Videos. No. 52. Love letter to Doug 1997 Steve REINKE B1003209
ACMI The Hundred Videos. No. 57. Ghost production 1997 Steve REINKE B1003210
ACMI The Hundred Videos. No. 61. Sparky 1997 Steve REINKE B1003211
ACMI The Hundred Videos. No. 71. Corey 1997 Steve REINKE B1003212
ACMI The Hundred Videos. No. 75. How to build an igloo 1997 Steve REINKE B1003213
ACMI The Hundred Videos. No. 78. Treehouse 1997 Steve REINKE B1003214
ACMI The Hundred Videos. No. 79. The Boxers 1997 Steve REINKE B1003215
ACMI The Hundred Videos. No. 80. Talk show 1997 Steve REINKE B1003216
ACMI The Hundred Videos. No. 82. I have already 1997 Steve REINKE B1003217
ACMI The Hundred Videos. No. 86. Seventeen descriptions 1997 Steve REINKE B1003218
ACMI The Hundred Videos. No. 87. Children's Video Collective 1997 Steve REINKE B1003219
ACMI The Hundred Videos. No. 90. Video for intellectuals 1997 Steve REINKE B1003220
ACMI The Hundred Videos. No. 94. Ants and bees 1997 Steve REINKE B1003221
ACMI The Hundred Videos. No. ??. How photographs are stored in the brain 1998 Steve REINKE B1002403
ACMI The Judy spots Licence; 2004 1995 00:12:53:00 Sadie BENNING The Judy spots' consists of five short videos featuring a papier-mache puppet called Judy. Clever, witty and extremely dark, each of the vignettes is a social commentary about human emotions and behavior. The vignettes are: 'Judy feels sad', 'Judy hates her job', 'Judy has a nightmare', 'Judy goes to the mall' and 'Judy gets mad'. B2000273
ACMI The Last game 2000 00:01:27:00 Andri SURNANDER An interactive CD-ROM following a 'pick-a-path' approach to a soccer player's last match. A range of outcomes are generated in reaction to key elememts of a typical football game - penalty kick, injury, extra time. The CD-ROM attempts to describe the possible emotions of the player as he experiences the last game of his career. B1005676
ACMI The Passing Purchase 1991 00:54:19:00 Bill VIOLA Engaged in projects all over the world, Bill Viola has become one of the most celebrated artists working with the moving image. His installations are admired for the lightness with which they address weighty themes: birth, death, the nature of time and impermanence, the mania of individuality contending with the benefits and responsibilities of the human, communal condition. Time and again, Viola organises his installations around dramatic 'moments of distinction', like the breath coming in and out of a body distinguishing vitality from mortality, or the blinking eye distinguishing the energy in light from the absence that is darkness. In The Passing viewers watch a man - the artist - sleep, and they also witness visions that emerge from his unconscious. As they are bathed in the glow of the dreamer's imaginary, as they sway to the pulsing of the engulfing soundtrack and feel the dimensions of their own body altering in response to the shifts of scale and variations of weightlessness, they sense a slow but profound shift in their consciousness. Time passes in an unaccustomed manner, basic emotions like fear and attraction seem to offer themselves for fresh consideration. There is no pre-defined, 'right' duration for an encounter with this work. Visitors tend to stay for as long as it takes to feel an alteration; this can be ten seconds, or it can be hours. The Passing might have a beginning, middle and end mapped into its 52-minute linear duration, but the installation is best regarded as an endless loop that circulates like an enormous conceptual mantra, always available for engagement and orientation. No matter where in the timeline a viewer first submerges into The Passing, they will almost instantly find themselves attuned to rhythms and glimmers that can guide them along their own passage through memory and self-examination to enlightenment. B1000136
ACMI The Reflecting pool: collected work 1977-80 Purchase 1977 1980 1977-1980 00:07:00:00 Bill VIOLA Viola describes The Reflecting Pool as 'a collection of five independent works which, taken as a whole, describe the stages of a personal journey using images of transition -- from day to night, motion to stillness, time to timelessness, etc. Each work explores specific video techniques and technologies, in combination with the spatial potentials of stereo sound.' In the title work, all movement and change in an otherwise still scene is confined to the reflections on the surface of a pool in the woods. Suspended in time, a man hovers in a frozen, midair leap over the water, as subtle techniques of still-framing and multiple keying join disparate layers of time into a single coherent image. Viola writes that 'the piece concerns the emergence of the individual into the natural world -- a kind of baptism.' He describes Moonblood as `an expression of the feminine principle, a work in three parts relating to a personal concept of woman and mother. Day and night converge within the silhouette of a woman at a window -- a rushing waterfall in winter, and the serene interplay of changing dawn light unfolds within a glass of water at dawn in the desert.' Silent Life' records the first hours and days of life through a series of portraits of newborn babies in a hospital nursery. The alienating hospital environment, and the vulnerability of the babies' pre-lingual gestures and expressions, suggests a primal linking of birth and death. Ancient of Days is a remarkable series of `canons and fugues for video' that comprises Viola's most sophisticated structural and metaphorical explorations of time. Mathematical notations of precise time-code editing were applied to construct illustrations of temporal symmetry, duality and transposition -- time-based equivalents of musical compositional principles such as counterpoint and serialism. Astonishing temporal interventions -- a 180-degree pan gazing downward on a New York City street that progresses from day to night, an image of Mount Rainier in which the foreground and background unfold in different time planes -- unfold as symbolic transformations of natural and urban landscapes. The title of Vegetable Memory derives from the writings of Jalaludin Rumi, 13th-century Persian poet. Evolving as what he terms a 'kind of temporal magnifying glass,' the tape explores the perceptual phenomenon of repetitive, cyclic viewing. A loop of images recorded at the Tsukiji fish market in Tokyo is extended in progressively slower cycles, changing the form, feeling and ultimately the meaning of the original images as they move further into the subjective and pictorial. B1000134
ACMI The Rumour of true things Licence 1996 00:26:00:00 Paul BUSH Most of the moving images produced for science, industry, commerce and medicine are seen only by specialised audiences and are then discarded soon after they are made. `The Rumour of True Things' is constructed entirely from such moving images ephemera, including computer games, weapons testing, production lines, monitoring and marriage agency tapes. `The Rumour of True Things' is a remarkable anthropological portrait of a technologically-based society obsessed with imaging itself. Taken from PROOF exhibition November 2004 B1000086
ACMI The Shadowers Commission; 2004 2004 Monika TICHACEK This three screen video installation creates a series of disquieting tableaus that present visions of three characters engaged in a game like narrative and whose roles and identities shift and blur between attacker and victim and all that could be the same in between. In an articulation of a 'schizophrenic understanding of the self' Tichacek presents an image of oscillating inner world's where physical and mental experience fluctuate and escape simple definition in the parameters of physical and emotional manipulations and violence (Exhibition proposal). In a thematic echo of and engagement with technological advancements in bodily modification, the victim, played by the artist, is submitted to a range of intrusive and physical molding actions at the hands of the other characters, set in lush outdoor settings as well as in a dark and clinical interior. Suspended in a triangular fashion and surrounding a sculptural object, the viewer can move between and behind the synchronised screens, the physical and psychological shifts of identity featured in the video mirrored in the viewer's own fluctuating experience of the work as they become variously immersed in or distanced from the disturbingly beautiful and new but fragile 'prosthetic' space the game narrative articulates. Static and inarticulate frequencies, or white noise, layer the visuals in place of the characters' speech and screams and create an aural sense of distortion and displacement for the viewer in the use of surround sound. B1006117
ACMI The Tonight Show 2002 George LAZARIDES The 'Tonight Show' is an interactive 'late night' show set in the year 2040 on Coode Island. The robotic host 'Cyborg' is the host of the show, asking each user to make their selection from a menu of 'items' to compile the show. The content for each section (listed in a menu) offers musical interludes, comedy segments and interviews in traditional late night format which the user can mix and match to create their own late night program. This interactive cleverly and subtlely comments on environmental issues and the formulaic nature of late night television. Kids will love the robotic host and guest stars (NOTE there are 2 versions of this work - G rated for general exhibition and the original version featuring mild drug references and swearing) B1006540
ACMI The Unknown series (excerpts) Purchase 1994 1996 1994-1996 00:23:58:00 Phyllis BALDINO In the 'Unknown Series', practical hands work with a sense of urgency to construct curious objects out of everyday things. This is a woman at work - not play. She is alone, assuming different persona, constructing objects that might appear to have no function but somehow reflect a state of mind and heart. Baldino has written, 'Americans will sell you anything, even if they do not know what it is. So, I bought used 'things.' This series uses 30 of these objects in separate scenarios. I film a process that takes place in less than 60 seconds. This brief footage is an excerpt, which is actually the completed work. What happens before and after is unknown. Each piece is shot with different personas, and filmed in the first and final take'. B1000076
ACMI The Water catalogue Purchase; 2002 1984 00:27:08:00 Bill SEAMAN 'The Water Catalogue' explores a set of moods or psychological states as reflected in water. The work is a poetic musing, observing water in various physical states. The soundtrack is non-sync industrial/ambient music that augments the visual images. Specific light conditions and atmospheres punctuate this painterly presentation. The speed of images have been manipulated to present a choreographed approach to objects and landscape. We are bodies of water... B1001852
ACMI The Way things go 2004 1986 1987 1986-1987 Peter FISCHLI, David WEISS Inside a warehouse, artists Peter Fischli and David Weiss build an enormous, precarious structure 100 feet long made out of common household items - tea kettles, tires, old shoes, balloons, wooden ramps, etc. Then, with fire, water, gravity, and chemistry, they create a spectacular chain reaction, a self destructing performance of physical interactions, chemical reactions, and precisely-crafted chaos worthy of Rube Goldberg or Alfred Hitchcock. B1001850
ACMI The amateurist Licence 1998 00:14:00:00 Miranda JULY A short, captivating video about surveillance, identity, watching and being watched. 'The Amateurist' slides along the edges of horror and satire to create an unsettling portrait of a woman on the brink of a technologically-driven madness. B1001828
ACMI Three Mile Creek 1996 Alyssa ROTHWELL One of 6 works selected by AIM director David Atkinson as representing the best interactive work produced by the AIM centre up until 2004. Three Mile Creek is a collection of anecdotal accounts inspired by an experience of growing up in rural northern NSW. The aim is to transport the participant into what is a distinctively Australian time and place, with the child who lives on the farm as their guide. A contemplative approach is the key to appreciating the stories. Music, dialogue and soundscape evoke the richness of the environment and create the sense of being there B1005923
ACMI Three studies for a portrait. No. 1. Yesterday 2001 00:02:41:00 Tina GONSALVES B2000253
ACMI Three studies for a portrait. No. 2. Today 2001 00:02:34:00 Tina GONSALVES B2000254
ACMI Three studies for a portrait. No. 3. Tomorrow 2001 00:02:38:00 Tina GONSALVES B2000256
ACMI Transfinite loops 1996 Van MCELWEE B1003225
ACMI Trepang 00:18:15:00 Andrish SAINT-CLARE Every wet season between the early 1600s and 1906, when the Australian government outlawed the practice, Macassan sailors from Indonesia would sail to Arnhem Land to collect and harvest the sea slug or 'trepang'. The sailors would pay local Yolngu people in return for permission to harvest the trepang and a culture of interchange and trade was born between these two communities. In 1994, Darwin artist Andrish Saint-Clare began working with the Yolngu people from Elcho Island and with Macassan performers from Sulawesi to embark on a memory-retrieval process which could lead to the staging of stories of this important period in history. The final work, 'Trepang', evolved into a cross-cultural, indigenous opera that was performed on Elcho Island and Sulawesi and then again for a wider audience in Darwin. At the Australian centre for the Moving Image, the video artwork Trepang has its genesis both in this early period of cultural contact and collision, and in these recent theatrical performances. In consultation with Saint-Clare, ACMI has created a small screen-and-mirror assemblage in which a storm of images - echoes of knowledge, trouble and memory - and reflections all buffet together as if the past is rumbling in from just over the horizon. A sequence of six images plays in random patterns across the screen, occasionally bursting forth as one flash of unified meaning, and at other times flickering in different, staggered combinations. The visual fragments appear like the debris of history washed up on the shore and the participation of the viewer creates a sense that these fragments - part history, part song, part dance, part dream - are like navigation markers that help the people from the present calculate their orientation with reference to the past. Andrish Saint-Clare has worked extensively in indigenous and intercultural performance. He worked for many years as a tutor and composer with the National Aboriginal and Islander Dance Association, and recently staged a new theatrical work 'Fire Fire Burning Bright' as part of the Melbourne Festival in 2002. B1001086
ACMI Trick or treat Licence (perpetual'); 2006 1998 Ian HAIG Ghouls, mutants, zombies, bloodsuckers, ghosts, freaks, vampires and demons are brought back from the dead and reanimated into ectoplasmic goop. B1001958
ACMI Turbulence 2 (Revised version commissioned by ACMI) Licence (perpetual'); 2007 1995 Jon MCCORMACK Turbulence is an interactive museum of un-natural history where a menagerie of synthesised forms, 'evolved' within the computer using a process of artificial selection. It is one of the most awarded and recognised works of Australian multimedia art. The work consists of a touch-screen interface, used to access a virtual museum of evolved electronic creatures. Over 3 years in production, Turbulence is a collection of abstract thoughts, simulations, ideas, information and poetry. A multiplex of links into an interactive web of computer synthesised imagery relating to the philosophical impact of evolution on contemporary thought. B1000123
ACMI Turbulence [excerpts] 1994 00:09:26:00 Jon MCCORMACK B2000270
ACMI U.S. Sweat Purchase 1982 Shalom GOREWITZ Gorewitz describes U.S. Sweat as a 'cathartic reaction to social and personal upheavals', he transforms images of the familiar American landscape into a nightmarish, ghostly vision. Recording throughout the South and in New York, he amassed footage that reflects the American experience. Country roads, gravestones and small-town main streets seen from a car window gradually give way to an ominous vision -- saturated by Gorewitz's signature image-processing techniques and lurid, fluorescent colors -- of an America dominated by industry and the military. Called a tour-de-force by The New York Times, this is a propulsive, kinetic work of rich visual and aural textures. B1000104
ACMI Uncle Bill Commission; 2003 2000 Debra PETROVITCH Set against the industrial backdrop of a post-World War II Australian steel manufacturing town, multimedia artist Debra Petrovitch's semi-autobiographical work Uncle Bill is a dark and disturbing narrative that explores a young girl's memories of growing up in a harsh and at times violent environment. A cross-platform interactive CD-ROM, Uncle Bill takes the viewer on a journey that investigates memory, catharsis and child abuse through the interface of interactive, non-linear technology.Raw and unrelenting, Uncle Bill is an unsettling work that investigates the ways in which interactive technology can be used to explore complex, emotional and highly charged subject material. B1002367
ACMI Undertow 1999 2000 Joyce HINTERDING, David HAINES, Scott HORSCROFT Since David Haines and Joyce Hinterding began working collaboratively in the late 1990s they have created striking installations, drawing on their shared interest in recurrent residues and latent environmental energies. Their two major works preceding the completion of Undertow 1999 were The Levitation Grounds (1999) and The Blinds and The Shutters (2001). These works presented ominous yet thrilling scenarios where some unspecified prior events have caused the laws of physics to mutate slightly, allowing occult tendencies to gain precedence. Trees floated in strangely coloured atmospheres; a house launched all of its furnishings into deep-space orbit. Both works showed the exultation and the possible price associated with transgressing the limits that seem to hold a stable physical universe together. Now with Undertow 1999, Haines and Hinterding have teamed up with sound artist Scott Horscroft to produce a visceral fable about sudden, violently upwelling energies that have been previously repressed, half-remembered or semiconscious. Horscroft brings to the project expertise in the sonic patterns of air turbulence and the special 'ambience' that characterises every particular space like a sonic fingerprint. Commissioned by the Federation Square Public Arts Program (with financial assistance from ACMI), the artists were asked to create a work that specifically responded to the labyrinth (the built-in passive air-conditioning system) underneath Federation Square. The resulting work, Undertow 1999, is a four-screen installation depicting a slow and weightless navigation through the interior of the Square's functionary maze.Through the use of Steadicam technology and archival footage sourced from ACMI's film collection, viewers move weightlessly through the space as though peering through their own viewfinder. Accompanied by an enveloping and complex soundscape, we encounter strange and abstract apparitions, levitating objects, mysterious air turbulence and other unstable phenomena, which appear to seep, rupture and bounce throughout this subterranean world. B1000452
ACMI Unguarded moments Purchase 1996 Shalom GOREWITZ Based on travel to Italy, Holland, and around the United States, Unguarded Moments records a series of visual phenomena created physically when nature and technology collide. Repetitive images of the Lubavitcher rebbe, trains, swans, and human gestures combine as a series of sound and movement experiments, as well as social observations, using low-end video and computer processing systems. B1000103
ACMI Urlaubsfilm = Holiday movie Licence (perpetual'); 2005 1983 00:09:15:00 Peter TSCHERKASSKY B2000217
ACMI Versifier Licence; 2001 1998 Gina CZARNECKI ina Czarnecki's 'Versifier' places the viewer alone in a room with nine naked figures. Varying in age, race and gender, 'Versifier's' pale figures are without identity or voice, like spectres of people with a hidden past that has occurred long before our arrival. Rearprojected onto a vast screen stretched like skin across the space, these human forms suggest early nineteenth-century museum exhibits: human specimens stripped of protective layers and preserved eternally in a captive vessel. Currently heading the Electronic Imaging Department at the University of Dundee, Gina Czarnecki works at the intersection of film, video and computer-generated imagery. In describing 'Versifier' she explains, 'I have always loved the cinematic experience and came to realise that I wanted this in an installation environment. There is something about being in the dark in a public space that focuses your eyes and attention onto small details, sounds, people in the space with you or your inner thoughts and solitude'. Once enclosed within Czarnecki's installation, the viewer focuses on the exposed inhabitants. With its confronting interface, Versifier challenges notions of modesty, candour, embarrassment, fascination. Experiences that we tend to take for granted are offered up for creepily clinical re-examination. Czarnecki has used digital technology to manipulate the figures into disquieting hybrid forms: skin tones are unusually monochromatic, limbs appear disproportionate and distended. The body itself - the medium through which we all experience the world - takes on disturbing new definitions inside the specimen room that is Versifier. Czarnecki's mutant characters gesture forward to contemporary anxieties about the looming new frontier of genetic modification, manipulation and experimentation. But they also point backward to personal memories of vulnerability or exposure, and to communal memories of the Holocaust and genocide in which bodies were lined up and exposed in ways that were an affront to all accepted definitions of humanity. In fact, Czarnecki's disturbing yet beautiful parade calls into question everything - past, present and future - that makes us human in the most basic, naked way. B1001994
ACMI Video 50 Purchase 1978 00:50:00:00 Robert WILSON Video 50 is an extraordinary video sketchbook, a highly original, visually dramatic and frequently humorous collection of one hundred abbreviated 'episodes' produced for television. Unfolding as a series of thirty-second vignettes, this enigmatic essay in style is characterized by a deadpan theatricality, symbolist imagery, surrealist juxtapositions and repetition of key visual motifs. Indelible images, precisely composed -- a man teetering above a waterfall, a floating chair, a winking eye, a parrot against the New York skyline -- are accompanied by an 'architectural' sound score that includes spoken 'phonetic patterns' rather than words. Fusing his surprising visual logic and rhythms with unexpected temporal manipulations, Wilson creates a work of startling wit and poetry. B1000137
ACMI Voyage to the center of the phone lines Purchase 1993 Michel AUDER In this chilling work, Auder taps into phone lines and uncovers dark narratives of ordinary lives. While Auder's camera dispassionately observes nature from a window, we eavesdrop on a series of surreptitiously recorded phone conversations -- conversations we wish we hadn't overheard but can't stop listening to. A divorced couple argues about their daughter's boyfriend, two women compare their dates, a man makes plans with his mistress, teenage lovers bicker. The disembodied, anonymous voices come to us through the static of the lines as if from a bad dream. These purloined conversations are as banal, sinister, and ultimately fascinating as anything in contemporary fiction, except that Auder's 'characters' are real. B1000073
ACMI Weather diary #5 Purchase 1989 George KUCHAR The latest `chapter' of the remarkable Weather Diary series finds Kuchar observing his personal, social and natural environment with wry humor and introspection. Writes Kuchar: `Set in central Oklahoma during May, I spend 3 weeks in a motel and get talked at by a small weather-radio that seems to rule my life. I, myself, get to talk at the lady who runs the motel and who runs a cosmetic empire downtown. The viewer gets to see her equipment and her corner of the world as storms lurk somewhere off-camera, waiting to enter stage left and bring down the house. This is one of the more social installments of the weather diary series'. B1000116
ACMI Where where there there where Purchase 1998 Zoe BELOFF Being lost at a sideshow without color might feel like 'Where Where There There Where'. Mini-spectacles unfold but not for my benefit. But I am not sure about this. This interactive CD-ROM project was inspired by the Wooster Group's play House/Lights, which is itself related to Gertrude Stein's play Doctor Faustus Lights the Lights. Stein's work is the starting point for Beloff's playful philosophical investigation of how theories of perception, logic and language developed in relation to technology, from 19th-century industrial mechanics to 20th-century computer architecture. On entry to the project we are greeted with a site map that is a circuit diagram. Locations are clearly labeled, such as 'Bringer of Light', and 'The Wild Woods'. This map isn't seen again, but somewhat remembered. Later on in the project, upon seeing an example of sadomasochism. I figured I must be at 'Marquis De Switch'. After the site map, we enter into the next layer of the project, the interface becomes a QuickTime Virtual Reality Panorama. We can explore a snowy industrial environment with a bridge and an old building with tall glass windows. Characters are in this space who are in the vignettes that unfold from this space. Clicking on spots within the panorama produces intriguing little vignettes that the user cannot control. The small size of the widow, and the flicker of scratched film draws the user to the action to make sense what is happening. Objects close to the screen also obscure our view of what is happening in the background. What is going on in these peep shows? A rhetorical style voice-over makes the head ache and relief is felt when we are returned to the Panorama. There seems to be no end. B1000078
ACMI Why are you crying, Antonio? Purchase 1988 Alexander KLUGE Chamberlain, Mussolini and their aides attend a 1938 performance of Macbeth in Rome. This audience is itself made into the raw material of opera. The site of the negotiations between Chamberlain and Hitler, which resulted in the invasion of Czechoslovakia, is diagrammed, and Chamberlain and his aides are charged with lack of fantasy, a fatal flaw. Meanwhile, in September 1939 a Nazi officer's happy love story is interrupted only to be resumed (we are told) in 1953, as he comes back from Soviet captivity. A film clip of two bodies in the midst of war devastation asks, "Why are you crying, Antonio? Are you afraid to die?" The theme of 'a new beginning' is the fantasy outcome here, as a 'film' in computer graphics shows a parade of French soldiers in 1918 celebrating the end of war in disbelief and hunger for freedom. B1000114
ACMI Wintergarden Purchase 1984 00:11:11:00 Mary LUCIER This two-channel, six-monitor installation, merges lucid imagery with sculptural form, in an exploration of pastoral and urban landscapes, nature and culture. Originally produced for New York's Chase Manhattan Plaza, this work contrasts serene natural images from a highly cultivated Japanese garden with the hard-edged architectural landscape of Manhattan. Lucier finds formal parallels to the sensual flowers and calm pools in the cool, silvery reflections of the steel and glass skyscrapers. The dichotomy between natural and urban landscape is mirrored in Earl Howard's haunting score, which shifts from the ringing of wind chimes to the magnified ambient sounds of the city street. B1000122
ACMI Wounded 1999 00:03:18:00 Tina GONSALVES B2000245
ACMI You and I, Horizontal II Purchase; 2008 2006 00:33:00:00 Anthony MCCALL Step into a dark haze-filled room to interact with the power of projected light. Transforming a beam of light into a three-dimensional sculpture, Anthony McCall's 'You and I, Horizontal II' (2006) is an Australian premiere. The pioneering work of British-born artist Anthony McCall occupies a space between sculpture, cinema, performance and drawing. McCall was one of the first visual artists to experiment with spatial film and temporal sculpture, emerging in the mid 1970s with the 'Solid Light' film series - works that used a 16mm projector to project cones of light through smoke or haze filled rooms. His work attracted renewed attention in the 1990s, when spatial installations once again became a popular and critical tendency in contemporary art. He now uses digital projection and complex graphic software systems to capture the most basic sensory element of the moving image: the projection of light. B2001833
ACMI Youth action Licence (perpetual'); 2004 1999 Mike STUBBS B1002571
ACMI Zipper: great moments in art and fashion Submission; 2006 1998 00:05:48:00 Antoinette STARKIEWICZ Live action, choreography, animation and painting combine in a breathless trip through 20th century images in art and fashion - as you may not have seen them before. Voiceover presented by Arthur Dignam. B1006921
ACMI [Gary Hill: selected works] Purchase 1977 1980 1977-1980 00:20:00:00 Gary HILL B1002342
ACMI [In the present] Purchase 1996 00:12:00:00 Al ARTHUR, Phyllis BALDINO Originally part of a two-channel installation, this work presents a series of elusive narrative moments culled from snippets of ordinary life and oddly extraordinary objects. These moments gain their meaning on the periphery of perception. Writes Baldino: According to William James, the 'present' is about 3 to 12 seconds long; everything else is constructed memory. Each segment of In the Present is within this time frame. What you see or don't see depends on what you remember. Your memory becomes part of the picture and distorts the idea of 'present' time. B1000074
ACMI [Japan tapes] Purchase 1997 00:17:57:00 Dan ASHER A collection of brief videotaped encounters on one of Asher's travels to Japan. More poetic than ethnographic, the works playfully read the surfaces of Japanese modern life as it reacts to its American visitor. B1000068
ACMI [Stelarc: 'Structure / Substance' Ballarat 1990] Donation; 2018 1994 STELARC Unedited tape (from high band master'); event- 'Structure/ Substance'; Ballaarat[sp?] Fine Arts Gallery; 21 October, 1990; Camera person: Ivon Perrin; Education Media Unit Ballarat University College B2003923
ACMI [Stelarc: ACREQ performance Montreal 1994] Donation; 2018 1985 STELARC ACREQ Performance; Montreal November 5, 1994; Cam View; Stelarc; Pal Dub of NTSC original; ACREQ; Montreal; 5/11/1994/ Stelarc; Pal Dub of NTSC Original B2003924
ACMI [Stelarc: ARS Electronica; Test Run Thru] Donation; 2018 1985 STELARC ARS Electronica; Test Run Thru; (& initial insertion of endoscope- some good stomach images'); No 7. MII Tape; approx: 60 minutes [fmm 22/05/2019: wikipedia: 'The Ars Electronica Center is a center for electronic arts run by Ars Electronica situated in Linz, Austria'] B2004042
ACMI [Stelarc: Amplified Body / Enhanced Image Japan 1985] Donation; 2018 1985 STELARC 28 Minutes; NTSC; Mono; Master Tape; 'Amplified Body/ Enhanced Image'- Stelarc.; Sony Jumbotron, Tsukuba Science Expo '85, Japan.; Lighting Installation: T. Osaka; Sound Coordinator: K. Tazaki; Video Recording: K. Oki-Size Inc.; Sponsored by the Australian Pavilion Expo '85 and World Expo '88 Brisbane.; Video documentation made possible by funding from The Australia- Japan Foundation, Tokyo; Expo Event '85; Tsukuba; Stelarc; Video Recording: K. Oki- Size Inc.; 'Amplified Body/ Enhanced Image'; Sony Jumbotron, Tsukuba Science Expo '85, Japan; Master B2003894
ACMI [Stelarc: Amplified Body / Enhanced Image Tsukuba Japan; and City Suspension Copenhagen 1985] Donation; 2018 1990 STELARC 1. 'Amplified Body/ Enhanced Image'; Sony Jumbotron- Expo '85; Tsukuba, Japan- Stelarc.; 2. 'City Suspension'; Above the Royal Theatre- 1985; Copenhagen, Denmark- Stelarc. (copies'); 1. 'Amplified Body/ Enhanced Image'- Stelarc.; 2. 'City Suspension'- Stelarc. (copies) B2004038
ACMI [Stelarc: Amplified Body Event: Glass Video Pavilion Groningen 1990] Donation; 2018 1990 1993 STELARC Amplified Body Event; Glass Video Pavilion; Groningen- 10/11/1990; Stelarc; Documentation: Fokke van der Veer.; Copy from Video 8 original (unedited) Pal; Glass Video Pavilion Event; Groningen- 10/11/1990; Stelarc (Pal Copy) B2003898
ACMI [Stelarc: Amplified Body, Involuntary Arm and Third Hand Zurich 1993] Donation; 2018 1993 © Stelarc STELARC 'Amplified Body, Involuntary Arm and Third Hand.'; X-Tra, Zurich 13 April 1993; PAL (High Band)- Original; Stelarc; Zurich; 13 April '93; PAL-HB; Original B2003934
ACMI [Stelarc: Amplified Body: Laser Space/ Laser Eyes Tokyo 1986] Donation; 2018 1986 STELARC 'Amplified Body: Laser Space/ Laser Eyes'; 23-24 August 1986- Tokyo; High technology and art exhibition; Lighting installation- T. Osaka; Sound Coordinator- K. Tazaki; Video Documentation- K. Oki: Size Inc.; Stelarc B2004037
ACMI [Stelarc: Amplified Body: Laser Space/ Laser Eyes Tokyo 1986] Donation; 2018 1986 STELARC 'Amplified Body: Laser Space/ Laser Eyes'; Stelarc (High Technology & Art Exhibition'); 23-24 August 1986 Tokyo; Lighting installation- T. Osaka; Sound Coordinator- K. Tazaki; Video Production- K. Oki-Size; Time-; 'Amplified Body: Laser Space/ Laser Eyes.'; Tokyo, 1986; Stelarc B2004061
ACMI [Stelarc: Anal/colon probe 1974] Donation; 2018 1974 STELARC Anal/Colon Probe; Stelarc/ Dr. Kitagawa 1974; Anal/Colon Probe; Stelarc/ Dr. Kitagawa 1974 [fmm 22/05/2019: other titles with assistance from Dr Kitagawa took place in Tokyo] B2004045
ACMI [Stelarc: Art Space spin suspension Nishinomiya 1985] Donation; 2018 1986 STELARC Original/ unedited tape; Nishinomiya 'Art Space' February 1985; Stelarc; Suspension Art Space 1985- Stelarc; Original unedited tape B2004030
ACMI [Stelarc: Beyond the Body: Event for Laser Eyes, Amplified Body and Third Hand Tokyo 1986] Donation; 2018 1986 STELARC 'Beyond the Body: Event for Laser Eyes, Amplified Body and Third Hand.'; 2 March, 1986- Maki Gallery, Tokyo.; Installation: K. Sakairi; Lighting System: T. Osaka; Sound Coordinator: K. Tazaki; Video Documentation: K. Oki- Size; Stelarc; 'Beyond the Body'; 2 March, 1986- Maki Gallery; Tokyo- Stelarc. (Master) B2003897
ACMI [Stelarc: Beyond the Body: Event for Laser Eyes, Amplified Body and Third Hand Tokyo 1986] Donation; 2018 1986 STELARC 'Beyond the Body: Event for Laser Eyes, Amplified Body and Third Hand'- Stelarc.; Installation: H. Sakairi; Lighting: T. Osaka; Sound Coordinator: K. Tazaki; Video Production: K. Oki- Size.; 2 March, 1986- Maki Gallery, Tokyo.; NTSC Copy. B2004056
ACMI [Stelarc: Body / Building Melbourne & Ballarat 1989/1990] Donation; 2018 1982 STELARC Selected Sections: 1. 'Body/Building'- West Melbourne, 1989.; 2. Melbourne Festival Event, 1990.; 3. Ballarat Fine Art Gallery, 1990.; Video Documentation: Garry Shepherd; 30/10/90; Dupe Master; Mono; Pal B2003943
ACMI [Stelarc: Canberra 1982] Donation; 2018 1982 1988 STELARC Stelarc Canberra, Aust; Sunday 10 Oct. 1982 3:00 P.M.; Stelarc- Oct 1982; Canberra, Aust.; by Daniel Conrad; Dear Stelarc,; The sprocket holes in the first couple minutes were mangled in the last showing. This is original film. Some is silent and some is sound (magnetic). The photography is ok. There are close shots of the hook insertion process. All I ask is that if you ever get a video copy, I would love to have one; Dan Conrad Conrad Studio, Md.; D. Conrad; Stelarc- Canberra, Aust. 1982 B2004067
ACMI [Stelarc: Caulfield event 1988] Donation; 2018 1985 1988 STELARC Stelarc- Event for BVU- 2nd Version; Aug 88; 7'.06; DUB Stelarc-Caulfield event 1988; High Band; BVU; 2nd Version; 7'06 B2004034
ACMI [Stelarc: City suspension Copenhagen 1985] Donation; 2018 1985 STELARC 'City suspension'- Copenhagen/Above the Royal Theatre: 28 June, 1985; Documented & Edited by Tim Groot & Svend Thomsen; NTSC Master- 14 minutes; Stelarc; Copenhagen Suspension 28 June 1985; Trekanten NTSC Master B2003979
ACMI [Stelarc: Colon probe Tokyo 1974] Donation; 2018 1993 STELARC Colon Probe; rectum/colon; Yaesu Cancer Research Centre; Tokyo, Japan/ 1974; assistance: Dr Kitagawa B2004036
ACMI [Stelarc: Endoscope 2nd attempt 1993] Donation; 2018 1993 STELARC Stelarc 2nd Attempt; Endoscope 16/11/93 B2004071
ACMI [Stelarc: Event (Cybertronics Series) The Kitchen, New York 1993] Donation; 2018 1988 1993 © Stelarc STELARC Event; The Kitchen, New York; 12th & 14th March 1993; Screen Mix NTSC Original; Screen Mix; The Kitchen, NY; 14th March 1993; ; NTSC Original Event (Cybertronics Series'); The Kitchen, New York; 12th & 14th March, 1993; NTSC Original (Unedited'); Stelarc- The Kitchen, NY; March 1993- NTSC Original B2003940
ACMI [Stelarc: Event Mini Version 1] Donation; 2018 1990 STELARC Stelarc- Event 7'06; BVU; Master Version 1 Stelarc- Mini Version 1; Master; BVU; 7.'06 B2003889
ACMI [Stelarc: Event for Amplified Body and Third Hand Caulfield 1988] Donation; 2018 1985 1988 STELARC Stelarc- 'Event for Aplified Body & Third Hand' 1988; BVU Master Do not Erase; High Band; High Band Master; Stelarc; 'Event for Amplified Body'; 30 min; Caulfied City Arts Complex; 19th Aug 1988; Ch 1- Camera Audio (out 18:30 in 19:07'); Ch 2- Line Audio; Master; High Band; Stelarc B2003937
ACMI [Stelarc: Event for Amplified Body, Laser Eyes and Third Hand Japan 1985 Incomplete Master] Donation; 2018 1985 STELARC Master; 'Event for Amplified Body, Laser Eyes and Third Hand.'; Sony Jumbotron Screen Recording; 16 August, 1985. (NB- Incomplete'); Light Installation: T. Osaka; Sound Coordinator: K. Tazaki; Stelarc.; Expo '85 Event; Sony Jumbotron Recording; Stelarc. Master (incomplete) [fmm 22/05/2019 - other Sony Jumbotron Screen titles state location as Expo 1985, Tsukuba Japan] B2003939
ACMI [Stelarc: Event for Amplified Body, Laser Eyes and Third Hand Japan 1985 Master] Donation; 2018 1985 STELARC Master; NTSC; 'Event for Amplified Body, Laser Eyes and Third Hand.'; Expo Plaza Screen Recording; 14 August, 1985.; Light Installation: T. Osaka.; Sound Coordinator: K. Tazaki.; Camera: K. Oki; Stelarc.; Expo '85 Event; Expo Plaza Screen Recording; 14 August, 1985 Master [fmm 22/05/2019 - Expo 1985 was in Tsukuba Japan - other titles have this info] B2003946
ACMI [Stelarc: Event for Amplified Body, Laser Eyes and Third Hand Japan 1985] Donation; 2018 1979 1985 STELARC Master; (Japanese characters'); 8/15; 'Event for Amplified Body, Laser Eyes & Third Hand.'; Sony Jumbotron screen recording Master; Stelarc, 15 August 1985; Expo '85 event; Sony Jumbotron; 15 August; Stelarc; (Master) [fmm 22/05/2019: Expo 1985 was held in Tsukuba Japan] B2003976
ACMI [Stelarc: Event for Amplified Tension Tokyo 1979] Donation; 2018 1979 STELARC Event for Amplified Tension; Tenjo Sajiki, Tokyo- 6 August '79; Edited Original NTSC B2004066
ACMI [Stelarc: Event for Amplified Tension Tokyo 1979] Donation; 2018 1979 1985 STELARC Event for Amplified Tension; Tenjo Sajiko; Tokyo; 6 August, 1979; Stelarc NTSC B2004081
ACMI [Stelarc: Event for Anti-Copernicus Robot Tokyo 1985] Donation; 2018 1985 STELARC 'Event for Anti-Copernicus Robot'; Newz Gallery, Tokyo; 6 April, 1985- Stelarc.; Sound Coordinator: H. Tsukagi; Video Documentation: K. Oki- Size; Master B2003922
ACMI [Stelarc: Event for Anti-Copernicus Robot: Amplified Body, Laser Eyes and Third Hand Tokyo 1985] Donation; 2018 1984 STELARC NTSC; 'Event for Anti-Copernicus Robot: Amplified Body, Laser Eyes and Third Hand.'; Newz Gallery, Tokyo- 6 April, 1985; Sound Technician: H. Tsukagi; Installation: K. Oki; Videotape Recording: K. Oki; Stelarc; Stelarc B2003895
ACMI [Stelarc: Event for Body Sounds, Laser Eyes and Third Hand Shibuya Tokyo 1984] Donation; 2018 1976 1984 STELARC Edited Master; 'Event for Body Sounds, Laser Eyes and Third Hand.'; Shibuya Parco event '84- Stelarc [fmm 24/05/19: Title frame of tape says 'REDESIGNING THE BODY'] B2004026
ACMI [Stelarc: Event for Stretched Skin- No.3 Tokyo 1977] Donation; 2018 1977 1988 STELARC Colour; Stelarc; Event for Stretched Skin- No.3; Tamura Gallery, Tokyo- 3 April, 1977; J. Ridout, P. Margonelli B2004041
ACMI [Stelarc: Event for Video Shadow, Automatic Arm and Third Hand Caulfield 1988] Donation; 2018 1988 STELARC Event for Video Shadow, Automatic Arm and Third Hand- Stelarc.; Caulfield Arts Complex; 9th August, 1988; Sound Coordination: Rainer Linz; Video Production: Neil Howe; Lighting Installation: Nathan Thompson; Pal/Mono/30 m. Stelarc; Event for Amplified Body, Third Hand; Caulfield City Arts Complex; 9th August, 1988; 30min PAL B2003935
ACMI [Stelarc: Event for Video Shadow] Donation; 2018 STELARC Stelarc- Event for Video Shadow; Dr Neil Howe; MGH Productions; Return to: 1 Stewart St Murrumbeena, 3163 Vic, Australia; Duration 7' 09; lowband; PAL B2003891
ACMI [Stelarc: Event for modified man 1976] Donation; 2018 1976 1977 STELARC Event for Modified man/Stelarc/1976 B2004064
ACMI [Stelarc: Event for stretched skin Munich 1977] Donation; 2018 1977 STELARC Stelarc- Event for stretched skin; Aug 8 1977; Art Acadamey[sp?], Munich Stretched skin No 4; Stelarc; Munich 1977 B2004035
ACMI [Stelarc: Event for stretched skin/third hand (the last suspension) Yokohama 1988] Donation; 2018 1988 STELARC 'Event for stretched skin/third hand (the last suspension)'; Ofuna Monorail Station- 29 May, 1988: Stelarc.; Sponsor: Yokohama Art Gallery; Video production: Steve Black/ Video Grow; Time: 8m 30s edited; Mono/ Colour; N.T.S.C. B2004051
ACMI [Stelarc: Events for Amplified Body, Automatic Arm, Laser Eyes, Third Hand and Video Shadow 1990] Donation; 2018 1990 STELARC CLR Black; Remote/ Stelarc- 1990; Events for Amplified Body, Automatic Arm, Laser Eyes, Third Hand & Video Shadow; 1. 14/12/89 The Greater Western- Melbourne.; 2. 15,16/6/90 Extensions (Image '90)- Melbourne.; 3. 13-29/9/90 Melbourne International Festival.; 4. 21/10/90 Ballarat Fine Art Gallery.; 5. 10/11/90 Video Glass Pavilion- Groningen.; 6. 2/12/90 Experimenta (M.I.M.A.) Melbourne; Master: Pal; Master; Pal; Mono; Remote/ Stelarc- 1990; Events for Amplified Body, Automatic Arm, Laster Eyes, Third Hand & Video Shadow. Master B2003899
ACMI [Stelarc: Ewing event] Donation; 2018 1988 STELARC Stellarc- at the Ewing Gallery Edited Copy; Ewing Gall. Event B2004078
ACMI [Stelarc: Exoskeleton Hamburg 1988] Donation; 2018 1984 © Stelarc STELARC Exoskeleton; Kampnagel, Hamburg; November 1998; F18/ Tom Deakin/ Jan Cummerow; Documentation by Thomas Brodbeck; (with steady cam'); Betacam SP Dub B2004057
ACMI [Stelarc: High performance New York 1984] Donation; 2018 1984 STELARC, Johanna DEMETRAKAS High Performance- 9/10/84; 31 Min. Sample Reel; Demetrakas/ Frank; High Performance 31 minutes B2003938_ao01 00:00:00:00 to 00:01:26:00 Text (presented as slides) HIGH PERFORMANCE (WORKING TITLE) A film by Johanna Demetrakas HIGH PERFORMANCE will be the first feature documentary about the most provocative and influential avant-garde art form of modern culture. We will film the work of 10 artists performing today, from the shocking physical art of Stelarc to the refined musical aesthetics of Laurie Anderson. The film will show how each artist redefines the parameters and range of the arts to reach new forms of expression. Artists from past decades will narrate short historical segments which will be intrspersed throughout the film. The history starts in the 1800's with the dandies and follows through the Dadaists to the Happenings of the 1950's to the present. Following are three roughly edited separate segments of the film. This is a sample reel. 00:01:27:00 TEHCHING HSIEH (TH) LINDA M B2003938
ACMI [Stelarc: Hindu suspension Sri Lanka] Donation; 2018 1992 STELARC Sri Lanka (Hindu Suspension Experiment & Fire Walking'); Sri Lanka (Hindu Suspension Experiment & Fire Walking) Stelarc B2004062
ACMI [Stelarc: Hollow Body / Video Probe Linz 1992] Donation; 2018 1992 STELARC 'Hollow Body/ Video Probe'; ARS Electronica; Linz, Austria- 1992; Unedited dub from: MII No. 5 original; U-Matic High Band Dub; Stelarc; Master 5; ARS Electronica; Linz, Austria-1992; High Band Dub; (from MII original'); master 5; U-Matic High Band Master 5 B2003967
ACMI [Stelarc: Illuminations TV; Pandamonium] Donation; 2018 1979 STELARC Illuminations TV; Pandamonium: Stelarc Performance; 1. Digi Beta Cam; 2. Robot mini cam; 3. SGI/Alias; Pandamonium: Stelarc Clips; Dub B2004070
ACMI [Stelarc: Inclined Suspension Yokohama; Event for Inclined Suspension Tokyo 1979] Donation; 2018 1979 1993 STELARC Stelarc; 'Inclined Suspension'; 241 I-Chome Honmoko; Naka-Ku, Yokohama; T 231; Tel: (045)622-4217; Event for Inclined Suspension; Tamura Gallery, Tokyo- 7 January, 1979; Stelarc Stelarc; NTSC; Event for Inclined Suspension; Tamura Gallery, Tokyo- 7 January, 1979; Y. Suga B2004047
ACMI [Stelarc: Interview 1993] Donation; 2018 1988 1993 STELARC Stelarc Dub Interview- 02; 15/12/93; SDI-02; Stereo B2004069
ACMI [Stelarc: Interview Caulfield 1988 Tape 2] Donation; 2018 1987 1988 STELARC Stelarc Interview tape 2 1988: Caulfield Stelarc Tape 3 Interview part 2; FN 3634 B2004052
ACMI [Stelarc: Laser Eyes, Eternal Ears Toronto 1987; Amplified Body, Laser Eyes and Third Hand Tokyo 1987] Donation; 2018 1987 1992 STELARC Master; NTSC; 'Laser Eyes, Eternal Ears' Program; New Music Concerts- Toronto 1987; Amplified Body, Laser Eyes and Third Hand- Stelarc; Lighting Installation: Takuro Osaka; Sound Coordinator: Kazutaka Tazaki; Video Documentation: Stuart Beecroft; Video Studio- Scanning Pool, Tokyo; N.M.C. Toronto 1987 B2003945
ACMI [Stelarc: Linz 1992] Donation; 2018 1993 STELARC Stelarc Linz 1992; Dubbed from (M2) Original; 5-1-94; Tape One; Dub B2004055
ACMI [Stelarc: Loop / Hand 1993] Donation; 2018 1975 1993 STELARC Stelarc; Loop/Hand; Dec 4 1993; PAL (45 mins) Stelarc loop hand ; Edit facility v2 organisation; Editor/ cam Barney Haynes ; Oct 4 1993; PAL (45 min) B2004032
ACMI [Stelarc: Lung Probe 1975] Donation; 2018 1975 STELARC Lung Probe; Stelarc/ Dr. Kitagawa 1975 B2003888
ACMI [Stelarc: Lung Probe; left and right bronchii/vocal chords Tokyo 1975] Donation; 2018 STELARC Lung Probe; left and right bronchii/ vocal chords; Hamamatsu Hospital/ 1975; assistance: Dr. Kitagawa/ Dr. Takahira B2004048
ACMI [Stelarc: MOCA event Remote Controlled Suspension Brisbane 1987] Donation; 2018 1984 STELARC MOCA Event; Remote Controlled Suspension; 1987 [fmm 22/05/2019 - previous title B2003941 = Remote Controlled Suspension, location MOCA Brisbane Aug 1987] B2003942
ACMI [Stelarc: Maki event copy 1 Tokyo] Donation; 2018 STELARC Copy No. 1; Maki Gall. Event B2004076
ACMI [Stelarc: Maki event copy 2 Tokyo] Donation; 2018 STELARC Maki; Copy No. 2; Maki Gall. Event B2004075
ACMI [Stelarc: Maki event copy 3 Tokyo] Donation; 2018 STELARC Maki #3; Copy No. 3; Maki Gall. Event B2004077
ACMI [Stelarc: Maki event copy 4 Tokyo] Donation; 2018 1987 STELARC Copy No. 4; Maki Gall. Event [fmm 22/05/2019: Maki Gallery is in Tokyo] B2004074
ACMI [Stelarc: Mix desk to projector 1988] Donation; 2018 1988 1990 STELARC Stelarc Source Tape Mix 2. ; (7 News job title list on back of tape) BVU; Stelarc; 150 Master tape 2.; From Mix Desk to projector; 1988 B2004027
ACMI [Stelarc: My hand is not under my control Tokyo 1984] Donation; 2018 1984 STELARC 'My hand is not under my control'; 29th January, 1984- Komai Gallery; Taped by: Michael & Koko; 'My hand is not under my control' Komai, 1984 Stelarc [fmm 22/05/2019: Komai Gallery was active in the 1970s and 1980s in Tokyo, Japan] B2004031
ACMI [Stelarc: New Music America performance] Donation; 2018 1987 STELARC Stelarc; New Music America performance; first 30 minutes- rehearsal (unedited'); last 30 minutes minutes- performance (unedited) B2003932
ACMI [Stelarc: Performance KCAI Kansas City 1993 C screen mix] Donation; 2018 1993 1995 © Stelarc STELARC Event 2.- KCAI: 30 min; 4th March, 1993 © screen mix; NTSC Master C. Kansas City; NTSC; Stelarc- KCAI; Performance II; March 4, 1993; Event 2- KCAI: 30 min; *screen mix; unedited; Stelarc Mar 4 93 KCAI; Performance II [fmm 22/05/2019: KCAI = Kansas City Art Institute] B2003977
ACMI [Stelarc: Performance KCAI Kansas City 1993 Single camera B] Donation; 2018 1993 © Stelarc STELARC Event 1.- KCAI: 30 min.; 4th March, 1993 B. single camera; NTSC Master B.; NTSC; Roll 3 30 mins; MHR 4.93 camera stations; Event 1.- single back camera (Body & Robot & Screen'); Event 1.- KCAI: 30 min; *Single back camera; unedited [fmm 22/05/2019: KCAI = Kansas City Art Institute] B2003969
ACMI [Stelarc: Performance KCAI Kansas City 1993 Single camera D] Donation; 2018 1993 © Stelarc STELARC Event 2.-KCAI: 30 min; 4th March, 1993 D. single camera; NTSC Master D. Kansas City; Roll 4; Mar 4. 93- 30 mins; camera station; Event 2.- single back camera (Body & Robot & Screen'); Event 2.- KCAI: 30 min; *single back camera; unedited [fmm 22/05/2019: KCAI = Kansas City Art Institute] B2003975
ACMI [Stelarc: Performance KCAI Kansas City 1993 Top, front and side cameras; A screen mix] Donation; 2018 1993 © Stelarc STELARC A. NTSC; Stelarc Performance; Mar 4 1993 I; Event 1- Screen Mix; (Top, Front & Side Cameras'); Event 1- KCAI: 30 min; NTSC Master; *Screen Mix Unedited; Stelarc Performance; Mar 4 1993 I, 30 mins fmm 22/05/2019: KCAI = Kansas City Art Institute, Kansas City USA] B2003944
ACMI [Stelarc: Performance September 1995] Donation; 2018 1998 STELARC Sept 26 1995; Stellarc Performance; Documentation B2003893
ACMI [Stelarc: Performance at MOCA Brisbane 1987; Events for Amplified Body, Laser Eyes & Third Arm 1986] Donation; 2018 1987 1993 STELARC Stelarc Performance at MOCA Brisbane 1987; 4 Music- Laser Events at Tokyo 1985-1986; Return to Neil Howe; Rear 1418 Malvern Rd; Glen Iris ph 205194; Stelarc Events Colour; Pal; Stelarc; 1. Remote Controlled Suspension MOCA Aug 1987 20 min; 2. Events for Amplified Body, Laser Eyes & Third Arm. 1986 25 min; low band; Return to Neil Howe 26 [?] rd Heidelberg[?]; Stelarc B2003941
ACMI [Stelarc: Ping Body Scandicci 1998] Donation; 2018 1996 STELARC Ping Body; Scandicci; Stelarc; 22/5/98; Original; Ping Body; Scandicci; Stelarc; 22/5/98 Ping Body; Scandicci; Stelarc; 23[diff. date]/5/98 [fmm 22/05/2019: Scandicci is a comune of c. 50,000 inhabitants in the Metropolitan City of Florence in the Italian region Tuscany] B2004053
ACMI [Stelarc: Ping Body Sydney 1996] Donation; 2018 1996 2001 STELARC Ping Body; Stelarc; Artspace 10/4/96; dub [fmm 22/05/2019: this 1996 performance was at Artspace in Sydney - ref. Susanne Hildegard van Zyl, 2008 Masters thesis available online (see Doc refs): 'Stelarc, Ping Body an Internet Actuated Performance (1996). Digital Aesthetics, Artspace, Sydney.' B2004050
ACMI [Stelarc: Pittsburgh 2001] Donation; 2018 1981 STELARC Stellarc; Pittsburgh 6/6/01; Dub; Stellarc B2004054
ACMI [Stelarc: Project Stelarc 1981] Donation; 2018 1981 1988 STELARC Title Project Stelarc; Duration 19'04'; Recording Date June, 1981 Project Stelarc; C3465 B2004046
ACMI [Stelarc: Projector mix tape 1988] Donation; 2018 1998 STELARC Stelarc Source Tape Mix 1. BVU; 150 Master; Stelarc 1988; projector mix tape 1.; N Howe B2004028
ACMI [Stelarc: Psycho / Cyber multiple sensors 1998] Donation; 2018 1998 © Stelarc STELARC 1.;Psycho/Cyber; Stelarc; Amplified Body/ Third Hand; Amplified Body; 1. EEG (Brainwaves'); 2. Position Sensor (Tilting Head'); 3. Nasal Thermistor; 4. ECG (Heartbeat'); 5. EMG (Flexor Muscle'); 6. Contact Microphone (Hand Motors'); 7. Plethysmogram (Finger Pulse'); 8. Kineto-Angle Transducer (Bending Leg'); 9. Position Sensor (Bending Leg'); 10. EMG (Vastus Medialis Muscle'); 11. Ultrasound Transducer (Radial Artery Bloodflow'); 12. Position Sensor (Lifting Arm'); 13. Muscle Stimulation (Flexor Muscles'); 14. Muscle Stimulatation (Biceps B. Muscles'); Third Hand; A. Grasp/Pinch (Close'); B. Release (Open'); C. Wrist Rotation (C.W.'); D. Wrist Rotation (C.C.W.'); E. Tactile Feedback; Photgrapher: Tony Figallo Extra ear web page & giff; 8/5/98; 5; 6. B2004060
ACMI [Stelarc: Psycho / Cyber: Event for Laser Eyes, Scanning Robot and Third Hand Helsinki 1993] Donation; 2018 1993 © Stelarc STELARC B; Psycho/Cyber: Event for Laser Eyes, Scanning Robot and Third Hand; Muumedia- Helsinki 1993; The Cable Factory 6/5/93; Original. Pal U-Matic SP B2004049
ACMI [Stelarc: Psycho / Cyber: Event for Muscle and Machine Motion 1993] Donation; 2018 1987 1993 STELARC V2 'Body in Ruin' Program; Unedited original screen mix; 'Psycho/ Cyber: Event for Muscle and Machine Motion'; 8th October, 1993- Den Bosch; Stelarc (low band- PAL'); Unedited original- PAL- low band; 8th October 1993- Den Bosch; Stelarc B2003974
ACMI [Stelarc: Remote Gestures / Obsolete Desires; Event for Scanning Robot, Involuntary Arm and Third Hand London 1992] Donation; 2018 1992 STELARC Remote Gestures/ Obsolete Desires; Event for Scanning Robot, Involuntary Arm & Third Hand; Edge Biennale, London 1992; Stelarc; Copy (used for the La Mama event'); Event for the Edge Biennale; London 1992; Stelarc (copy) B2003936
ACMI [Stelarc: Remote control suspension Brisbane 1987] Donation; 2018 1987 1992 © Stelarc STELARC Remote control suspension; MOCA- Brisbane, 1987; Pal dub (16min) Title & end title frames added: REMOTE-CONTROLLED SUSPENSION STELARC M.O.C.A. MUSEUM OF CONTEMPORARY ART BRISBANE SUNDAY 9 AUGUST, 1987 Cameraman: Ralph Marshall Video Production: Jumbuck Australia B2004029
ACMI [Stelarc: Robotics and Remote Existence Vienna 1992] Donation; 2018 1985 STELARC Robotics & Remote Existance; Austria/ Vienna 92; Akademie Der Bildenden Kunste (stereo'); Stelarc B2003892
ACMI [Stelarc: Sapporo 1985] Donation; 2018 1985 STELARC Stelarc ; Sapporo; '85; 3.3 B2004082
ACMI [Stelarc: Scanning at the speed of signs] Donation; 2018 STELARC Scanning at the Speed of Signs; Director: Michael Gruchi; Copy; Stereo; Pal B2004039
ACMI [Stelarc: Sci Mus event copy 2] Donation; 2018 1986 STELARC Copy No. 2; Sci. Mus. Event B2004073
ACMI [Stelarc: Seaside Suspension unedited] Donation; 2018 1995 STELARC Seaside Suspension; Stelarc-; Original Unedited B2004058
ACMI [Stelarc: Seaside and city suspensions Japan & Denmark 1981/1985/1986] Donation; 2018 1981 1986 STELARC 1. Seaside Suspension- Jogashima, 1981; 2. City Suspension- Copenhagen, 1985; 3. The Last Suspension- Ofuna, 1988; 4. Amplified Body/ Enhanced Image- Tsukuba '85; 5. Beyond the Body- Tokyo, 1986; 6. High Technology Event- Tokyo 1986; Suspension and Amplified Body Events 1981-1986 Dub; Selected Sections; Stelarc. Pal Master- Pal U-Matic B2003949
ACMI [Stelarc: Split Body / Scanning Robot Graz October 1995] Donation; 2018 1995 © Stelarc STELARC 'Split Body/ Scanning Robot'; (Performance in Graz) 11th October 1995; original unedited performance mix B2003921
ACMI [Stelarc: Split Body / Scanning Robot: Voltage-In / Voltage-Out Lyon Biennale 1995] Donation; 2018 1973 © Stelarc STELARC Performance- Lyon Biennale; 'Split Body/ Scanning Robot: Voltage-In/ Voltage-Out'; Museum of Contemporary Art; 22 December 1995; Unedited Original; Lyon Biennale 22/12/95; B2003933
ACMI [Stelarc: Stomach probe Tokyo 1973] Donation; 2018 1973 STELARC Stomach Probe; Stelarc/ Dr. Kitagawa 1973; Stomach Probe; Stelarc/ Dr. Kitagawa 1973 B2004044
ACMI [Stelarc: Stomach probe, oesophagus/stomach Tokyo 1973] Donation; 2018 1984 STELARC Stomach Probe; oesophagus/ stomach; Yaesu Cancer Research Centre; Tokyo, Japan/ 1973; assistance: Dr Kitagawa B2004043
ACMI [Stelarc: Street suspension New York 1984] Donation; 2018 1977 STELARC 'Street Suspension' 1984; Video: P. Margonelli; Unedited copy; East Village, N.Y. 1984 B2004059
ACMI [Stelarc: Stretched Skin No.4 Munich 1977] Donation; 2018 1976 1977 STELARC Stretched Skin No.4; Stelarc/ Munich 1977 Stelarc; Event for Stretched Skin No. 4; August 8, 1977; Art Academy Munich; Taped by P. Defilla- Pal. B2004079
ACMI [Stelarc: Stretched skin Tokyo 1976] Donation; 2018 1976 1984 STELARC Stretched Skin; Stelarc/ Tokyo 1976 B2004072
ACMI [Stelarc: Telechiric Transmission Tokyo 1984] Donation; 2018 1988 STELARC 'Telechiric Transmission.'; 29th January, 1984; Komai Gallery- Tokyo.; Taped by Kimura; Original/ Unedited Tape B2004080
ACMI [Stelarc: The Last Suspension Ofuna Japan 1988] Donation; 2018 1988 STELARC Stelarc: The Last Suspension; Ofuna May 29, 1988; Master; NTSC; Mono; Time Code; Total 08'29'O/H[?]; Stelarc: The Last Suspension; Master B2004068
ACMI [Stelarc: The Last Suspension] Donation; 2018 1981 STELARC Stelarc: The Last Suspension; Stelarc upside down original B2004083
ACMI [Stelarc: The Third Hand Tokyo 1981] Donation; 2018 1981 STELARC The Third Hand 1981; Stelarc; Tamura Gallery- Tokyo 1981; Stelarc NTSC; J. Morioka- A. Kato (Copy from Master Reel) B2003948
ACMI [Stelarc: The third hand edited master Tokyo 1981] Donation; 2018 1981 STELARC Master edited tape; 'The Third Hand'- Stelarc; Tamura Gallery, Tokyo 1981; J. Morioka/ A. Kato; N.T.S.C. B2004065
ACMI [Stelarc: Turbulence] Donation; 2018 1992 STELARC Turbulence; 34 mins 15 sec [fmm 24/05/19: relative dating info from end titles - 'Footage from NASA and the 1984 Olympics in Los Angeles; Slide Suspension by Stelarc recorded April 19, 1984; at the Ibaraki Kenmin Bunka Centre by Motohiko Sasaki; audio work by Brian Eno from 'Appollo'; the voice of Stelarc recorded especially for Turbulence Radio; written material on on [sic] Yves Klein by Tom Elling; other assistance from William David and Nancy Monteith; camera Paul Siess Jake Jacobik; director Paul Siess; a video type by Tony McAulay; made with the assistance of Cable 13, London' B2004033
ACMI [Stelarc: Video Shadow Tokyo 1991, Scanning Robot Edge Biennale London and Virtual Arm Melbourne 1992] Donation; 2018 1990 1992 STELARC 1. Video Shadow- Tokyo 1991; 2. Edge Biennale- London 1992; 3. Virtual Arm- Melbourne 1992; Stelarc; Sub-Master/ Pal approx: 24 min; Tokyo 1991; London 1992; (Video Shadow, Scanning Robot & Virtual Arm'); Stelarc B2003947
ACMI [Stelarc: Video Shadow, Automatic Arm and Third Hand Experimenta Melbourne 1990] Donation; 2018 1990 1991 STELARC Video Shadow, Automatic Arm and Third Hand- Stelarc.; Experimenta- M.I.M.A. (Malthouse) 1990; Unedited Master Dub; (U-Matic- U-matic Pal'); Video Shadow Automatic Arm and Third Hand- Stelarc; Experiementa- M.I.M.A. (malthouse 1990'); Unedited Master Dub- Pal [fmm 22/05/2019: MIMA = Modern Image Makers’ Association. Experimenta held at Malthouse Theatre in Melbourne, December 1990] B2003968
ACMI [Stelarc: Video Shadow, Automatic Arm and Third Hand Tokyo 1991 Final section] Donation; 2018 1991 STELARC 1. Video Shadow, Automatic Arm & Third Hand; Tokyo Metropolitan Museum of Photography 1991; (Final section- approx. 10 min NTSC- PAL DUB) B2003890
ACMI [Stelarc: Video Shadow, Automatic Arm and Third Hand Tokyo 1991] Donation; 2018 1993 STELARC 5 Cam; '91 9/1 NTSC; Video Shadow, Automatic Arm & Third Hand; '91 9/1; 5. Cam; Animated Imagination; Tokyo Metropolitan Museum of Photography B2003896
ACMI [Stelarc: Video Shadow, Automatic Arm and Third Hand Tokyo 1991] Donation; 2018 1991 STELARC 'Video Shadow, Automatic Arm and Third Hand'- Stelarc; Tokyo Metropolitan Museum of Photography; 31st August, 1991 (Events 29th, 30th, 31st, 1st'); 1.2.3.&4. cam DVE (total screen mix'); NTSC approx 35m (master dub'); Video Shadow, Automatic Arm & Third Hand; '91 8/31 1.2.3.&4. cam DVE B2003978
ACMI [Stelarc: Virtual Arm event Melbourne 1992] Donation; 2018 1992 1993 STELARC Virtual Arm 2; Virtual Arm Event- Melbourne 1992; (4th event- 15 minutes)- Stelarc Master; Master B2003966
ACMI [Stelarc: Virtual body, involuntary arm and the third hand - obscure Quebec 1993] Donation; 2018 1991 © Stelarc STELARC NTSC dub from betacam original; Quebec Event 1993; Virtual body, involuntary arm and the third hand- obscure/ Quebec unedited screen mix approx. 36 min B2004040
ACMI [Stelarc: X-ray scan edited 1975] Donation; 2018 1975 1988 STELARC Edited Copy No. 1; Vertical X-ray Body Scan/ Stelarc 1975 B2004063
ACMI acmipark Commission; 2003 2003 SELECTPARKS acmipark is multiplayer virtual world. Created by selectparks (artists Julian Oliver, Chad Chatterton, and Andrea Blundell), it was designed to extend the physical spaces of the Australian Centre for the Moving Image (ACMI) at Melbourne’s Federation Square into the realms of virtual space. It was produced using a game engine as its base, and worked up from the real architectural designs produced for Federation Square by Lab Architecture Studio. Designed as a soundpark, it is a musical instrument which can be played collectively, and, like Federation Square itself, it was envisaged as a kind of public space waiting for a community to define its meaning. It was conceived as an experiment in the design of a virtual public space. It is an embodiment of the idea that we are moving our public space into the realm of the virtual. By using a model of a real world public space combined with the collaborative possibilities of the soundpark and the kinaesthetic pleasures of moving through a beautiful virtual place, selectparks hoped to build upon traditional concepts of ‘public’ places. [Source: Helen Stuckey, 2006 https://firstmonday.org/ojs/index.php/fm/article/view/1561/1476 last accessed 20/10/2020] B1004596
ACMI deCollage Licence (perpetual) 1995 00:01:39:00 John SHARPE This abstract computer animation combines images created from different media including collage, painting and photographs with an evocative jazz soundtrack B1001524
ACMI lifeSigns: eco-system of signs and symbols Commission; 2003 2003 2004 30 January 2004, 2003 Troy INNOCENT An interactive digital networked work where participants play selected emotions as game identities in any manner they choose, the results seen in a fluid projection onto a mounted floor screen between the game terminals in the form of a dynamic and fluctuating virtual realm. Through playing the game, then, the participant contributes to building an ecosystem of sentiments at play and in conflict with one another. The 'life signs' chosen by participants are generated as three dimensional icons that construct an evolving virtual language of symbols, sounds and behaviours in interaction with the audiences' collective participation. The floor projection represents the fluctuating results of the networked game, while an immersive soundscape simultaneously responds to the ever-changing game narrative.The more participants, the greater the intensity of image and sound. The process of the audiences use of and play with sentiments and emotions thus becomes the foundation in constant flux for the visual and aural world that the audience engages with in the installation. B1006114
Art Gallery of New South Wales 'Do they know ...' Purchase/Collection 2017 treated pine, corrugated iron, single channel video, colour, sound dimensions variable © Salote Tawale Salote TAWALE 'Burebasaga Maramas' is a celebration of the resilience of Salote Tawale's matrilineal line. 'Burebasaga' refers to the confederacy Tawale's family belongs to in the Fiji Islands and 'Marama' is the Fijian word for women or ladies. The discrete elements of the work explore different cultural mythologies, contemporary realities and future prospects for Fijian women, given the enduring traumas wrought by colonisation - including loss of culture and low life expectancy. The wall painting refers to the traditional weaving practice of the artist's grandmother; the diorama figure is a representation of her aunt on a fishing expedition; one of the videos shows the artist herself, draped in Salu Salu (decorative lei); and the other, filmed on Fiji, records the social aspect of food preparation. Tawale often makes use of materials such as calico, tarpaulin and corrugated iron, which act as contemporary substitutes for traditional Fijian materials – such as masi (bark cloth) and palm leaves. For the artist, these materials embody cultural continuities and signal her place in the Pacific diaspora. 246.2018.4.a-c
Art Gallery of New South Wales 'Silent stars' 'Their restless eyes search in the mysterious direction of things unseen' Purchase/Collection 1987 103 plaster heads, 5 sculpture aluminium arrows, 1 microphone, 1 reel to reel tape recorder © Ken Unsworth Ken UNSWORTH 357.1988.a-fffff
Art Gallery of New South Wales 'we should call it a living room....' Purchase/Collection 1975 00:09:00 16mm film transferred to digital tape (betacam) shown as single channel digital video, colour, sound aspect ratio: 4:3 © Aleks Danko Aleks DANKO, David LOURIE, David STEWART, Joan GROUNDS 123.1976
Art Gallery of New South Wales 3 men hula Gift/Collection 1999 00:01:36 min continuous single channel digital video, colour © Sigalit Landau Sigalit LANDAU Sigalit Landau's single-channel video piece Three men hula was filmed in Chisenhale Gallery in 1999 and features three actors, men who have known each other since childhood, standing in an empty room. Positioned with their backs to eachother, arms entwined, they move in unison as they attempt to revolve a large hula hoop, three metres in diameter, in a counter clockwise direction around their bodies. Landau describes the work as:'Three young men trying to act as one, a corporation, a corps made of three, trapped in motion. In a centripetal pull, they dance inside a closed world, centralized but shifting, a centre with dynamic gravities, a playful, sensual, quasi-achievable task.' 50.2021
Art Gallery of New South Wales 3000 famous men Purchase/Collection 1980 00:09:20 min analog tape (u-matic) shown as single channel digital video, colour, sound Richard GRAYSON 65.1986.1
Art Gallery of New South Wales A Māori dragon story Purchase/Collection 1995 00:15:00 min 16mm animation transferred to single channel digital video, colour, sound aspect ratio: 4:3 © Lisa Reihana Lisa REIHANA Made in the early years of Lisa Reihana's career, A Māori dragon story is marked by a decidedly homespun, low-fi, experimental quality. Riffing off the work of Czech filmmaker and puppeteer Jan Švankmajer as well as animators Brothers Quay, her stop-motion animation, complete with carved wooden puppets and handmade props, is a dark cinematic reimagining of a form usually reserved for children's entertainment. The work is void of dialogue, with Reihana communicating the dramatic and emotional inflections of her storytelling through imagery and sound alone. The work reflects how Reihana has long drawn upon Māori knowledge, histories and customs and sought to re-present these through video, installation and photography within a contemporary context – placing them in our digital world. During the 1990s and early 2000s, Reihana was part of a series of seminal exhibitions in New Zealand that carved out a space in the visual arts for an expanded representation of Māori identity and expression. Ever since, she has claimed digital technologies and virtual space as one where innovation meets tradition. As Reihana remarks, “I seized upon twenty-first century technologies because they sit outside traditional rules, the photographic process came from there, it replaces the wood and I use the computer as my carving tool.” More linear in its narrative than many of Reihana's works, A Māori dragon story traverses themes of love, jealousy, revenge and death. As described by curator Jose da Silva in his essay for Cinemania: “In A Māori dragon story, Te Ake of Akaroa and his beautiful daughter Hine Ao encounter Chief Tūrakipō of Ōpawāho, whose shell eyes spin with desire for her. When Hine Ao rejects his advances, an angered Tūrakipō calls on his powers as a tohunga (priestly expert) to cast a curse access the blue cellophane waves, causing Hine Ao to perish at sea. While mourners gather, Te Ake learns the art of makutu (black magic) to avenge her death. He casts his karakia (incantation) and awakens a giant taniwha with Hine Ao's head, guiding it through the seas toward the Ōpawāho fishermen. Tūrakipō's people flock to eat the captured taniwha, and in a break from the narrative structure and animation style, we witness human hands cleaning and gutting fish and mouths gorging at their raw flesh.” The film ends with Tūrakipō waking to find that all of his people have died. 16.202
Art Gallery of New South Wales A disposable monument Purchase/Collection 1976 00:09:30 min analog tape (u-matic) shown as single channel digital video, colour, sound © les Levine Les LEVINE 3.1977
Art Gallery of New South Wales A portrait of Nancy-Bird Walton Gift/Collection 2015 water 35:56 mins single channel digital video, colour, silent aspect ratio 16:9 © Shaun Gladwell Shaun GLADWELL The pioneering Australian aviatrix, Nancy-Bird Walton, was the inspiration behind Shaun Gladwell's ambitious installation, The lacrima chair 2015, which imaginatively explored the miracle (and dangers) of flight. Indeed, curator Felicity Fenner has commented, 'Themes of flight, dance and other feats of gravity-defiance have inhabited Gladwell's multifaceted practice for two decades'. A portrait of Nancy-Bird Walton was originally projected onto a large screen in front of a customised airplane chair that audiences could sit in. Above the chair was a sprinkler that dowsed the viewer in water as they watched the fictionalised Walton, played by Kathryn Puie, perform in the air, sea and on land. 27.2021
Art Gallery of New South Wales AIDS' dark terrain: twelve stations from a Yankee pilgrim Gift/Collection 1996 00:31:43 analog tape (VHS) shown as single channel digital video, colour, sound aspect ratio 4:3 Robin TICHANE 30.1998.14
Art Gallery of New South Wales AMERIKA, performance for as long as possible, 9-12 May 2006 Gift/Collection 2006 74:00:00 hr single channel digital video, colour, silent aspect ratio: 4:3 © Mike Parr Mike PARR Starting at dawn on 9th May 2006 and lasting for 74 hours, Mike Parr performed 'AMERIKA, performance for as long as possible, 9-12 May 2006' near the Henry Moore sculpture outside the gallery. Fasting and meditating for 24 hours a day, this vigil was a symbolic act of restitution offered to the Joseph Beuys tree. This fig tree was planted in 1984 on behalf of the great German artist Joseph Beuys as part of a project initiated in 'Documenta' 1979 to plant a thousand trees. Each of these trees was marked by a basalt column. In this case the column was accidentally removed thereby severing the tree from the Beuys project. In this performance Parr offered the gilded stump of his missing arm as an act of healing. Parr dressed as a bride for this action acknowledged the suppressed feminine within every male while drawing on the alchemical ideas of Marcel Duchamp. His gilded stump provided another gesture towards Beuys who famously lectured a dead hare with his head covered in honey and gold leaf. In the photograph 'Best Man' Parr's bride holds the artist's dead male head in her hand while the stump of his/her arm sticks out like a reminder of the phallus further complicating this narrative of fragmented identity. In 'Primitive Gifts' Parr's bride holds a rockmelon with his features superimposed. 'AMERIKA, performance for as long as possible, 9-12 May 2006' was produced and presented by Performance Space in collaboration with the Art Gallery of New South Wales. http://www.performancespace.com.au/amerika/ Project Managers: Caitlin Newton-Broad and Sofie Gibson It Design: Snow and Jasper Streit 'AMERIKA' Site Design: Estee Wah Production Manager: Neil Simpson Technical Manager: Richard Manner Production Assistants: Jane Grimley and Dan Pardey Publicity: Rosie Dennis Make-up: Chizuko Saito Assistant: Felizitas Parr Initiating Curators: Tony Bond and Blair French Art Gallery of New South Wales: Network Operations Manager - Theo Papalimperis IT Systems Support Officer - Adam Dunn Audio Visual Services Manager - Laurence Hall Audio Visual Services Coordinator - Brian Blackwell Project Assistants: Fran Barrett, Kate Blackmore, Hugh Boyd, James Carr, Faustina Delany, Naomi Derrick, Liam Garstang, Daniel Green, James Harney, Astra Howard, Anna Kalloudis, Daniel Kojta, Talia Linz, Rebecca Oh, Amanda Robins, Kim Robson, Kate Smith, Diana Smith, Elke Wohlfahrt Performers: Maurice Giacche and Michael Turski Thank you: Simon Wise, Zina Kaye, Blair French, University of Sydney, Russell Emerson, Paul Green, University of New South Wales, Mark Mitchell, Alex White 347.2007.2
Art Gallery of New South Wales AR15 field strip Gift/Collection 2015 Samsung mobile phone and VR headgear display dimensions variable © Shaun Gladwell Shaun GLADWELL Recent developments in virtual reality technology, such as the manufacture of equipment and software for personal use, have inspired some artists to experiment with this new medium in their practice. Shaun Gladwell, who collaborates with the Australian virtual reality collective BADFAITH, is one of a handful of contemporary artists experimenting with it in Australia today. Academic Kit Messham-Muir has described AR 15 field strip 2016, the second virtual reality work created by Gladwell, in detail: 'It is a 360-degree video in which we, the audience, are brought into a suburban garage in Los Angeles, facing a bearded man depicted kneeling on a concrete floor as he blindfolds himself and then, over the course of several minutes, dissembles and reassembles an AR 15 assault rifle. He completes the process by testing the firing pin, then lays the weapon back in front of him. He removes the blindfold and gets to his feet. He then walks past “us”, and we can turn around to see him engaged in the process of manufacturing soap'. 25.2021.a-c
Art Gallery of New South Wales Aluminium from the mouth Gift/Collection 2001 5 aluminium sculptures each on 2 bases, each with shelf, cd and cd player overall display dimensions variable 1. 165.0 x 500.0 x 48.0cm 2. 170.0 x 300.0 x 45.0cm 3. 160.0 x 480.0 x 35.0cm 4. 170.0 x 420.0 x 40.0cm 5. 167.0 x 500.0 x 49.0 cm © Mike Parr Mike PARR This installation is a variation on a set of heads on poles that originally stood out from the wall in a row. Here they are seen in a more condensed form and they are accompanied by a sound track. This is in keeping with a series of sculptural works that include performance and sound. The recordings are of Evangelical Congregations around Sydney, Pacific Island groups and others. 409.2011.a-dd
Art Gallery of New South Wales Animal portraits Gift/Collection 1980 00:17:40 min analog tape (u-matic) shown as single channel digital video, colour, sound aspect ratio: 4:3 Ray WOOLARD Video of a performance at Preston Institute of Technology, Melbourne, 9 June 1980 175.1982
Art Gallery of New South Wales Ashob (Unrest) Gift/Collection 2015 00:01:29 min continuous single channel video, colour, dual channel sound aspect ratio: 16:9 © Nasim Nasr Nasim NASR Nasim Nasr is an Iranian born Australian artist who explores identity and intercultural concerns in her works. These themes are explored in 'Ashob (Unrest)', which sees Nasir and other people read from Persian writer Sadegh Hedayat's book, The blind owl 1937, in different languages. Although Hedayat's words speak to 'identity in flux', the message is ironically lost in the various translations. 38.2021
Art Gallery of New South Wales Aussie, Aussie, Aussie, Oi, Oi, Oi [Democratic Torture] Gift/Collection 2003 00:32:05 min continuous 16mm film shown as single channel digital video, colour, sound aspect ratio: 16:9 © Mike Parr Mike PARR 'Aussie Aussie, Aussie, oi, oi, oi [Democratic torture]' is a video work documenting a brutal, politically inspired performance by Mike Parr at Artspace, Sydney on 2-3 May 2003. It entailed Parr's wife, Felizitas, sewing his face together with a needle and thread in protest at the Australian Government's participation in the invasion of Iraq in 2003 and the blinkered coverage by right wing-press in Australia. Following the suture, Parr sat in a chair for 30 hours, his face contorted and clothes stained with blood, with a miniature Australian flag tucked under his arm stump. Projected on the wall behind him was text partly sourced from news headlines. The performance was streamed online in real-time and during the last 6 hours people watching on their computers could induce further pain by sadistically shocking Parr with the click of a button. Parr wryly christened the ordeal'Aussie Aussie, Aussie, oi,oi,oi, ' a patriotic catch-cry commonly chanted by crowds at sporting events in Australia. By publicly and passively subjecting himself to this abject and violent act, Parr gestured to the atrocities of war and the prevalence of conservative politics and collective macho nationalism, which had reached a crescendo in Australian society in the early to mid-2000s. 212.2019
Art Gallery of New South Wales Bad reasons Purchase/Collection 1982 00:19:55 min analog tape (u-matic) shown as single channel digital video, colour, sound © Steve Hawley Steve HAWLEY Bad Reasos includes: 'The undistributed middle and other fallacies in the home' 'We have fun drawing conclusions' 'Divers, divers, can I have your attention please' 40.1985
Art Gallery of New South Wales Beijing Opera Purchase/Collection 2000 4 channel sound: 00:32:59 min channel 1 00:08:12 min channel 3 00:12:18 min channel 4 four digital prints on silk canvas, fifteen stools/folding chairs, four channel sound © Yin Xiuzhen, courtesy of Prüss & Ochs, Berlin and Anna Schwartz Gallery, Melbourne Yin XIUZHEN 142.2002.a-w
Art Gallery of New South Wales Between the lines Purchase/Collection 1983 00:25:15 min analog tape (u-matic) shown as single channel digital video, colour, sound © Rose Garrard Rose GARRARD 38.1985
Art Gallery of New South Wales Big city big hat Purchase/Collection 2011 5 channel HD DVD, colour, sound; 12 CRT televisions, 7 painted wood pallets 116.0 x 370.0 x 250.0 cm installed © Justene Williams Justene WILLIAMS In recent years Justene Williams has developed an exceptional performance practice that combines personal content, the common language of images familiar from screen and media culture, and direct references to early 20th century avant-garde performance particularly associated with Dada and the Cabaret Voltaire. As in this work, her performances are usually filmed in private in especially constructed sets within her studio. 'Big City Big Hat' 2011 shows the artist in costume, wearing a hat with bright fluoro-coloured buildings perched on it and a mask with her eyes and mouth replaced with densely-folded sheets of paper that from a flutter of triangles. The hat design refers to Picasso's 1917 costumes for the ballet 'Parade' which essentially animated the dancers even before they began to move on stage. The set includes a silver tube connecting through a wall to a large trumpet-like form, inspired by a photograph of Jean Cocteau reciting 'A wedding' at the Eiffel Tower into a type of loudspeaker. Williams herself recites during her performance, but what she is reading out are newspaper reports about Julian Assange and WikiLeaks. As she finishes reading the sheets of paper she screws them up and puts them in the tube, as well as other paper balls made of screwed up media photos and pages, which roll out on the other side of the wall. Williams also tap dances and moves frenetically through the video. Her repetitive actions may tangentially recall 1960s and 70s performance practices, but the highly constructed artifice of her costume and set is much more akin to the Dada cabarets which entertained, bamboozled and outraged their audiences after the first world war. Williams's performance deliberately emphasises misinformation and a lack of clarity as a reflection of how Julian Assange has been dealt with through a highly politicised judicial system. Her presentation of the work on disused TV monitors and pallets adds to the sense of time passing and layers of information broadcast and received, of content and technology present and then quickly superseded. 306.2011.a-x
Art Gallery of New South Wales Biographies Purchase/Collection 2002 analog tape (miniDV) shown as five channel digital video projection, colour, sound, five metal drain grills, five MDF mounts installation dimensions variable aspect ratio: 4:3 © Óscar Muñoz Óscar MUÑOZ Óscar Muñoz is something of a gentle magician. His 'disappearing' drawings are poignant and beautiful, combining consummate skill with conceptual subtlety and rigour. Although Muñoz is not assertively political in his work which is more about mortality than specific acts of violence it is impossible not to look at it in the context of Colombian life. The situation in Colombia is still very difficult; in a recent visit to three cities in Colombia I met dozens of extraordinary artists of all generations from members of young collectives to senior artists like Doris Salcedo and Óscar Muñoz. Almost every conversation included a reference to the war. Technically there is no war however the effect on people's lives is tantamount to warfare. Drug barons have corrupted the guerrillas who ostensibly used to fight for better conditions for the marginalised rural communities including surviving Carib villages and communities of African Americans who descended from escaped slaves in earlier centuries. Now the guerrillas are just as likely to destroy the villages to make way for crops of cocaine and increasingly for opium poppies. The government once encouraged and supported the growth of paramilitary forces that could fight the guerrillas in the difficult jungles and mountain territory that divides Colombia into several isolated worlds beyond the reach of the government troops. Unfortunately the paramilitary were also then corrupted and turned against the rural communities also in the pay of the drug industry. To all intents and purposes the only difference between guerrillas and paramilitary is their dress code. Today the paramilitary have been outlawed by the government but dozens of wealthy Colombians including members of parliament have derived fortunes from their support of and involvement in the paramilitary. Some of these are now being charged and jailed which indicates a real desire to make changes. I met many artists who bravely made art with the communities to “out” the corrupt politicians and drug barons; the mood of the people is overwhelmingly for peace. When villages loose their land in this way or when it suits the barons to silence a community for any reason a common technique for social control has become the disappearing of people. Charles Merewether has called this technique the dialectics of violence. This is the subject matter of much of the art I saw in Colombia notably Doris Salcedo's monstrous memorials to the disappeared. Óscar Muñoz is different, more poetic and reflective and yet behind his achingly beautiful videos the theme of disappearance can not be ignored. Muñoz combines traditional drawing skills with video in a completely original and surprising way. The first work I became aware of 'Project for a memorial' suggested a form of meditation but it also reminded me of the image of someone trying to empty the sea with a teaspoon or moving a beach grain by grain while the wind and sea roll fresh sand into place. The image on the screen was of a flat stone onto which Muñoz brushed water to create a beautiful likeness of various personalities. The hot stone evaporates the water image as fast as the artist's hand could create it but he keeps remaking it always leaving us enough of an image for us to want to see it completed. Although it is a very rough technique Muñoz manages to create hauntingly lifelike portraits that keep being reconstituted and fading before our eyes. I think of this action as a kind of mantra or a ritual of remembering, even as the world erases our efforts to fix an understanding of it. It might also suggest the hopelessness of Sisyphean efforts to contain the senseless violence that makes day to day life so dangerous for ordinary citizens. Another magical series'Aliento' consists of polished metal plates in which we see ourselves reflected, but if we breathe on the plate misting it over and erasing our own image we discover a secret portrait beneath. It is invisible on the surface as it is drawn in a clear greasy material that only appears when the surface fogs up. This bringing into being by breath resonates with imagery from ancient thought where God breathes the world into existence whether it is in the Rig Vedas or in cabalistic thinking. It is an image that makes sense to us at a visceral level and it has connotations of resuscitation and first aid. We also hold a mirror up to the lips of an unconscious person to see if there is still life in their body. 'Mirror image' does not involve drawing but it is a work of profoundly mythic conception. The video camera focuses on the palm of the artist's hand. There is a small pool of water in the palm and as we gaze into the water we see the face of the artist reflected in it. Slowly as the water drains out between the fingers the face shrinks and distorts as the pool escapes taking the image with it. Here the association between life and water is extremely poignant. The sadness of Narcissus also haunts the image as he gazes uncomprehendingly at the loved object that can never be possessed. 'Biografías' shares many of these associations. It too is a watery image. Muñoz has made silk screen portraits of people but instead of forcing ink through the screen onto paper he has dusted fine coal dust through the screen onto a flat basin of water. The portrait in coal is then transferred to float on the surface of the water. After a while the water starts to drain out of a plug hole in the basin causing the image to begin to distort. Eventually the image is compressed to unrecognisability and finally disappears down the plughole. Five such portraits are shown in 'Biografías' by projecting video of the performed drawings onto screens on the floor complete with plug holes beneath which you hear the sound of water running down the drain. In this case all the watery associations with life hold good but we also have the less positive association of people being flushed down the drain. (Anthony Bond) 75.2010.a-o
Art Gallery of New South Wales Black box Gift/Collection 2010 single channel video projection, colour, sound, tinted resin projection box mounted on steel armature 152.5 x 15.0 x 46.0 cm (irreg.) © Tony Oursler Tony OURSLER Tony Oursler's Black box was created for a 2010 exhibition at Lehman Maupin Gallery, New York titled Peak, in which the artist explored the impact of technology on the human psyche through a series of works that investigated obsession, escapism, isolation and fetish. Black box comprises a rough textured, black resin cube mounted on a metal armature opposite a micro projector. The looped video features a nude figure who appears to climb out of a hole cut into the side of the cube, crouching and exclaiming 'Oh, look, it's… hurt' before climbing back inside. Following this, another figure emerges, throwing an object out of the hole and climbing out after it. Retrieving the object and cradling it in their arms, the figure looks around before re-entering the cube. 52.2021.a-c
Art Gallery of New South Wales Blue land Gift/Collection 2018 single channel digital video, colour © Miichal Rovner Michal ROVNER 48.2021.a-b
Art Gallery of New South Wales Body double Purchase/Collection 2007 00:11:38 min digital tape (betacam) shown as single channel digital video, colour, silent, two silicon rubber sculptures, motion sensor aspect ratio: 16:9, display dimensions variable © Julie Rrap. Courtesy Roslyn Oxley9 Gallery Julie RRAP In the darkened exhibition space of 'Body double' two figures lie on the floor, silicon rubber casts of the artist's own body, one face down and the other face up. The casts are deliberately rough with the seams from the moulding process showing and do not try to emulate the perfection we associate with classical representations of the nude. Projected on to one cast at a time is the figure of a man or a woman, seeming to give life to the forms but one which can be at odds with the gender of the cast. From time to time the projected images leave the body which they are inhabiting and roll across the floor to the other body, bringing the cast to life but sometimes also blurring its gender identity. 'In one instance, a female lies face-up on the face –down sculpture, so that the bottom is transformed into a pregnant form. In another moment, a male body lies within the female form, transforming the union of image and sculpture into a hermaphroditic figure. Identities are blurred as the projected forms seamlessly transform from female to male, engaged in a process of perpetual arrival and departure.' (Lynn, pg. 91) The change in gender in the video image occurs as the figure rolls, and the body casts perpetually become one gender or the other while retaining a female form. The speed of movement is triggered through sensors activated by the viewer's presence. A soundtrack in the space of breathing adds to the sense of an entire space animated by the physicality and image of the human body. It is impossible for the viewer not to become caught up in this dance of gender and physicality, of the representation of form and the form our own bodies take, of the embodiment of a sense of self within the materiality of the human body. Inevitably the traditional idea of a human soul leaving the body is also suggested, as is the transience of life and human physicality. The passage of time then becomes the other key to understanding the poetics of this work. 365.2007.a-d
Art Gallery of New South Wales Bon voyage Purchase/Collection 1986 00:04:35 analog tape (u-matic) shown as single channel digital video, colour, sound aspect ratio: 4:3 © Peter Callas Peter CALLAS 511.1988
Art Gallery of New South Wales Buddha game Purchase/Collection 1991 television set, pages from a printed book, 2 gold leaf wooden Buddhas, neon, antenna, 5 television monitors © Nam June Paik Estate Nam June PAIK Nam June Paik came to the attention of international audiences when he began working with Fluxus and in particular his musical collaborations with Joseph Beuys in the 1960s. He was first shown in Sydney in 1976 as part of a John Kaldor project with Charlotte Moorman with whom he also regularly performed. He has combined performative and musical aspects in his work while increasingly bringing in applications of new technology. He has been an international pioneer of video installation and is represented by such works in many of the world's most important museums. This work is a compact example that includes many of his consistent themes. The box that houses the work is a television cabinet within which he has miniature videos operating watched by two bronze Buddhas. Confronting the spiritual dimension of Buddhism with new technologies is a continuing aspect of the work. The space of the screen where so many people 'meditate' every day is provocatively juxtaposed with the sublime attention of Buddhist meditation. The cabinet is covered with pages from an old Korean book making the modern exterior of the appliance seem strangely antique. This use of collage and found objects accords well with the Fluxus movement with which Paik is associated. The feel of this particular box suggests the work of Wolf Vostel for example. 10.2002.a-c
Art Gallery of New South Wales By the sea Gift/Collection 2004 00:01:12 min continuous 16mm transferred to single channel digital video, colour, silent aspect ratio 3:4 © Todd McMillan Todd MCMILLAN The name of the work is 'By the sea'. I made it in 2004. It's a 72 second video that's, in a way, been condensed from a 12-hour performance. Well, the work is based upon a Caspar David Friedrich painting, 'Monk by the sea', which was made in, I think was, 1809, and so I used that for the basis for the work where I then stood in for the figure in the painting. I stood upon the cliff for 12 hours from 6 pm to 6 am. The first time I did it, I was actually hospitalised, so I actually, sort of, suffered exposure and had to be resuscitated. There was a lot of fear that I wouldn't be able to do it and that sense of it being in the work and being, you know, sort of a, knowing that I had to stand there for 12 hours for there to be a work and sort of think 'am I going to be able to do this?' was something that I had to, sort of, keep thinking about but I had to, sort of, also push to the back of my mind because when the doubts came in I did start to feel terrible. I mean, there's a certain point in the film where you'll see that there are actually cracks of lightning and it starts to pour down raining and, you know, was freezing, you know, and crying, and it was like, you know, truly horrific.' 'Todd McMillan on his MCA collection work 'By the sea', Youtube, uploaded by MCA, 16 Apr 2013, https://www.youtube.com/watch?v=9hSS4KX-PTI 39.2021
Art Gallery of New South Wales By your side Purchase/Collection 2019 00:03:38 min three channel digital video, colour, sound aspect ration: 16:9 © Claudia Nicholson MISS H, MISS J, MISS L, MISS M, Claudia NICHOLSON, MISS V, MISS T By your side 2019 was co-created by artist Claudia Nicholson and six young people whose families are currently seeking asylum in Australia. Nicholson often collaborates with community groups, such as choirs and dancers, to create performances that celebrate their shared experiences. In the work, the young people perform a dance that they choreographed with each other. They dance in pairs, with their sister or cousin, and are dressed in their own clothes with lo-fi disguises. Matching sweatshirts and sequinned dresses meet plastic superhero masks and bright green face paint. These costumes mix play and make-believe with an everyday reality – many people seeking asylum do not have their faces documented in public due to the risks they, their friends and their families may face here or back home. By your side is a powerful expression of who these young people are, their connection to each other, and their imaginative independence. It explores the sense of belonging that comes from a connection felt between people – a deep bond that is carried across time and geography – as well as acknowledges the complexities that arise from the very concept of 'belonging'. Videography: Akil Ahamat and EO Gill Editing: Akil Ahamat Dramaturge: Sarah Rodigari Music: Chun Yin Rainbow Chan 114.202
Art Gallery of New South Wales Collected works, 1975-1986 I. A performance anthology 1975-1980 II. Modius vivendi 1979-1986 III. Continental videoseries 1983-1986 Purchase/Collection 1975 1986 08:58:00 hr seven videos on analog tape (VHS) shown as single channel digital video, black and white and colour, sound © Marina Abromovic & Ulay/Bild-Kunst. Copyright Agency Marina ABRAMOVIC, ULAY A compilation of videos documenting performance works that explore points of intense physical connection between the two protagonists: breathing each other's breath, slapping one another on the face or standing as counter weights between a bow and arrow. Often their work seeks to meld male and female energies. Both artists have been influenced by Eastern thought and religion and pursue a form of Body Art that verges on ritualised self-mortification. 345.2001
Art Gallery of New South Wales Colonial Grab Gift/Collection 2015 00:07:38min single channel digital animation, colour, sound aspect ratio: 16:9 © Joan Ross Joan ROSS This video animation references a painting in the AGNSW collection, John Glover's Natives on the Ouse River, Van Diemen's Land (1838). In this work Joan Ross utilises the device of a poker machine - the Colonial Grab - to access various scenarios, including a central Australian landscape buzzed by a dystopian surveillance-camera/insect, and an antique table upon which a lady in hi-vis coloured Regency costume arranges ikebana using John Glover's Tasmanian trees. This she eventually places in a denuded Glover landscape, oblivious to the Indigenous people and mid-century suburban house to the side, as the vases shatter and her carefully arranged trees fall to the ground. Fusing the historical and contemporary, Ross locates the symbols and desires of Australia's colonial history firmly in the present in order to remind us of colonialism's ongoing presence and effects. I have a love/hate relationship with Glover. Some people say he can't paint trees but I love them. I based my video Colonial grab on this work. In the video a colonial woman takes his trees and makes ikebana out of them. Aboriginal people are still in the trees, so it's an act of total disrespect and disregard, which is how I see the impact of colonialism. One of the reasons that I make the work that I do is that I'm very aware, and I don't think you can be anywhere in Australia and not be aware, that we're on Indigenous land. And I'm constantly aware of the colonial influence, and the disjunction between that and nature” - Joan Ross 'The Art that made me' Look, March – April 2018 p.22 213.2019
Art Gallery of New South Wales Darling Darling Purchase/Collection 2020 two channel HD video, colour, stereo sound, guilded SD card display dimensions variable © Gabriella Hirst Gabriella HIRST Gabriella Hirst's Darling Darling 2021 is a gentle, contemplative video that traces two parallel histories. On one side of this dual-channel work, we encounter various sites on Barkindji Country, filmed cinematically from dawn to dusk under the close guidance of Barkindji Elder Uncle Badger Bates. The landscape here, around the area now known as Bourke, is critically drought-affected. The waterways of the Baarka (Darling River) are near-empty. On the other side, we encounter a different world altogether. The second channel reveals the regimes of care undertaken by the Art Gallery of New South Wales' painting conservators to restore WC Piguenit's The flood in the Darling 1890 1895. The flood in the Darling 1890 is a major work in the Gallery's Australian art collection. The care and attention directed towards this painting stands in stark contrast to the neglect and exploitation of the Baarka. With sound from each location bleeding across the two channels, Hirst converges the two narratives to question why a painting is provided with more care than an ancient, sentient waterway. 129.2021
Art Gallery of New South Wales Deconstructing Piero Purchase/Collection 2005 computer with inbuilt monitor, software program featuring vector drawings, colour, silent monitor: 36.0 x 46.8 x 15.0 cm overall aspect ratio: 4:3 © Michael Craig-Martin Sir Michael CRAIG-MARTIN Michael Craig-Martin's sculptures and installations focus on ordinary, mass-produced functional objects. One of his most infamous works, 'An oak tree' 1973, consists of a tumbler of water on a glass shelf.1 A text hangs next to the shelf explaining the nature of the conceptual denotation of this object as an oak tree. In this simple way Craig-Martin demonstrates the technique invented by Marcel Duchamp of nominating objects as art while presenting us with an insoluble conundrum: if an artist can assert that a found object is a sculpture, then he, or she, can assert that a glass of water is a tree. The text which is part of the work makes it clear that this is not like a tree or in some way associated with the growth of a tree; it simply is a tree. During the 1970s Craig-Martin developed a unique style of drawing from life. Building up a repertoire of hundreds of common objects such as shoes, knives and forks, light bulbs, buckets and safety pins, he drew these in a simplified graphic form which he then painted using highly mechanical processes. For example, he produced a simple outline using tape as a mask, which was removed once the work was complete to reveal a line of the very first colour layer. He then painted more layers of saturated colour in flat, even paint with each layer defining one of the objects or fields. His intention has been to make the painting conceptual rather than personal or expressive, and yet he acknowledges that in the end the paintings are beautiful and they do reflect his own very precise aesthetic. In these compositions, everyday objects are placed next to one another, or layered one on top of the other, creating spatial ambiguities as each object is given an equal scale, for example a pin is the same size as a bucket or chair. Since 2001 Craig-Martin has been making digital works assisted by the London-based design group AVCO, which developed the software for a computer-generated artwork based on Craig-Martin's line drawing technique.'Deconstructing Piero' runs a randomised program to create a time-based visual mapping of Piero della Francesca's'The flagellation' c1455 in which the composition and colour are constantly but slowly altering. The eight figures independently fade, disappear and eventually re-emerge. At the same time each of the six areas forming the landscape slowly changes through a range of 21 colours. The figures may all appear at once, or none may be visible for a considerable length of time. The program allows for unpredictable combinations which may never be repeated. 1. This work is in the collection of the National Gallery of Australia, Canberra © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 351.2005
Art Gallery of New South Wales Double balancing act Purchase/Collection 2009 2010 00:07:32 min channel 1, 00:04:04 min channel 2 dual channel digital video, colour, silent aspect ratio: 16:9 © Shaun Gladwell Shaun GLADWELL 'Double balancing act' 2009-10 is one of two videos that Gladwell has made subsequent to his sojourn as an official war artist in Afghanistan. Based at Tarin Kout in Oruzgan province, Gladwell was embedded with Australian troops for 3 weeks in October 2009. Living with soldiers at the military base, Gladwell accompanied patrols, visited local communities and the field hospital and participated in the daily routines of the Reconstruction Taskforce. Apart from experiencing the reality of daily life for the soldiers participating in 'Operation Slipper', Gladwell was overwhelmed by the local landscape which he has described in interviews as unexpectedly 'vast and enormous and grand'. The experience of war for the majority of Australians is through global media: 24 hour news broadcast into our lounges, streamed online footage and news photographs of defining moments. In previous works Gladwell has deliberately worked against the fast jump edits and image montages that he has referred to as 'MTV logic' through deliberately slowing footage, concentrating on a singular subject and having an open ended narrative if at all. He continues these methodologies in his Afghanistan works, but also avoids the conclusive moment, battle scenes and human interest stories of war reportage. 'Double balancing act' presents two performers, each on their own screen. One is a soldier who repeatedly balances his gun on his open palm while standing on the sand dunes of the Afghani desert. The other performer is a man on the urban graffitied streets of New York who attempts a range of balancing acts on his crutches. The soldier in camouflage uniform in the desert is in a sense disarmed as his gun becomes a prop to balance rather than a weapon of war; it also suggests something of the futility and boredom between operations in Afghanistan, of life suspended so far away from home. Inevitably viewing the man on crutches in the urban camouflage of New York suggests life after war and the reality of physical injury that can occur in combat zones and the fact that Australian troops have experienced their greatest loss of life since Vietnam while stationed in Afghanistan. While this balancing act requires some skill, there is also a sense of futility to it. 144.2011.a-c
Art Gallery of New South Wales Double time Purchase/Collection 1985 00:04:00 min analog tape (u-matic) shown as single channel digital video, colour, sound aspect ratio: 4:3 © Jill Scott Jill SCOTT Producer: Jill Scott Actors: Bonita Ely, Hilarie Mais Camera assistant: Leonie Seebohm Technical assistant: Peter Butterworth Production assistant: Sue Maslin 37.1986
Art Gallery of New South Wales Eating grass Purchase/Collection 2003 00:22:56 min 16mm film transferred to digital tape (betacam) shown as single channel digital video, colour, sound © Alia Syed, Courtesy Talwar Gallery, New York and New Delhi Alia SYED 269.2005
Art Gallery of New South Wales Elevator no. 4 Gift/Collection 2003 00:06:45 min single channel digital video, colour, sound aspect ratio 4:3 © Daniel Crooks Daniel CROOKS Daniel Crooks plays with space and time in his moving image works using the 'time slice' method invented by Tim McMillan and popularized by the special effects in the science fiction film The Matrix 1999. Crooks dissects a moment recorded with his camera and digitally stitches the scene back together in a way that warps the linearity of the sequence. These works render reality abstract and redefine our perception of time and space in unexpected and mesmerizing ways. 30.2021
Art Gallery of New South Wales Escape carnival Gift/Collection 2008 00:02:36 min digital tape (miniDVCAM) shown as single channel digital video, colour, sound aspect ratio: 4:3 © TV Moore, courtesy Roslyn Oxley9 Gallery TV MOORE 199.2011
Art Gallery of New South Wales Family under water Gift/Collection 1978 00:30:00 min digital tape (betacam) shown as single channel digital video, black and white, sound aspect ratio: 4:3 © Mike Parr Mike PARR 97.2001
Art Gallery of New South Wales From Political to Poetical Economy Purchase/Collection 1977 1979 various see notes video, colour and black and white, sound © Estate Robert Filliou Robert FILLIOU Porta Filliou, 00:44:00 min; Telepathic music no.7, 00:16:00 min; And so on, end so soon, done 3 times, 00:30:00 min; Teaching and learning as performing arts part II, parts A to E, 00:30:00 min; Teaching and learning as performing arts part II, Travelling light, It's a dance really, 00:15:00 min; Video breakfasting together, If you wish, 00:37:00 min 618.1994
Art Gallery of New South Wales From the inside Purchase/Collection 2003 12:00:00 min single channel digital video, colour, sound © Maria Elvira Escallón Maria Elvira ESCALLÓN [For] two and a half years I was associated with the El Nogal Club, as Cultural Director. A few days after the [terrorist] attempt of 7 February 2003, as I was in charge of the artistic patrimony of the institution, I had to go into the premises to verify the state of the patrimony. What I saw and felt as I walked by will forever remain in my memory. As I carried out the task, I knew that I had to record and keep a memory of what I kept seeing around me. Up to that moment the building had been isolated by the authorities. Everything was as had been left after the impact, as if time had stopped. There was total darkness - because of the collapse of electricity - and a veil of soot - caused by the fire - covered the walls and objects. This work, 'From the inside', is born from that experience. It intends to in a different way approach what happened. Using a record of prints found on the surfaces and daily objects - doors, walls, the stairs - it intends to capture the atmosphere of what was lived there during those hours. Most of the photographs were taken a few days after 7 February 2003. Others were taken later when the rubble was being removed. The video was also made at that moment. Maria Elvira Escallón, http://mariaelviraescallon.org/ 44.2008.8
Art Gallery of New South Wales Futurist Europe Purchase/Collection 1973 16mm film, black and white, silent © Pier Farri Pier FARRI 2.1974
Art Gallery of New South Wales Girlsplaining Museum Ludwig Purchase/Collection 2016 0.00293981481481481 single channel digital video, colour, sound © Guerrilla Girls, courtesy of guerrillagirls.com Guerrilla GIRLS 22.2019.12
Art Gallery of New South Wales Global groove Purchase/Collection 1973 00:28:30 min digital tape (betacam) shown as single channel digital video, colour, sound © Nam June Paik Estate Nam June PAIK In collaboration with John Godfrey. Director: Merrily Mossman. Narrator: Russell Connor. Film Footage: Jud Yalkut, Robert Breer. Produced by the TV Lab at WNET/Thirteen 'This is a glimpse of the video landscape of tomorrow, when you will be able to switch to any TV station on the earth, and TV Guide will be as fat as the Manhattan telephone book.' So begins 'Global Groove', a seminal tape in the history of video art. This radical manifesto on global communications in a media-saturated world is rendered as a frenetic electronic collage, a sound and image pastiche that subverts the language of television. With surreal visual wit and an antic neo-Dada sensibility, Paik manipulates an emblematic pastiche of multicultural elements, artworld figures and Pop iconography. Pepsi commercials appropriated from Japanese television are juxtaposed with performances by avant-garde artists John Cage, Merce Cunningham, Allen Ginsberg and the Living Theatre; dancers moving in a synthesized, colorized space to Mitch Ryder's 'Devil with a Blue Dress On' are intercut with traditional Korean dancers. Charlotte Moorman, her image wildly synthesized, plays the 'TV Cello'; Paik and Moorman play the 'TV Bra for Living Sculpture'; Richard Nixon's face is distorted by a magnetically altered television. In an ironic form of interactive television, Paik presents 'Participation TV', in which he instructs viewers to open or close their eyes. Paik subjects this transcultural, intertextual content to an exuberant, stream-of-consciousness onslaught of disruptive editing and technological devices, including audio and video synthesis, colorization, ironic juxtapositions, temporal shifts and layering - a controlled chaos that suggests a hallucinatory romp through the channels of a global TV. With its postmodern content, form and conceptual strategies, 'Global Groove' has had a profound influence on video, television and contemporary art. (Electronic Arts Intermix website, http://www.eai.org access 7/9/11) 10.2004
Art Gallery of New South Wales Glory Purchase/Collection 1983 00:23:00 min digital tape (betacam) shown as single channel digital video, colour, sound © Estate of Rose Finn-Kelcey Rose FINN-KELCEY The raw material for this tape originated in a performance where I acted as both animator and controller of 100 surrogate performers who were locked in a kind of Blitzkreig on a large table in a small room. The cut-out images were drawn from past and present historical moments, famous politicians, heroes and heroines. Rose Finn-Kelcey http://lux.org.uk/collection/artists/rose-finn-kelcey accessed 24 Oct 2011 66.1986
Art Gallery of New South Wales Guerrilla Girls guide to behaving badly Purchase/Collection 2016 0.00332175925925926 single channel digital video, colour, sound © Guerrilla Girls, courtesy of guerrillagirls.com Guerrilla GIRLS 22.2019.14
Art Gallery of New South Wales Guide to recent architecture: Fountains (excerpt) Gift/Collection 2000 2007 00:04:00 min single channel digital video, colour TBC, sound. USB flashdrive embedded into a skateboard wheel in Pelican case aspect ratio 4:3 © Shaun Gladwell Shaun GLADWELL Before he became an internationally acclaimed contemporary artist, Shaun Gladwell was a talented skateboarder. Gladwell pursued a career in art instead of skateboarding but later incorporated both interests in compelling video works, such as Storm sequence 2000 and Guide to recent architecture: fountains 2000-2007, which explore the body in motion within urban space and the built environment. Gladwell's traversing of these spaces encodes alternate uses to the functional purpose and sanctioned design of public architecture. 26.2021
Art Gallery of New South Wales Guided Tour of a Spill (CAPS Interlude) Purchase/Collection 2021 00:15:49 min single channel digital video, colour, sound aspect ratio: 4:3 © Meriem Bennani Meriem BENNANI When we think of teleportation, we tend to indulge in sci-fi fantasies of absolute freedom of movement. Matter or energy decomposes at one point and ressembles at another. Beam me up! Bodies flit across the planet in a zap, overcoming all of the quotidian hassles of travel: boredom, discomfort, jetlag. But what if the political obstacles to border crossings remained? Meriam Bennani's 'CAPS' video series conjures a techno-futurist world where teleportation meets the ongoing realities of mass statelessness and militarised border regimes. Responding to Donald Trump's 2017 travel ban and her own experiences of visa precarity living as a Morrocan-born artist in New York, Bennani invents an offshore prison called CAPS (short for capsule). First introduced in 'Party on the CAPS' (2018), this is a fictional island where American troopers detain illegal teleporters trying to reach their shores. The CAPS is no ordinary detention centre: on this mid-Atlantic metropolis, Arabic techno throbs and the security cameras sing along to Alicia Keys. Refugees have been stuck for so long in this limbo that they've developed their own hybrid cultures, makeshift infrastructure and fugitive identities. In 'Guided tour of a spill (CAPS interlude)', our narrator is Fiona, a slime-green talking crocodile reminiscent of the Lacoste logo. Fiona takes us to a Moroccan neighbourhood on CAPS where a group of freedom fighters train to resist the border police. In one scene, live-action footage shows the men preparing for battle. In the next shot, an animated stethoscope crawls out of the frame and takes the heartbeat of a young rebel. Bennani delights in merging documentary aesthetics with the hyperlinked weirdness of the internet. Humorous, inventive and madcap, Bennani's work celebrates the ungovernable: data leaks and viral videos; the circulation of bootlegged media amongst diasporic communities; the urge to party in even the most oppressive environments. 'Guided tour of a spill (CAPS interlude)' is a new kind of teleportation fantasy – not a dream of easy travel – but a pop tribute to outlaw practices which transcend even the most hostile spaces of confinement. 90.2021
Art Gallery of New South Wales Hibiscus Rosa Sinensis Purchase/Collection 2010 0:01:31 mins single channel digital video, colour, silent aspect ratio 16:9 © Angela Tiatia Angela TIATIA 'Hibiscus Rosa Sinensis' explores the artist's Pacific heritage. In the video, a long tracking shot shows Tiatia emerging from tropical foliage with a hibiscus flower in her mouth, briefly embodying a stereotype of female passivity and natural abundance. Fixing her gaze forcefully on the camera, she then proceeds to ingest the flower, progressively revealing her face as a subject to be reckoned with beyond exoticising tropes. The work takes its cue from a 1911 sonnet by Enrique González Martinez, which called for South American writers to reject the idealising impulses of European modernism. Tiatia applies its logic to a Pacific context, in which Polynesia continues to figure in the Western imaginary as a site of lush fecundity. She filmed the work in the Cook Islands within a failed resort development led by a multinational company, where the consequences of such misplaced desires on the local community are plainly manifest. 53.2019
Art Gallery of New South Wales Hikaru: fast food sequence Gift/Collection 2001 00:05:20 min single channel digital video, colour, silent aspect ratio: 4:3 © Shaun Gladwell Shaun GLADWELL This video embodies Gladwell's core practice: slowed recordings of urban subcultural practitioners occupying public space in unexpected ways. Young people balance their bodies with extreme skill to undertake physically complex interactions with the zones in which they are situated – metro stations, shopping malls, retail outlets. 'Hikaru: Fast Food Sequences' is an important early Gladwell from the same period as his famous 'Storm Sequence' (2000) and 'Tangara' (2003). In it a 'freestyler' bike rider tip-toes his bike into a fast food outlet and then out again, barely noticed by the consumers intent on ordering their burgers and fries. The work skilfully contrasts slickly marketed junk food with an alternate momentary intervention into the spaces designed for its sale and consumption. 213.2011
Art Gallery of New South Wales House of cards Gift/Collection 2004 00:29:40 min continuous 16mm film shown as single channel digital video, black and white, sound aspect ratio: 16:9 © Mike Parr Mike PARR 'House of cards' was an intensely psychological performance carried out by Mike Parr in private at Artspace, Sydney on 2 May 2004. With his print work '(ALPHABET/HAEMORRHAGE) Black Box of 100 Self Portrait Etchings', Parr sat on the gallery floor and clumsily constructed a house of cards, a game he recalls playing with his siblings as a child. Parr's regressive enactment 'transcends the self-portrait image' by seemingly channelling the repressed Id, buried deep within his unconscious. 'House of card's is a black and white video, digitised from Mark Bliss's 16mm film recording of the performance. An edition of '(ALPHABET/HAEMORRHAGE)' is held within the collection of the Art Gallery of New South Wales. 216.2019
Art Gallery of New South Wales I don't wanna be a bludger Purchase/Collection 1999 00:30:00 min digital tape (DVCAM) shown as single channel digital video, colour, sound aspect ratio: 4:3 © Destiny Deacon and Michael Riley Foundation. Copyright Agency Destiny DEACON, Michael RILEY This collaborative work was commissioned for Perspecta 1999 and features the exploits of Delores (played by Destiny Deacon) seeking gainful employment in a variety of occupations. Michael Riley makes a cameo appearance in the film as Uncle Harold, Delores' cousin. The cast also includes members of Deacon's extended family, including the late Lisa Bellear, distinguished writer, radio broadcaster and political activist. 52.2008
Art Gallery of New South Wales I give you a mountain Gift/Collection 2018 00:06:30min single channel digital animation, colour, sound aspect ratio: 16:9 © Joan Ross Joan ROSS I give you a mountain references a watercolour painted in 1786 by British natural history painter Sarah Stone (active 1777-1820). It was commissioned by Sir Ashton Lever to immortalise his soon-to-be auctioned collection of exotic birds, antiquities and ethnographic objects, including those sourced from the Pacific via his friend Captain James Cook. The original picture was exhibited at the Royal Academy, London in 1786, with later copies made of it by anonymous artists (including one in the British Museum dated 1835). A large group of watercolours by Stone of the specimens and objects in the Leverian collection were offered to Sir Joseph Banks (but he is thought not to have purchased them), and several were published in her lifetime. In the 1780s, the Leverian Museum was situated in a former Royal palace, Leicester House, the adjoining rooms of which are visible in Sarah Stone's watercolour as a progression of gradually receding chambers revealing themselves through a series of archways. Joan Ross has used this perspectival conceit to good use in her animation, drawing the viewer through a series of rooms similarly bedecked with specimens. At first the space is pulsating with insect and plant life in a sort of prelapsarian paradise. As viewers pass through, they encounter headless birds encased in glass jars and domes, while the original words of 19th century diarists on the subject of indigenous Australian birdlife are spoken. As the video approaches its conclusion via room wallpapered with scenes from early Colonial Sydney and a banal contemporary television ad promising 'Dog happiness' in a pill, it ends in a bleak, lunar landscape of graffiti-covered rocks and a mountain. As the geological features begin to disintegrate, two 18th century European men occupying the space also begin to turn to dust, finally leaving nothing but their lopped heads. The voracious capture and classification of wildlife specimens by scholars, explorers, soldiers and genteel amateurs in the age of the Enlightenment is jarring, with its careless conflation of human/ethnographic and natural material in collections that divorced these objects from their rightful place in nature and culture. The anxieties of empire and thoughtlessness about the living objects they collected, and in preserving were in fact destroying, are palpable in this work and not relegated to the past. Rather, they persist into the present moment of capitalist consumerism and environmental crisis. 217.2019
Art Gallery of New South Wales I was running and running ... Gift/Collection 2004 00:05:30 mins single channel digital video animation, colour, sound aspect ratio 4:3 © James Lynch James LYNCH James Lynch is renowned for rendering his friend's dreams in surreal video works that combine hand-drawn animation with live-action film. Lynch's, I was running and running …, is based his friend Lisa's dream. In it, a girl (presumably Lisa) runs through the streets of Melbourne with a moka coffee pot, stopping when she meets Lynch and a group of people holding empty mugs. Lynch often appears in his dream works; in this regard, they are uncanny and collaborative self-portraits stemming from his friend's unconscious. Lynch explains: 'In some ways these are narratives based on an example of the unconscious process and how connected we are [1]'. Lynch reputedly spent 6 months animating this work, hand-drawing each frame with textas and pencils. 1. James Lynch quoted in Ashely Crawford, Art & Australia, vol 43, no 4, winter 2006, p 640 133.2019
Art Gallery of New South Wales Idea demonstrations Purchase/Collection 1972 00:40:00 min 16mm film transferred to digital tape (betacam) shown as single channel digital video, colour, black and white, sound aspect ratio 4:3 © Mike Parr © Peter Kennedy/Copyright Agency Peter KENNEDY, Mike PARR Mike Parr and Peter Kennedy were among the founding members of 'Inhibodress', a pioneering artist-run initiative that operated in Sydney in the early 1970s. 'Inhibodress' was an important centre for the radical, conceptual practices that were emerging at that time and which focussed on the expression of ideas rather than the production of aesthetic objects. Artists were beginning to experiment with a broad range of mediums and approaches, from installation and performance to photography, film, video, sound and text. Parr and Kennedy's collaborative performances from this period were investigations into the meaning of certain actions in social and psychological terms. Documented on film under the collective title 'Idea demonstrations', often these early works explicitly addressed the role of the camera in mediating between the performer and audience. 13.1974
Art Gallery of New South Wales In our hands, Greenham Purchase/Collection 1984 00:36:45 min analog tape (u-matic) shown as single channel digital video, colour, sound © Tina Keane Tina KEANE 41.1985
Art Gallery of New South Wales In search of Leichhardt Purchase/Collection 1973 16mm film, black and white, optical sound © Peter Kingston Peter KINGSTON 3.1974
Art Gallery of New South Wales Incidents Purchase/Collection 1996 1997 00:14:56 min single channel digital video, colour, sound © Svetlana and Igor Kopystiansky Igor KOPYSTIANSKY, Svetlana KOPYSTIANSKY Igor and Svetlana Kopystiansky have recently collaborated on a number of projects but they each have established individual careers. Since 1988 they have lived and worked primarily in New York, where their work came to the attention of an international audience. In the early 1990's they began showing in major survey exhibitions and biennales. They both exhibited at the Biennale of Sydney, 'The boundary rider', in 1992 and at that time the AGNSW acquired Svetlana's 'The trainer', a construction in the form of a library with interspersed pieces of gymnasium equipment. Their studio in Manhattan's Lower East Side, in what used to be the'meat district' of Chelsea, is close to the Hudson River and subject to the cold winds that lash the grey streets. When they first moved in it was very affordable but, as usual, the galleries followed the artists and gentrification took hold. Much of the area is now home to the most prestigious New York galleries but at street level it is still rather desolate. The detritus of consumer life lies everywhere, as it does all over New York. Although they maintain their own practices and resist being seen as a double act, the Kopystianskys have collaborated on certain kinds of works, including conceptual photography that explores time and chance. The film 'Incidents' is not about dirty streets so much as a celebration of chance encounters. Many hours of footage carefully collected on windy days of detritus blowing down the streets have been meticulously edited to capture these magical moments. It is remarkable how quickly we start to read characters into these discarded objects. The particular formal properties of each of the objects determine the very individualistic movement each acquires through the animating breath of the wind. At times the characterisation becomes so strong that audiences spontaneously burst out laughing. When an empty hamburger box moves forward in a series of jerky steps with its lid flapping up and down, it becomes a vividly anthropomorphic image and zanily Muppet-like. There are also moments of great elegance, particularly when pieces of fabric or a plastic bag twist and twirl along the gutter or fly up into the air defying gravity then shudder and spin back to earth. There is a long and interesting history of discarded objects in contemporary art but this work brings to the genre to a new level of aesthetic pleasure. Projects such as 'Incidents' took many months, even years, to complete. The Kopystianskys also work on parallel projects: for example while this film was being compiled they were taking twin photos of the same street scene just a few feet apart and with a slight time delay. The resulting images capture chance moves and conjunctions, figures move out of frame from one shot to the other, or figures come together or pass each other on the street – a strategy which fed into the procedural logic of 'Incidents'. © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 277.2002
Art Gallery of New South Wales Interceptor deluge sequence Gift/Collection 2015 00:24:42 min single channel digital video, colour, silent aspect ratio 16:9 © Shaun Gladwell Shaun GLADWELL Shaun Gladwell's Maddest Maximus narrative takes an unexpected turn in this work, Interceptor deluge sequence 2015. Here, the leather clad figure subjects himself and his vehicle, a 1:1 replica of the souped-up Interceptor from the Mad Max films, to an ablution in a car wash. This work was originally shown in a monitor in the back of an airplane chair, like a surreal form of inflight entertainment, in Gladwell's The lacrima chair installation at Sherman Contemporary Art Foundation. 28.2021
Art Gallery of New South Wales Jam on his face Purchase/Collection 1970 00:50:00 min 16mm film, colour, optical sound © Wendy Whiteley/Copyright Agency and Peter Kingston John ALLEN, Peter KINGSTON, Brett WHITELEY 63.1972
Art Gallery of New South Wales Joseph Beuys' public dialogue Purchase/Collection 1974 02:00:15 hr digital tape (betacam) shown as single channel digital video, black and white, sound Joseph BEUYS, William SHARP Producer: Willoughby Sharp. Camera: Andy Mann. Shot at the New School for Social Research, New York, 11 January 1974 In this dialogue between the audience and Beuys, recorded at the New School for Social Research in New York, the artist presents his theories of art and social sculpture, filling three huge blackboards with drawings, only to wipe them out again in the end. Audience members include Claes Oldenburg and Al Hansen. The evident tension in the audience gives some indication of the sharply divided response to Beuys' project at the time. The dialogue was Beuys' first ever public event in the United States. (Electronic Arts Intermix, http://www.eai.org accessed 7/9/11) 310.2007
Art Gallery of New South Wales KINDNESS IS SO GANGSTER Purchase/Collection 2018 22 glass sculptures, two dual channel performance documentation digital videos, wall drawing display dimensions variable © Mike Parr Mike PARR Mike Parr is an internationally recognised conceptual and performance artist, with a career spanning five decades, who also works in drawing, printmaking, photography, painting, sculpture and installation. KINDNESS IS SO GANGSTER is part of Parr's ongoing 'self-portrait project' series (1982-present) in which he interrogates ideas such as representation over likeness in self-portraiture. The installation is regarded as a continuous performance of 'blind negative modelling' in which Parr's sight is replaced by his other senses, partly as a way of not relying on his 'educated' response as a visual artist. To produce the glass sculptures, Parr was blindfolded and carved the shapes of his face out of 22 individual boxes of clay. Relying on his sense of touch as well as his memory, Parr carved 22 self-portraits out of the clay in the negative. 'It was a very physical task, requiring great concentration,' Parr said. 'It was very much like the energy I bring to the performances. I didn't really stop to wonder about what I'd produced. I just took the feeling of modelling, dragging the clay out and creating this sort of vortex … sort of poking forward and feeling like I'd located the features of the face, but never feeling like that was conclusive; so I'd immediately go on to the next one, hauling the clay out again.' 1. The impressions were filled in with plaster to create positive casts and then glass sculptures were made from the casts. Showing incredible detail, these were produced by Richard Whiteley and the glass workshop at the Australian National University School of Art and Design, and Parr handed the entire process over, not wanting to see any of the work taking place until it was completed. Having created them with his hands yet not knowing what they would look like, the glass sculptures came as a surprise to Parr. A site-specific work, the wall drawing was also produced while blindfolded, with Parr attempting to draw a net of 22 circular shapes, echoing the 22 sculptures. The artist, or a nominated person, would redraw this element in each subsequent iteration of this work. The video component of the work shows a blindfolded Parr directing the placement of the glass sculptures around the gallery space and it is envisioned that in subsequent iterations new videos would be produced recording the placement of the works. 1. Quoted in Andrew Stephens,'A shifting of the senses' in The Age, 5 October 2018 24.2019.1-25
Art Gallery of New South Wales Karkador Purchase/Collection 1986 00:02:55 analog tape (u-matic) shown as single channel digital video, colour, sound aspect ratio: 4:3 © Peter Callas Peter CALLAS 510.1988
Art Gallery of New South Wales Kasodo Gift/Collection 2007 00:13:55 min single channel digital video, colour, sound © Susan Norrie Susan NORRIE Susan Norrie, David Mackenzie and Justin Hale travelled to Indonesia for the KASODO Festival in September 2007. Incorporating aspects from Hinduism, Buddhism, Animism and Islam, the Tenggerese festival dates back to the 15th century: it lasts about a month and takes place in the cindered, smoking crater that encloses the active volcano at the top of Gunung Bromo (Mount Bromo). Susan Norrie– Concept/Edit David Mackenzie–camera, editing, location sound Justin Hale–second camera, cultural advisor and translator Robert Hindley–sound mix Acknowledgements: Wowok (Hadi Ernowo)– Driver and guide Seni Jarak Campur Sari Priana Budaya Sedaeng– Reog Dance Troupe Amanda Love. 215.2011
Art Gallery of New South Wales Kensington gore Purchase/Collection 1982 00:13:02 min analog tape (u-matic) shown as single channel digital video, colour, sound Catherine ELWES Participants: Judith Goddard, Keith Frake, Catherine Elwes 37.1985
Art Gallery of New South Wales Kidung/Lament Purchase/Collection 2019 00.10:58 min three channel HD video, colour, stereo sound © Leyla Stevens Leyla STEVENS Leyla Stevens is an Australian–Balinese artist who works with photography and moving image in a research-based practice responding to histories of place. In her works, Stevens uncovers alternative histories, principally in connection to Bali's colonial and diasporic past. Inspired by material and visual cultures, and with particular attentiveness to the affective forces of gesture and ritual, she reanimates past events to tell stories that have often been forgotten or deliberately repressed. Kidung/Lament is a major three-channel video installation that focuses on the spectral trace of Bali's histories of political violence. The powerful and intimate video is framed around a banyan tree that marks an unacknowledged mass grave site from Indonesia's 1965-66 anti-communist massacres. The banyan tree is sacred in Indonesia where it is seen to represent the eternal cycle of death and rebirth and protect the spirits after death. A chant that laments the missing and the dead forms the installation's soundtrack. This haunting work responds to sensitive and repressed political histories of place. Stevens' utilises landscape imagery and the banyan tree to stand in for past events that have no visual marker and have been shrouded by political amnesia. In this video, Stevens concieves of the banyan tree as the central character, acting as a witness to past events. Two of the channels project portraits of the tree in panning close-ups while in the third, a Balinese woman chants a lament to the dead, becoming an emotive anchor point and a mournful allegory. 133.2021.a-c
Art Gallery of New South Wales Kiru umi no yoni / Cutting like the ocean Purchase/Collection 1986 00:11:16 analog tape (u-matic) shown as single channel digital video, colour, sound aspect ratio: 4:3 © Peter Callas Peter CALLAS In six parts: Retina; Reflex; Killing Time; Pattern Practice; The installation; Filling Time 508.1988
Art Gallery of New South Wales Labour of Love Purchase/Collection 2016 00.01.06 min continuous single channel HD video, colour, sound © Abdullah M I Syed Abdullah M I SYED Abdullah M I Syed characterises his interdisciplinary art practice as a form of manzoom muzahamat, or poetic resistance, a form of activism that seeks to combat socio-political conflicts, apathy and disillusionment through ideas of shared vulnerability, love, care and storytelling. Utilizing a variety of mediums and techniques, he examines economic structures and the theatrics of power and masculinity in their myriad forms. 122.2021
Art Gallery of New South Wales Life in the balance Purchase/Collection 1993 bamboo, sand, shells, string, globe, rope and video cassette 260.0 x 170.0 x 170.0 cm overall © Estate of Ellen José Ellen JOSÉ 207.1994.a-j
Art Gallery of New South Wales Light and belief: Sketches of life from the Vietnam War Gift/Collection 2012 00:35:00 min single channel digital video, colour, sound © Dinh Q Le Dinh Q. LÊ Light and belief: Sketches of life from the Vietnam War is a film by Dinh Q. Lê featuring interviews with 11 artists commissioned to document Vietnam's war of resistance against the US in the 1960s and 70s. The artists are: Le Lam, Phan Oanh, Nguyen Thu, Truong Hieu, Durong Ahn, Nguyen Toan Thi, Kim Tien, Vu Giang Huong, Quach Phong, Huynh Phuong Dong and Minh Phuong. Their drawings and paintings record moments of rest and daily life as well as battle. Many of the images are tender, showing people faced with trauma and death as they wished to be remembered. In her own words, artist Minh Phuong recollects, '… the reality was, people there, even with the war and everything happening they still liked us to draw peaceful scenes. They didn't like to see guns and death.' From time to time throughout Light and belief the artists, their surroundings and pictures are animated, adding an additional layer of visual intrigue to this complex and emotionally raw work. As Le Lam says, 'the value of these war sketches aren't in the lines on the paper … the value rests in the artist, who has made those lines on that paper. Who has drawn those things and remembered those times.' Dinh Q. Lê and his mother sought refuge from war in 1978 and settled in the United States. The artist, who specialises in video, photography and installation returned to live in Vietnam in 1996. 45.2021
Art Gallery of New South Wales Lip sync Purchase/Collection 1969 00:57:00 min digital tape (betacam) shown as single channel digital video, black and white, sound Bruce NAUMAN With the camera mounted upside down, framing only his mouth and neck, Nauman repeats the phrase 'lip sync' over and over in loud whisper. Sound and image are intentionally unsynchronized, while the upside-down view of his lips and tongue in action provides a further disorienting quality to the work. (Electronic Arts Intermix, http://www.eai.org accessed 7/9/11) 309.2007
Art Gallery of New South Wales Lips (Study #3) Purchase/Collection 2016 00:01:28 min single channel video installation, colour, sound © Mika Rottenberg Mika ROTTENBERG Through a small hole in the wall of a gallery, a pair of fleshy lips protrude. Moving closer and leaning in, one sees light flickering between them. A puff of what looks like smoke emerges from the lips – as if some bodily or industrial activity is taking place behind the wall. Peering into the cavity, the source of this steaminess reveals itself – a mirror box that holds a hilarious view of bodies working, labouring, performing. Through lurid stippled walls protrude bodily bits and pieces: ponytails, mouths, tongues, and fleshy buttocks. They jiggle and spurt as if in a peepshow that's both exhibitionist and absurdist. And the longer one looks, the more one is conscious of behaving voyeuristically in public. Mika Rottenberg is an artist who often invites us to peer behind the scenes, into cramped, strange, backstage spaces where bizarre forms of labour play out. The strange acts of production that her performers take part in are comedic, first and foremost, but they also prompt reflection on the larger absurdity of the processes that make our (first) world go round: the way the hidden labour of people very far from us keeps us fed, clothed, supported. This work by Rottenberg continues this exploration and connects it directly with the 'work' of art, by puncturing the skin of the revered'white cube' and revealing something weird behind the scenes. Making art and generating pleasure for its viewers, Rottenberg suggests, is not a lofty or pure endeavour. It is sticky, impure and often absurd work, which makes willing voyeurs of us all. 218.2019
Art Gallery of New South Wales Manifesto Purchase/Collection 2017 0.0655092592592593 single channel digital video, colour, sound Julian ROSEFELDT 235.2013.3
Art Gallery of New South Wales Martin is asleep Gift/Collection 1999 single channel digital video, colour, sound, projector, dollhouse bed display dimensions variable © Kutluğ Ataman Kutluğ ATAMAN 150.2019.a-b
Art Gallery of New South Wales Meat joy Purchase/Collection 1964 00:06:00 min 16mm film transferred to digital tape (betacam) shown as single channel digital video, colour, black and white, sound © Carolee Schneemann / Artists Rights Society (ARS), New York. Copyright Agency Carolee SCHNEEMANN Filmed by Pierre Dominik Gaisseau, Editor: Bob Giorgio. Writes Schneemann: 'Meat Joy' is an erotic rite - excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic - shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic'. This video was converted from original film footage of three 1964 performances of 'Meat Joy' at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City. (Electronic Arts Intermix website, http://www.eai.org) 311.2007
Art Gallery of New South Wales Mike Parr performances Gift/Collection 1972 1975 00:39:30 min digital tape (betacam) shown as single channel digital video, black and white and colour, sound aspect ratio: 4:3 © Mike Parr Mike PARR 96.2001
Art Gallery of New South Wales Motormouth Purchase/Collection 2002 polystyrene, wood, synthetic polymer paint, impact resistant polyurethane, acrylic, sound © Callum Morton, courtesy RoslynOxley9 Gallery Callum MORTON Callum Morton's sculptures combine incisive social observation, ideas about urban design and contemporary living, and an interest in the legacy of minimal sculpture.'Motormouth' continues his consideration of the intersections between public and private space and in particular the'non-spaces' of urban design such as freeways, shopping centres, service stations, cinemas and convenience stores. These are the generic buildings and sites that are designed as transit zones between destinations or as backdrops to their intended function. We don't usually notice their architecture except as an indicator of this function. Morton's sculptural versions reintroduce narratives that are at odds with the social design of these places and yet are somehow entirely appropriate for the setting. 'Motormouth' is a sculpture of two freeways, scaled 1:10 and perfect in detail down to the dirty realism of their distressed, water-stained concrete marked with graffiti. It appears to be a realistic model but is in fact an elaborate representation of what a generic freeway should look like rather than being a copy of an existing structure. The freeways are raised on pylons above eye height, frustrating our desire to see what is on the superstructure, though logically it should only be scaled-down cars. Freeways are designed to move people efficiently and rapidly between city centres and satellite suburbs, from home to work, from boardroom to bedroom, or at the very least to get you across town in time for your meeting. They are the key people conduits of modern urban design and, as with other mid 20th-century projects, they had a progressive utopian agenda to make life more time efficient and productive. And on a good day they still do this. On others they are a battleground where the tensions between the private and public functions of cars and freeways erupt. In'Motormouth' you can hear the sound of a traffic jam on the lower freeway. Inevitably in the frustration at being kept waiting, anger boils over and conflict ensues. Cars are a private, personal zone in which we move through a public arena, one in which we feel empowered and in control. Despite the social contract that keeps us on the correct side of the road and heading in the same direction, in our car our rules count as we adjust the seats, the climate, the music, to create a pod between us and the world. However road rage is a rapidly growing social issue and while studies have come up with several interlocking reasons for this phenomenon, it seems to hinge on the tension between the collective rules we need to regulate cars, roads and driving and our rampant individualism. There is no doubt that contemporary city life is faster: we have more to do, so we don't expect to be kept waiting. As the title puns, we are the inevitable product of our own social and technological designs. © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 305.2002.a-u
Art Gallery of New South Wales Mysteries of the MIA Purchase/Collection 2016 0.00288194444444444 single channel digital video, colour, sound © Guerrilla Girls, courtesy of guerrillagirls.com Guerrilla GIRLS 22.2019.21
Art Gallery of New South Wales Nothing Gift/Collection 2003 single channel digital video, black and white, silent aspect ratio: 4:3 © Kutlug Ataman Kutluğ ATAMAN Kutluğ Ataman's Nothing is a single-channel video work in which white calligraphic text set against a black background rotates around an axis. At certain points in the cycle of the animation the words briefly coalesce into recognisable images before revolving back into text. Nothing is part of a 2003 series of six video works titled Animated words in which Ataman 'addresses the separate semiotic premises of word and image, which he shows merging, separating, and merging again. An image pregnant with meaning hides words; words become moving images, as if aspiring to visual status.' (Daftari, Fereshteh, Islamic or not, from 'Without boundary: Seventeen ways of looking', exhibition catalogue, Museum of Modern Art, New York, 2006. p.12). 51.2021
Art Gallery of New South Wales November eleven Purchase/Collection 1979 00:18:00 min analog tape (VHS) shown as single channel digital video, colour, sound © Peter Kennedy and John Hughes. Copyright Agency Peter KENNEDY, John HUGHES 'November eleven' 1979 U-matic video, 18 minutes John Hughes, Andrew Scollo with Peter Kennedy Sound: John Scott, Robert Moore Video colorizing Robert Randall, Frank Bendinelli 'November eleven' is the moving image component of an installation work designed by Peter Kennedy for the Biennale of Sydney in 1979. Featuring the two combined elements of painted banner ('November eleven', oil on canvas, 274 x 305 cm) 1978-79 1, and video ('November eleven', U-matic video), this installation was produced in the aftermath of Australia's 'constitutional coup' when Prime Minister Gough Whitlam's Labor government was dismissed by the Governor General, Sir John Kerr, on November 11, 1975. While the banner references trade union banners of the 1890s – the period when Australia's constitution was written – the video deploys found material (dada-like) from radio and television coverage of the events of 1975 in a form later known as 'scratch video', to evoke an oppositional polemic using the ephemera of broadcasting. 1. Art Gallery of NSW (1979), 'European dialogue', Bienniale of Sydney (exhibition catalogue) 352.1988
Art Gallery of New South Wales November eleven: work in progress Purchase/Collection 1981 00:19:00 min analog tape (VHS) shown as single channel digital video, colour, sound © Peter Kennedy and John Hughes. Copyright Agency Peter KENNEDY, John HUGHES 'November eleven: work in progress' 1981 1 inch video, 19 minutes John Hughes with Peter Kennedy Cast: Carolyn Howard, Paul Davies 'November eleven: work in progress' is the moving image component of an installation work designed by Peter Kennedy1, (installation two in a series of three) using a format identical with the earlier installation and again featuring a painted banner ('November eleven – An Australian history', oil on canvas 274 x 305 cm, 1980-1) referencing the tradition of trade union banners, their street performance, and presented here in the service of a critical 'history painting'. The video develops themes and strategies from the earlier video, 'November eleven' (1979), deploying advertising, newsreel footage, children's books as modes of found 'performance' in an ironic ('blue screen') play of 'history' and myth working around the dual constellations: 1890/1975 and 1968/1981. 1. Art Gallery of NSW (1981), 'Australian Perspecta: a biennial survey of contemporary Australian art' (exhibition catalogue) 353.1988
Art Gallery of New South Wales ON DEMAND Purchase/Collection 2019 00:14:00 min, four channel video work, bicycles, carpet, Arduino, computer, steel frame, monitors, speakers display dimensions variable © Eugenia Lim Eugenia LIM Eugenia Lim's work often draws on her cultural heritage. As a second-generation Australian, her parents migrated here from Singapore during the White Australia Policy. Lim grew up between two cultures and the associated feeling of in-betweenness fuels her work. In her series Yellow Peril, from which New Australians (welcome stranger 1969/2015) derives, Lim examines her own parents' migration to Australia through the lens of the first wave of Chinese migrants seeking to make their fortunes in the Australian gold fields during the gold rush of 1851–93. For this body of work, Lim appears in character as 'the Ambassador', a fictive persona, dressed in a gold lamé Mao suit. The Ambassador playfully navigates the Sovereign Hill theme park, an open air museum that reimagines Ballarat in the 1850s and in exploring the park uncovers the Australian-Asian narrative of the gold rush, drilling down into racial politics. Lim has transformed herself into the Ambassador across three separate bodies of work. Each time, the character traverses time and culture to explore national identities and stereotypes in our globalised world. ON DEMAND is a pedal powered video installation that interrogates the gig economy. Viewers are invited to take a seat on a bicycle and work up a sweat in order to participate in and activate the work. The video presents a poetic consideration of the performance of labour. A persistent thread in Lim's practice is the analysis of work, labour, ethics, technology, and the tension between art and economics in neoliberal capitalism. In creating ON DEMAND, Lim placed a call out for workers from the gig economy to collaborate with her as worker-performers. The five who responded are 'independent contractors' who work in the gig economy as drivers, riders and service industry workers for companies including Uber, Airtasker and Foodora. The worker–performers appearing in ON DEMAND were each interviewed by the artist to reflect on their experiences while working and their responses form a spoken word voice over that recounts the reality of their world with abrupt detail. These personal accounts of broken limbs and other perils are layered over footage of the workers performing choreographed movement alongside the artist intercut with other scenes. Lim paid each worker/performer the Australian Miscellaneous Award 2010 rate plus a provision for superannuation for their time – a gesture towards fair work conditions not generally guaranteed for gig workers or independent artists. This video work is the result of their collective negotiation; of their stories, and movement. When we consider this work in the context of the Covid-19 pandemic, its message only echoes louder. During lockdown, workers in the gig economy were providing essential services such as food delivery for people in quarantine or isolation with no job security or adequate support. The conditions of the pandemic highlighted the fact that many essential services and frontline workers operate in unstable conditions. Often underpaid, they are were disproportionately women, migrants, people of colour and people from lower socio-economic communities. Though considered 'essential', their work was not valued economically or structurally. ON DEMAND restages the precarity of twenty-first century capitalism and exposes its ethical potholes in a moving and elegaic response to the contemporary moment. 75.2021
Art Gallery of New South Wales Old love in song: in death Gift/Collection 2004 08:19:15 mins single channel digital video, colour, sound aspect ratio 4:3 © TV Moore, courtesy Roslyn Oxley9 Gallery TV MOORE In his arresting work, Old love in song: in death 2004, TV Moore appears against a black, smoky background like an apparition, singing a mash-up of the Latin requiem Pie Jesu and Almeda Riddle's folk song, 'I love my little rooster'. Dressed in military style clothing and ghoulish make-up, Moore's character has been likened by several commentators to the ghost of a communard or a sailor. The critic Andrew Frost has written eloquently of Moore's haunting video self-portrait, stating:'With the soft hum of traffic outside the studio on the soundtrack, Old love song in song: in death achieved a remarkable distillation of the contemporary and the archaic, evoking the ageless concerns of life and mortality while acknowledging the artifice of its own creation' [1]. 1. Andrew Frost,'TV Moore', http://scanlines.net/person/tv-moore accessed 5 Jul 2019, http://scanlines.net/person/tv-moore accessed 08 July 2019 57.2019
Art Gallery of New South Wales On Sacred Land Purchase/Collection 1983 1984 00:18:00 min analog tape (VHS) shown as single channel digital video, colour, sound © Peter Kennedy and John Hughes. Copyright Agency Peter KENNEDY, John HUGHES 'On Sacred Land' 1983-84 1 inch video, 18 minutes John Hughes with Peter Kennedy Animation: John Hansen Warning to Aboriginal and Torres Strait Islander viewers: this film may contain images of deceased persons. 'On Sacred Land' is the moving image component of an installation work designed by Peter Kennedy1 and featuring a large 'history painting' ('On Sacred Land', 1983-86, oil on canvas, 270 x 840 cm, 1983-86). Drawing on 'On Sacred Ground' (Howes, 1980), a film on the Yungngora people's blockade of mining at Noonkanbah, Western Australia, 'Ship of Dreams' documentation of a school performance in Broome (1981), still photographs of tableaus directed by Peter Kennedy, that reference figures deployed in Kennedy's painting, 19th century archival studio photographs depicting Aboriginal people, redeployment of images referencing drawings from 19th century indigenous artist Tommy McCrae and other material, this work critically engages representations of 'Aboriginality' in a context alert to the 1980s contestation of land rights and indigenous self-determination. 1. University of Tasmania, (1986) 'Istoria: Peter Kennedy with John Hughes – Selected Works 1978-1986' (exhibition catalogue) 354.1988
Art Gallery of New South Wales On perspective and motion - part 1 Gift/Collection 2004 00:23:45 min single channel digital video, colour, silent aspect ratio 16:9 © Daniel Crooks Daniel CROOKS Daniel Crooks plays with space and time in his moving image works using the 'time slice' method invented by Tim McMillan and popularized by the special effects in the science fiction film The Matrix 1999. Crooks dissects a moment recorded with his camera and digitally stitches the scene back together in a way that warps the linearity of the sequence. These works render reality abstract and redefine our perception of time and space in unexpected and mesmerizing ways. 31.2021
Art Gallery of New South Wales Organised confusion Gift/Collection 2014 8-channel HD video installation, sound, wax dye on handmade wood mask dimensions variable © Khaled Sabsabi Khaled SABSABI 'Organised confusion' explores heightened states of consciousness and fanaticism. Two of the video channels show supporters of the Western Sydney Wanderers football team, known as the Red and Black Bloc, gathered en masse to engage in the spectacle of sportsmanship. Together, this diverse crowd shares a communal experience that is by turns highly charged and uneventful. In dialogue with these immersive projections, Sabsabi presents a sequence of black and white videos that show the Javanese dancer Agung Gunawan performing a slow and introspective dance, evoking a state of spiritual transcendence. As the scholar Chari Larsson has noted, the work revolves around 'a series of strong dichotomies: public and private, collective and individual, secular and religious'[1], which reveal the disparate ways in which ritual and belief find expression across cultures. 1. Chari Larson, 'Multitude, solitude: Khaled Sabsabi's 'crowds' in Di'van| A journal of accounts, Issue 1, Dec 2016, December 2016, p122 78.2019.a-i
Art Gallery of New South Wales Other Purchase/Collection 2009 00:7:00 min continuous digital tape (betacam) shown as single channel digital video, colour, sound aspect ratio: 4:3 © Tracey Moffatt. Courtesy of Roslyn Oxley9 Gallery, Sydney Tracey MOFFATT Tracey Moffatt's fast paced montage videos compile scenes from film and television programs selected in response to a particular theme or coding. This is the final work in a suite of 7 videos made over the last decade; the previous works include 'Lip' 1999, 'Artist' 2000, 'Love' 2003, 'Doomed' 2007, 'Revolution' 2008 and 'Mother' 2009. 'Other' is one of the most mesmerising of the series as it edits together scenes of interracial encounters. It opens with first contact sequences, films in which the beach and the shallow waters are a zone of encounter between ships and canoes, between Europeans and non-Europeans. It then moves to images of looking, of two different peoples meeting for the first time and appraising each other visually. As imagined by Hollywood and TV directors, this is a moment of both curiosity and desire, where glances become lingering and erotically charged. The next sequence moves from first encounters to quite literally first contact, when brown and white touch. Again curiosity is mingled with desire and an erotic tension crackles through these images. From touch we shift back to the eyes, but now vision is highly eroticised, looking has become a physical conduit to arousal and the gaze is embedded into a bodily response. Intercut are scenes of Westerners losing their sense of propriety and themselves when encountering an'other', a moment when their own social structures erode. A kitsch frenzied depiction of the other as threatening, feverish, abandoned and erotic informs the next selection of scenes in which running and dancing, from faux-tribal gatherings to frenzied hysterical choreographed sequences move closer and closer to orgiastic sexual abandonment. In the final sequences desire is consummated in wild encounters which transgress race and gender. Humorously intercut with these are images of men hugging each other, an implied repressed homosexual subtext which is still unable to be depicted in mainstream cinema while we see frenzied hetereosexual couples and women making love to each other with abandonment. The video culminates in some literally explosive moments in which revel in the clichés of cinematic sexual orgasm: fires burn, volcanoes erupt and finally planets explode. Moffatt utilises the clichés of cinematic representation of the'other' to trace a pop culture history of how the west has represented its encounters with countries and peoples that are not itself. These mainstream representations somewhat hilariously reveal more about the cultures that made and consumed these films than the countries, peoples and histories they purport to depict. The'other' here is a people and a place where the transgression of race, gender, and cultural norms can be imagined but which has little to do with any anthropological reality. As the clichés pile up this work is hugely entertaining, fast paced and sexy as it rolls through 60 years of moving image history. It also reiterates how desire, looking, power and the cinematic experience are so closely intertwined. 143.2011
Art Gallery of New South Wales Painter Purchase/Collection 1995 00:50:01 min digital tape (betacam) shown as single channel digital video, colour, sound © Paul McCarthy. Courtesy of the artist and Hauser & Wirth. Paul MCCARTHY Performers/Participants: Paul McCarthy, Brian Butler, Sabine Hornig, Fredrik Nilsen and Barbara Smith Originally trained as a painter, Paul McCarthy currently uses video and sculpture as his primary mediums. Coming from the context of 1960s American 'happenings' and performance art, McCarthy's work seeks to destroy boundaries of taste, tradition and public morality. In'Painter' the mythology of the artist as hero is attacked in a grotesquely parodic performance that unambiguously points to the abstract expressionists. McCarthy said in a 1993 interview that his work came out of kids' television in Los Angeles. Performing as the painter, McCarthy undermines pre-packaged ideas about the creative process by turning it into an absurdist soap-opera. 288.2006
Art Gallery of New South Wales Pan no. 2 (One step forward, one frame backwards) Gift/Collection 2007 00:04:50 min single channel digital video, colour, sound aspect ratio 16:9 © Daniel Crooks Daniel CROOKS Daniel Crooks plays with space and time in his moving image works using the 'time slice' method invented by Tim McMillan and popularized by the special effects in the science fiction film The Matrix 1999. Crooks dissects a moment recorded with his camera and digitally stitches the scene back together in a way that warps the linearity of the sequence. These works render reality abstract and redefine our perception of time and space in unexpected and mesmerizing ways. 36.2021
Art Gallery of New South Wales Pan no. 3 (Rotation isn't movement) Gift/Collection 2007 00:06:42 min single channel digital video, colour, sound aspect ratio 16:9 © Daniel Crooks Daniel CROOKS Daniel Crooks plays with space and time in his moving image works using the 'time slice' method invented by Tim McMillan and popularized by the special effects in the science fiction film The Matrix 1999. Crooks dissects a moment recorded with his camera and digitally stitches the scene back together in a way that warps the linearity of the sequence. These works render reality abstract and redefine our perception of time and space in unexpected and mesmerizing ways. 33.2021
Art Gallery of New South Wales Patiwangi (The death of fragrance) Gift/Collection 2020 2021 two channel HD video, colour, stereo sound © Leyla Stevens Leyla STEVENS Leyla Stevens is an Australian–Balinese artist who works with photography and moving image in a research-based practice responding to histories of place. In her works, Stevens uncovers alternative histories, principally in connection to Bali's colonial and diasporic past. Inspired by material and visual cultures, and with particular attentiveness to the affective forces of gesture and ritual, she reanimates past events to tell stories that have often been forgotten or deliberately repressed. In this two-channel video work, two seemingly disparate scenes are counterpointed. In one, the camera pans over a museum collection store and then passively looks on while artworks and artefacts are carefully unwrapped. In the other, Javanese-Australian dancers Ade Suharto and Melanie Lane perform. In the tension between these two images we find a careful meditation on the relationship between stillness and action, object and subject. Both sequences focus on the representation of women, whether through the cultural objects or the performative presence of the dancers. As we watch, we track between the transcription of movement as it appears in paintings and sculptures and the way it manifests within the body itself. One folds into the other yet as become witnesses to the past as it exists in the present. Yet there are also manifest complications and nuances to this narrative. And although we think we might have found a connection between person and place – between the dancers and a landscape – the context has been collapsed into a mid-century industrial site that camouflages any clues to specificity. As the two dancers shadow and mimic each other, oscillating between teacher and student, their movements ghost the histories of Balinese female muses that have been a leitmotif of modernist art in Indonesia. In revealing the slippage between art and life, and the politics of representation, Stevens opens a space for woman artists to write new histories. 138.2021.a-b
Art Gallery of New South Wales Picturing the old people Gift/Collection 2005 00:12:55 min five channel digital video, colour, sound © Genevieve Grieves Genevieve GRIEVES 245.2009.a-f
Art Gallery of New South Wales Pieces: 1. Steve Hawley and Tony Steyger Drawing conclusions: the science mix 1982 2. Peter Savage In an unguarded moment 3. Steve Littman I really 1983 4. Neil Armstrong Clone video 5. Zoe Redman Passion ration 1984 6. Nigel Rolfe Dance slap for Africa 1983 7. Richard Layzell So this is how you spend your time? 1982 8. Jon Bewley Definitions 9. Jeremy Welsh The jugo beat 1983 10. Val Timmis Around Enfield 11. Mike Stubbs Ra ads 1979 Purchase/Collection 1979 1984 00:55:00 min [1. Drawing conclusions: The science mix 00:07:00 min; 2. In an unguarded moment 00:05:00 min; 3. I really 00:07:00 min; 4. Clone video; 5. Passion ration 00:07:00 min; 6. Dance slap for Africa; 7. So this is how you spend your time: 00:08:00 min; 8. Definitions; 9. The jugo beat: 00:07:00 min; 10. Around Enfield; 11. Ra ads 00:03:00 min] 11 videos on analog tapes (u-matic) shown as single channel digital video, colour, sound Mike STUBBS, Neil ARMSTRONG, Jon BEWLEY, Steve HAWLEY, Richard LAYZELL, Steve LITTMAN, Zoe REDMAN, Nigel ROLFE, Peter SAVAGE, Tony STEYGER, Val TIMMIS, Jeremy WELSH Pieces includes: 1. Steve Hawley and Tony Steyger - 'Drawing Conclusions: The science mix' 1982 [7 mins] 2. Peter Savage - 'In an unguarded moment' 1982 [5 mins] 3. Steve Littman - 'I Really' 1983 [7 mins] 4. Neil Armstrong - 'Clone Video' 5. Zoe Redman - 'Passion Ration' 1984 [7 mins] 6. Nigel Rolfe - 'Dance Slap for Africa' 1983 7. Richard Layzell - 'So this is how you spend your time?' 1982 [8 mins] 8. Jon Bewley - 'Definitions' 9. Jeremy Welsh - 'The Jugo Beat' 1983 [7 mins] 10. Val Timmis - 'Around Enfield' 11. Mike Stubbs - 'Ra ads' 1979 [3 mins] 429.1985
Art Gallery of New South Wales Porous bodies: ice shoes Gift/Collection 1999 01:02:23 min digital tape (miniDV) shown as single channel digital video, colour, silent aspect ratio 4:3 © Julie Rrap. Courtesy Roslyn Oxley9 Gallery Julie RRAP 192.2011
Art Gallery of New South Wales Pre-retroscope (marine) Gift/Collection 2003 00:13:53 min, single channel digital video, colour, stereo sound, mixed media including wood, rope, anchor, instruments, motor, projector © Conrad Shawcross, courtesy Victoria Miro Gallery London Conrad SHAWCROSS After graduating from art school in 2001, Conrad Shawcross quickly became known for his fantastical apparatus or kinetic sculptures that somehow blend antiquated technology with art. At the time of writing he is one of the youngest of the Young British Artists (YBAs, as they have come to be known) to come to the fore in England. Like many of the previous generation (Damien Hirst and Tracey Emin for example) he explores the boundaries of art and life and his work tends towards the extravagant gesture. Yet unlike many, his objects are beautifully handcrafted sculptures that actually function rather than simply look like something that might. They are not assemblages of found objects, although they may incorporate them; neither are they fabricated by a workshop. This making and functioning with old-fashioned materials – mostly wood – is subtly subverting aesthetic delectation by conceptual displacements. Alongside the sculpture, in fact underlying its raison d'être, is a strong performative element and often an elaborate narrative or fiction. In his first year out of college, Shawcross was to be found driving around London on behalf of the 'fictive' organisation IBLS (Investigative Bureau into the Location of the Soul) – a cunning historical/ philosophical spoof. The plot starts just after World War II when his fictive hero, Bruce Springshaw, realised that the age-old project of measuring or capturing souls could be achieved in the air rather than by trying to separate the souls from living bodies. His 12 Soulcatchers, Ford Capris equipped with fishing rods and kites, set out across Europe in search of souls but all go missing.1 The Capris were modified with handmade wooden elements in much the same way as Shawcross has modified the boat in'Pre-retroscope (marine)', a piece based on a small, wooden working boat. Mounted on its top is a large circular track which slowly rotates. Originally this track was designed to take a revolving video camera that filmed 360-degree panoramas of the canal and industrial landscape as Shawcross rowed out onto a canal in East London. Back in the gallery the camera was replaced by a projector and a screen onto which the original footage of the voyage is projected. Alternatively the screen was removed and the projection focused onto the gallery walls, like a lighthouse beam in a darkened space. Using the screen, however, adds a dimension of difficulty as we can never keep up with the panorama without pacing around the boat as the screen rotates, an action made difficult by the oars that stick out from the rowlocks and the anchor that trails behind. As the projector rotates on its track at the same speed as the original camera, the centre of gravity shifts and the boat very slightly sways, simulating the creaking of a boat at sea. Within the boat are emergency rations and flares: it is in effect a working boat that could readily be returned to the water just as it is and yet it also represents a metaphor of temporal and spatial displacement. 1. Shawcross claims to have recently discovered Springshaw's own soulcatcher in a Russian field and meticulously renovated it, or so the story goes. The resulting Heath Robinson-like device mechanically operates and Shawcross has been seen trawling (unsuccessfully as far as we know) for souls in London's Hackney © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 38.2003
Art Gallery of New South Wales Projections for Eliza III Purchase/Collection 1999 00:30:00 min analog tape (u-matic) shown as single channel digital video, colour, sound aspect ratio: 4:3 © Judith Wright Judith WRIGHT 145.1999
Art Gallery of New South Wales Prosthetic head Gift/Collection 2003 2005 single channel interactive software program, projection, colour, sound display dimensions variable © Stelarc STELARC The Prosthetic Head is a conversational system – a 3D computer- generated head that somewhat resembles the artist and responds to the person who interrogates it. You might say it's only as intelligent as the person who speaks to it [laughs]. It's not supposed to illustrate some kind of disembodied intelligence. Rather, it exposes the problems associated with notions of awareness, intelligence, agency, and embodiment. Of course, thee Prosthetic head is massively embodied with all the technology that is required to present and operate it effectively. With the assistance of three programmers in San Francisco (Karen Marcello, Sam Trychin, and Barrett Fox), we stitched together software that included a text-to-speech engine, the source code for facial animation, and a customised Alice chatbot. Over the next few years, the Head will become more informed and less predictable in its responses. In fact, the artist will not be able to take full responsibility for what his head says [laughs]. And imagine if this Head has biorhythm mapped to its expressions. So it might be grumpy answering questions in the morning, happy to talk to you at midday, but getting tired in the late afternoon. And we are thinking to give the Head information of the user through vision system. So the Head might comment on the colour of your sweater or query why you are looking so glum. It would be more seductive interface with that kind of knowledge. The Head is not illustrating a Cartesian split between mind and body, but rather it exposes the problematics of this kind of discourse. In fact, what's important now is not the problem of split mind and brain but rather of splitting the body itself and of the body-species split that will result in new post-evolutionary phylums' Stelarc quoted in Stelarc: the monograph, MIT Press, Cambridge, Massachusetts, 2005, pp 230-32 37.2021
Art Gallery of New South Wales Public fitting Purchase/Collection 1972 00:10:53 min 16mm film transferred to single channel digital tape (betacam), colour, silent © Tim Johnson Tim JOHNSON 11.1974
Art Gallery of New South Wales Pulse Mk2 Purchase/Collection 1994 4 incubators and mixed media © Maria Kozic. Courtesy of Anna Schwartz Gallery, Melbourne Maria KOZIC In the 1980s artists frequently took ready made, recognisable images then subtracted, added, multiplied and divided them, allowing photography’s power of appropriation to find a place for them in the art world. Maria Kozic, like Robyn Stacey and Juan Davila, drew on the imagery and industrial techniques of pop culture, quoted them and gave them back with an ironic twist. Kozic’s ‘Masterpieces’ 1986, for instance, cribbed famous works (such as Picasso’s, Mondrian’s or Warhol’s) and shattered them into fragments. Mostly, however, Kozic has been drawn to what high art might see as being ‘in bad taste’: 1950s pulp romances, comic westerns, video ‘monster movies’, kitsch film posters. She also has had fun with kids’ toys, like those loose metal chains on boards that allow children to make changeable profiles (‘Magnetic heads’ 1985) or merchandising paraphernalia, such as The Patty Duke Game, or the creepy side of popular culture where terror, violence and humour are packaged along the same visual continuum – the rubbery members of the Gross Out Gang, for example. Partly this comes from Kozic’s love of the cinematic and the mechanical effects that are mobilised in fairground ghost trains, but also from her interest in movement. In ‘The Brady bunch’ 1985 the faces on the lenticular screens change as you walk past them. In the installation ‘Nine carnivorous cats’ 1980, the cats change species from one side to another. These transformations imply an element of duplicity, like the granny and the wolf in Perrault’s ‘Little Red Riding Hood’. Additionally they’re about plugging into archetypal phobias these animals might evoke as they track back into the neurotic adult psyche. Kozic’s ‘Wolf pack (the lair)’, for example, confronted viewers at the 1991 Australian Perspecta exhibition from behind a wall. After hearing a snarling, bloodcurdling soundtrack, you peered down to see 13 papier-mâché wolves with reflector lights for eyes staring back at you. Kozic’s ‘Pulse Mk2’ is an installation of four incubators in a row which Melbourne artist and 'Age' art critic Robert Rooney described in 1994 as ‘an exercise in minimalist Grand Guignol’ (Le Theatre du Grand Guignol was the original shock theatre of horror that took place in an abandoned chapel in Montmartre, Paris, in the 1890s). Though it appears motionless at first, the object in each unit (a gun, a bottle, a hand and a hammer) is seen to move – first it’s the bottle rolling from side to side, then the fingers of the severed hand start to have a life of their own, while the gun and hammer pulse and breathe. All the inanimate objects are fleshy (like the hand) and embossed with veins. Here a simple idea becomes a gripping piece of spooky theatre. © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 504.1995.a-d
Art Gallery of New South Wales Pushing a camera over a hill Gift/Collection 1971 00:30:00 min 16mm film transferred to digital tape (betacam), black and white, sound © Mike Parr Mike PARR 104.2001
Art Gallery of New South Wales Quegli ultimi momenti Purchase/Collection 1984 Installation: painted furnishings, 12 panels of gelatin silver photographs, U-matic tape, slides © Dennis Del Favero Dennis DEL FAVERO, FILEF (ITALIAN FEDERATION OF MIGRANT WORKERS AND THEIR FAMILIES) 425.1985
Art Gallery of New South Wales Raft Purchase/Collection 1995 stenciled hexaglot text in pencil graphite on chalk gesso ground inscribed on rafters with underframes (28 sets, each 120 cm square), silk drapes and audio soundtrack (duration: 42min) dimensions variable © Ruark Lewis and Paul Carter Paul CARTER, Ruark LEWIS The idea of a raft is of something lashed together, an inventive solution to a problem, of making do from available materials, of creating something which may be lifesaving. A raft also suggests travelling, and specifically travelling over water. This particular raft however is associated with the desert through the text laboriously stenciled onto its surface. It is a raft therefore which could never have the opportunity to float. The text begins in one corner of the structure and unfolds continuously in 24,948 characters which comprise several thousand words in six different languages. It can not be read in an unbroken sequence however as whole lines are obscured by the structure of the raft itself, by the object created to float these ideas expressed in words. The text itself “… inscribed on the three surfaces of the timbers commemorates the life of the Lutheran missionary, Carl Strehlow – a scholar versed in New Testament Greek, in Vulgate Latin, not to mention the dialects of the Lutheran and King James Bibles, and who undertook to translate the same into both Dieri and Aranda. The passages from Acts 27 and 28 narrate St Paul's voyage from Caesaerea to Rome, his wreckage in Malta where a 'barbarous people shewed us no little kindness.' Repeated six times in the six languages of Carl's life, they also allude to Strehlow's last journey when, in urgent need of medical help, he set out from Hermannsburg Mission on an improvised 'van' or 'raft' to travel overland to the Adelaide-Alice Springs railroad – a distance of some 400 miles. He never made it, dying shipwrecked at an isolated cattle station further down the Finke River…” (Paul Carter, 'On rifts', 'Raft', University of Melbourne, 1996). Strehlow was both missionary and anthropologist, paternalist and yet deeply interested in the culture of the Aranda and Loritja people of Central Australia. His seven volume study of the spiritual beliefs, material culture and customs of the Aranda and Loritja was published in Germany between 1907 and 1920. The complex interweaving of experience and belief in Strehlow's own life, the legacy of colonisation, the teaching of Christian values to the local Aboriginal population and yet the desire to understand their culture are suggested in the interwoven text in 'Raft' which forms a lattice of words and references. A raft can not float in an art gallery any more than it can in a desert, but this particular raft is a poetic response to a particular place and time and the histories and experiences that came together there. The ambiguous nature of that interaction has expression in this ambiguous structure which can not be what it sets out to be and yet floats ideas and meanings into the viewer's space. 75.2008
Art Gallery of New South Wales Remain Purchase/Collection 2018 left channel 00:23:33 , right channel 00:23:33 dual channel digital video, colour, sound aspect ratio 16:9 installation dimensions variable © Hoda Afshar Hoda AFSHAR Hoda Afshar's 2018 body of work Remain is an unflinchingly political commentary on Australia's border protection policy and serves as testimony to its assault of human rights. Encompassing a film and a suite of photographic portraits, Remain speaks the stories of a group of stateless men who remained on Manus Island, Papua New Guinea, after the immigration detention centre closed in October 2017. In the film, their experiences are recounted as episodic fragments shot through with violence in voice overs that are by turns lyrical and brutal. Some recite poetry, some sing, some remember the riots and the suicides. As their stories unfold, the camera pans over a picturesque landscape – lush foliage and crystal-clear water. A 'green hell' as one man describes it. It is the abrupt collision of these two registers, the haunting narrative and the idyllic imagery, that carries the emotional force of the work. It is beautiful and horrifying at the same time. The accompanying photographic portraits of the same protagonists are insistent and powerful. They stand before us, in the foreground of the image, against a dark backdrop. In these photographs, there is nothing to distract us from the figures themselves. Nothing to detract from the simple fact of their presence. They each assert their right to be seen. The bluntness of this gesture is itself a political act. For that is what detention does; it makes individuals invisible. In these portraits, Afshar acknowledges the plight of these men metaphorically. They are beset by the elements, by fire, water and earth. But at no point is their humanity questioned. 161.2020.a-b
Art Gallery of New South Wales Revolving upside down Purchase/Collection 1969 0:61:00 min digital tape (betacam) shown as single channel digital video, black and white, sound Bruce NAUMAN A stationary camera set upside down and framing a long shot of the studio records Nauman, with his hands clasped behind his back, repeating a series of steps similar to those of 'Slow Angle Walk (Beckett Walk)'. The curious exercise combines pirouettes, goose steps, and crabbed, angled arabesques. The inverted image further disorients our sense of the manoeuvres, which appear to be taking place on the ceiling. (Electronic Arts Intermix, http://www.eai.org accessed 7/9/11) 308.2007
Art Gallery of New South Wales Rules and displacement activities, part I Purchase/Collection 1974 00:38:00 min 16mm film transferred to single channel digital tape (betacam), colour, black and white, sound aspect ratio 4:3 © Mike Parr Mike PARR 29.1984
Art Gallery of New South Wales Rules and displacement activities, part II Purchase/Collection 1975 1976 00:56:00 min 16mm film transferred to single channel digital tape (betacam), colour, black and white, sound © Mike Parr Mike PARR 237.1977
Art Gallery of New South Wales Rules and displacement activities, part III Purchase/Collection 1983 00:75:00 min 16mm film transferred to single channel digital tape (betacam), colour, black and white, sound © Mike Parr Mike PARR 30.1984
Art Gallery of New South Wales Screen test Purchase/Collection 2004 4 screen video installation: 1 dual channel video, 3 single channel videos, custom made MDF screens, colour, silent Screen test, sequence 1: 10:30 min Screen test, sequence 2: 12:02 min Screen test, sequence 3: 10:25 min Screen test, sequence 4: 07:59 min installation dimensions variable © Daniel von Sturmer. Courtesy Anna Schwartz Gallery, Melbourne/Sydney Daniel VON STURMER Daniel von Sturmer… uses video, sculpture and installation in combination to explore spatial relationships. … 'Screen Test' 2004, comprises four different sized screens positioned on the floor at different angles. Each screen or object is situated in specific relation to the gallery space and emphasizes the viewing experience – this dynamic was an aspect of minimalism, and suggests some of the art-historical ideas informing von Sturmer's practice. In each projected image objects come to life, seemingly of their own accord: a balloon inflates and deflates; a light turns on and off; paper streamers unravel; and a sponge falls from one screen to another. In contrast to the blacked out-environment of most video installations, von Sturmer's work is presented in gallery light, and with projectors on view. His furtive activities consider perceptual quandaries of space and time: the weightless pictorial space within the video, the real space within each screen and the larger space of the gallery. And so when a sponge falls from one frame to the next without a hand in sight, we wonder how it defies the laws of gravity. These are theoretical questions played out by the most humble of means. If events are inextricably linked, then the playful visual conundrums von Sturmer describes wander through both real and virtual dimensions. Natasha Bullock, 'Times of our lives', Anne Landa Award for video and new media arts, Art Gallery of New South Wales, Sydney, 2006, p.8 19.2007.a-i
Art Gallery of New South Wales Seasons of Passion/ A Requiem: Mishima Purchase/Collection 2006 Single channel video, colour, sound, 07:47 min; Lambda print inside wooden (paulownia) box 38.0 x 31.0 x 4.5 cm © Yasumasa Morimura Morimura YASUMASA In his recent series, 'Seasons of Passion/A Requiem: Chapter 1', Yasumasa Morimura recreates memorable postwar incidents as reported through press photography. As is typical of his work, he plays all the roles in each restaged event. The series overall includes incidents which were widely published in the east and west including: the 1960 assassination of Japan Socialist Party chairman Inejiro Asanuma by Otoya Yamaguchi; the 1963 shooting of John F Kennedy assassin Lee Harvey Oswald by Jack Ruby; the 1968 execution of a Vietcong suspect by General Loan; and the final public speech by Yukio Mishima at the Tokyo Self Defence Force headquarters in 1970. Morimura has made black & white large-scale photographs of each event (except that of Mishima's speech) and unlike much of his previous work the characters are men. Morimura has determined that the 20th century was a century of action, conflict and destruction, a world of blood, sweat and collisions of the flesh unlike today's virtual realties. In the DVD 'Seasons of Passion/A Requiem: Mishima' 2006, Morimura/Mishima delivers an impassioned speech, one based on the writer's pre-suicide diatribe from 1970. Instead of confronting Japanese society as the author did, Morimura attacks the art world, protesting that art today is 'dancing to the tune of the mass media… drunk on global strategies and commercialism and selling itself out…' He comments that in Japanese society there is a general feeling that if you're making money, then that's good enough. Standing on the balcony of the Osaka Self Defense Force headquarters (Mishima died in Tokyo and for Morimura access to the Tokyo site proved too difficult to arrange) Morimura harangues a non-existent audience. Dressed in a recreation of Mishima's elaborate costume, with a banner fluttering behind him, the image periodically freezes so that the viewer can examine the aggressive appearance of the artist more closely. For all of Mishima's passion no one listened, just as here, no one listens to Morimura. The work is both humorous and thought provoking, not least because Morimura is cheeky enough to equate the artist's struggle against globalism and capitalism with that of a nationalist writer rebelling against Japan's pacificist constitution. Morimura reminds us that while history is public memory, his recollections and re-creations are personal. This interconnection equates with his idea of beauty - the clash of two things. It is the stirring of a commotion within that stimulates expression. 'Season of Passion/A Requiem: Chapter 1' 2006 is the first in a planned series of three bodies of work. After focusing on memorable incidents from the 1960s, Morimura intends to revisit and re-enact significant moments from the earlier period, the end of World War II and the Occupation of Japan. 21.2007
Art Gallery of New South Wales Sensible shoes Purchase/Collection 1983 00:11:16 analog tape (u-matic) shown as single channel digital video, colour, sound aspect ratio: 4:3 © John Adams John ADAMS Film camera: Ken Slater Narrator: Veronica Latham Script/Direction: John Adams 36.1985
Art Gallery of New South Wales Short cuts to sharp looks Purchase/Collection 1979 00:31:00 min analog tape (u-matic) shown as single channel digital video, colour, sound © Roberta Graham Roberta GRAHAM 39.1985
Art Gallery of New South Wales Simple film I Purchase/Collection 1973 00:10:00 min 16mm film, colour, magnetic sound Victor K 12.1974
Art Gallery of New South Wales Sonix Gift/Collection (circa 1969) light and sound sculpture © Estate of Stanislaus Ostoja-Kotkowski Józef Stanisław OSTOJA-KOTKOWSKI 'Sonix' was commissioned from the artist by the Peter Stuyvesant Trust in 1968. It was intended as an addition to the successful 'Art of the Space Age' exhibition which ran at the Art Gallery of South Australia at the end of 1968 and, following completion, was shown at state and regional galleries across the country in 1971 and 1972. The 'chromasonic unit' is activated by music, the computerised notes of which create a series of flashing lights. The softer the note the softer the glow; the stronger the note the more violent the flash of light. © Australian Art Department, Art Gallery of New South Wales, 2005 55.1972.a-d
Art Gallery of New South Wales Static no. 10 (Falling as a means of rising) Gift/Collection 2007 00:03:54 min single channel digital video, colour, sound aspect ratio 16:9 © Daniel Crooks Daniel CROOKS Daniel Crooks plays with space and time in his moving image works using the 'time slice' method invented by Tim McMillan and popularized by the special effects in the science fiction film The Matrix 1999. Crooks dissects a moment recorded with his camera and digitally stitches the scene back together in a way that warps the linearity of the sequence. These works render reality abstract and redefine our perception of time and space in unexpected and mesmerizing ways. 34.2021
Art Gallery of New South Wales Study for drowning man Gift/Collection 2005 00:04:38 min continuous single channel digital video, colour, silent aspect ratio 3:4 © Todd McMillan Andrew LIVERSIDGE, Todd MCMILLAN Todd McMillan's video work, 'Study for a drowning man', likely references Hippolyte Bayard's hoax photograph 'Self-portrait as a drowned man' 1840, which Bayard created in protest at his peers who overlooked his pioneering direct positive prints in France during the late 1830s. Here, McMillian wryly re-enacts Bayard's so-called drowning within a sublime seascape. McMillian explores this pathos further in another Bayard inspired work in the collection, 'Self portrait (Bayard study i)' 2013. 40.2021
Art Gallery of New South Wales Swell Purchase/Collection 2000 00:04:00 min three channel digital video, colour, sound aspect ratio: 16:9, display dimensions variable © Patricia Piccinini. Courtesy Roslyn Oxley9 Gallery, Sydney Patricia PICCININI Patricia Piccinini has divided her body of work, which includes sculpture, digital video installations and digital prints, into three zones: atmosphere, autosphere and biosphere.'Swell' belongs to the first category, atmosphere, and is part of a sequence of works entitled 'Wilderness'. This sequence considers how our experience of nature and what is considered natural is changing as the world is reshaped by digital and technological developments. In the three-screen projection 'Swell', the viewer is enticed by the sound of the ocean but on entering the exhibition space is surrounded by images of a rolling sea that eclipses the horizon. The image becomes nauseating as the ocean surges and heaves, and threatening as we question our ability to survive in these rough seas where we cannot locate ourselves because we have no view beyond the immediate waves. In 'Swell' the immersive visual experience elicits a strong physical and psychological response, making it hard to keep a balanced view of this potentially anxiety causing, frontierless new world. The ocean is convincing and yet has the unsettling hyperreal quality of an entirely digitally created nature. In the past the 'horizon' has been a metaphor for the limit of our experience and knowledge, as well as denoting the physical boundary of our visible world. It has also suggested the possibility of transcendence and change, of finding out what is beyond our horizons. This cultural metaphor has lost its force as the world is increasingly defined through information flows and movements rather than geographical, political or even spatial divisions. The sea, which was symbolic of separation and of the time and distance involved in traversing the globe, is here an evocative backdrop to the very different space/time zones of digital media, where rapidity and immediacy are valued and tech-nological developments constantly strive to replace our horizons with a seemingly endless and yet immediate cyberspace. As Piccinini has written of the sea in 'Swell''… as a “media space” it most truly represents electronic and communication technology's increasing consequence in defining the structure and materiality of the contemporary world'. 1 The slick sheen of the language of advertising, glossy magazines and marketing feeds Piccinini's astute manipulation of our responses to her hybrid evolving digital creatures and their environments. In the category biosphere, Piccinini has created her own very plausible artificial lifeforms, the stumbling imperfect offspring of the first attempts by science to breed its own creatures. More recently she has created artificially aged children, which echo the rapid ageing processes of the first cloned creature, Dolly the sheep, and hybrid beasts seemingly part meerkat and part human. Piccinini's art does not enter into ethical judgments on her subject matter; instead it shows us where our future may lie if everything we desire from science, medicine and technology becomes true. 1. www.patriciapiccinini.net © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 266.2005.a-c
Art Gallery of New South Wales TV Buddha Gift/Collection 1976 television monitor, video camera, painted wooden Buddha, tripod, plinth © Nam June Paik Estate Nam June PAIK Nam June Paik was a pioneer of video installation in the early 1960s. Associated with the international conceptual movement Fluxus, Paik regularly collaborated with other Fluxus artists such as Joseph Beuys and George Maciunas. In 1976 John Kaldor invited Paik and his collaborator, the cellist Charlotte Moorman to create a Kaldor Public Art Project in Australia. As part of the project Moorman played the'TV cello'. Made from three televisions removed from their sets so that their inner workings can be seen, with an attached cello bridge, tailpiece and strings forming a cello-like instrument. 'TV Buddha' was also made in Sydney in 1976 using an old wooden Maitreya (Buddha of the future) from the Kaldor collection. 'Kaldor candle' was made in 1996 for John Kaldor, who remained friends with Paik until the artist's death in 2006. Both 'TV Buddha' and 'Kaldor candle' employ a conceptual use of video – first developed by Paik – in which a camera and a monitor loop in real time, blurring the object–subject distinction. This feedback idea was used by leading conceptual artists in the 1970s, including Bill Viola, Dan Graham and Mike Parr. 342.2011.a-f
Art Gallery of New South Wales TV cello Gift/Collection 1976 1:47:59 hr acrylic, wood, bass guitar strings, three CRT monitors, analogue tape (VHS) shown as single channel digital video, black and white, silent 170.0 x 92.0 x 95.0 cm overall © Nam June Paik Estate Nam June PAIK Nam June Paik was a pioneer of video installation in the early 1960s. Associated with the international conceptual movement Fluxus, Paik regularly collaborated with other Fluxus artists such as Joseph Beuys and George Maciunas. In 1976 John Kaldor invited Paik and his collaborator, the cellist Charlotte Moorman to create a Kaldor Public Art Project in Australia. As part of the project Moorman played the 'TV cello'. Made from three televisions removed from their sets so that their inner workings can be seen, with an attached cello bridge, tailpiece and strings forming a cello-like instrument. 'TV Buddha' was also made in Sydney in 1976 using an old wooden Maitreya (Buddha of the future) from the Kaldor collection. 'Kaldor candle' was made in 1996 for John Kaldor, who remained friends with Paik until the artist's death in 2006. Both 'TV Buddha' and'Kaldor candle' employ a conceptual use of video – first developed by Paik – in which a camera and a monitor loop in real time, blurring the object–subject distinction. This feedback idea was used by leading conceptual artists in the 1970s, including Bill Viola, Dan Graham and Mike Parr. 343.2011.a-c
Art Gallery of New South Wales The aesthetics of disappearance Purchase/Collection 1986 00:05:55 analog tape (u-matic) shown as single channel digital video, colour, sound aspect ratio: 4:3 © Peter Callas Peter CALLAS 509.1988
Art Gallery of New South Wales The outlands Purchase/Collection 2011 interactive software program, projected, colour, sound, customised joysticks with twigs, table dimensions variable © David Haines and Joyce Hinterding Joyce HINTERDING, David HAINES Haines and Hinterding's visually stunning 'The outlands' invites visitors to take control and conduct their own voyage through an immersive digital world of forests, islands, and futuristic interior architecture. Clasping the tree branches that sit atop a console table, the viewer navigates through each zone, encountering portals into the other worlds configured within the work. While appearing to be a video game, what are startlingly absent are weapons, bodies and aggression. The logic of killing and winning that structures gaming no longer exists, and is replaced with the process of moving through each digital environment and at times suddenly being transported into an adjacent world. Exploratory voyaging becomes the subject of 'The outlands' and a close attention to the digital environments portrayed within it. With an interest in the natural landscape and cyber environments Haines and Hinterding converge the two in their impressive projects. Rather than the reactive and violent zones of video games 'The outlands' is a virtual journey which rewards unstructured movement and adapts to audience interaction. As the work uses an open world model to generate the environment, the landscape or architecture is often unpredictable as it changes from one navigation to the next. The colour in the work is unnatural, signaling the constructed nature of what we are seeing. The forest scenario for example is an intense saturated blue that is beautiful and immersive and, like an Yves Klein ultramarine, somewhat other worldly. It enhances the dream like feel of the work, of the sublime nature of this environment. In contrast the prismatic architecture of the built world is sharply artificial and futuristic, but equally fictional in appearance. The perfection of digital environments is expressed in this 'The outlands' which, with the removal of the death logic of gaming, becomes almost Utopian in feeling. 307.2011.a-f
Art Gallery of New South Wales The reflecting pool: collected works, 1977-80. The reflecting pool 1977-79; Moonblood 1977-79; Silent life 1979; Ancient of days 1979-81; Vegetable memory 1978-80 Purchase/Collection 1977 1980 01:02:00 hr total [The reflecting pool 00:07:00 min, Moonblood 00:12:48 min, Silent life 00:13:14 min, Ancient of days 00:12:21 min, Vegetable memory 00:05:13 min] digital tape (betacam) shown as single channel digital video, colour, sound © Bill Viola Bill VIOLA Production Assistant/Still Photographer: Kira Perov. Technical Assistants: Bobby Bielecki, Yasuo Shinohara. Supervising Producers: Carvin Eison, Carol Brandenburg. Supervising Engineers: John J. Godfrey, Gordon Metz. Editors: Mike Ballenger, Bruce Hutter. Produced in association with the TV Lab at WNET/Thirteen, New York, and the Artists' Television Workshop at WXXI-TV, Rochester. The collection of five works in 'The reflecting pool - collected work' 1977-80, describe the stages of a personal journey using images of transition...from day to night, motion to stillness, time to timelessness. In the title work, 'The reflecting pool' 1977-79, all movement and change in an otherwise still scene is confined to the reflections on the surface of a pool. A man is suspended in time, hovering above the pool in the midst of a leap. Viola describes it as concerning the emergence of the individual into the natural world in a kind of baptism. He describes 'Moonblood' 1977-79 as an expression of the feminine principle, a work in three parts relating to a personal concept of woman and mother, with day and night converging on the silhouette of a woman by a window. 'A rushing waterfall in winter and the serene interplay of changing dawn light unfolds within a glass of water in the desert.' 1 Other works in this collection include 'Silent life' 1979, recording the first hours of a human life and the vulnerability of pre-lingual gestures and expressions; 'Ancient of days' 1979-81 is a remarkable series of 'canons and fugues for video' that comprises Viola's most sophisticated structural and metaphorical explorations of time unfolding with symbolic transformations of natural and urban landscapes. The final work, 'Vegetable memory' 1978-80 derived from the writings of 13th century Persian poet, Jalaludin Rumi evolves in a 'temporal magnifying glass'. The loop of images recorded at the Tsukji fish market in Tokyo explores the perceptual phenomenon of repetitive, cyclic viewing. 1. Electronic Arts Intermix website, http://www.eai.org access 7/9/11 271.2003
Art Gallery of New South Wales The shadowers Purchase/Collection 2004 00:33:15 min digital tape (miniDVCAM) shown as three channel digital video, colour, sound aspect ratio: 4:3, display dimensions variable © Monika Tichacek. Courtesy of Karen Woodbury Gallery. Monika TICHACEK In 'The shadowers' a sado-masochistic relationship of force and submission unfolds between three protagonists, or shadowers (one of whom is the artist). The interplay between these forces is presented in an episodic fashion: intrusive acts of physical force take place on the body alongside beguiling moments of intimacy. The participants are connected in emotional and physical ways: their skin is pierced and string is used to unite them, they dance the tango in glittering dresses, and one feeds from the other's bejewelled and bloody face. These acts are dramatic and seductive and it is in their ritualised choreography that desire is represented with aggressive and scintillating dimension. Horror, surrealism and of course feminist performance art are all points of reference. Monika Tichacek's body is the prime visual and visceral loci of her performances; however, unlike the live performance art of the 60s, Tichacek generally performs, films and edits her own work. Yet her performances are similarly explicit and graphic, wherein she sutures her skin and pierces her tongue, acts which complicate the stereotypes of femininity and sexuality. Here, in a shadowy psychosomatic space, desire, sex, violence and beauty both coalesce and rupture before our eyes. 219.2007.a-c
Art Gallery of New South Wales The sunlight school Gift/Collection 2015 00:07:32 min single channel digital video, colour, silent aspect ratio 16:9 © Shaun Gladwell Shaun GLADWELL In The Sunlight school, Shaun Gladwell's mysterious Maddest Maximus character inhabits a coastal landscape with an owl, a symbol of flight and wisdom. This work was projected onto a mist curtain at the entrance of the gallery when it was first shown in Gladwell's The lacrima chair installation at the Sherman Art foundation in 2015. 29.2021
Art Gallery of New South Wales The tower Purchase/Collection 1984 00:18:00 min 16mm film transferred to analog tape (u-matic) shown as single channel digital video, colour, sound © Anthony Howell Anthony HOWELL 280.1984
Art Gallery of New South Wales The way we are Purchase/Collection 1980 00:13:50 min analog tape (u-matic) shown as single channel digital video, colour, sound Belinda WILLIAMS 42.1985
Art Gallery of New South Wales This is my remix baby Gift/Collection 2000 00:03:34 min single channel digital video, colour, sound The KINGPINS 197.2011
Art Gallery of New South Wales This is... Purchase/Collection 1985 VHS video,colour, sound, 21:30 min; stool, 16 white boxes, coffee table, 12 floor tiles, electric toaster, coffee cup and saucer, pot plants, wooden platter, television set, VCR and video guide © Carol Rudyard Carol RUDYARD Arriving in Perth in 1970, Carol Rudyard immersed herself in the visual arts. Her earliest works were meticulous and elegant hard-edged paintings but by 1980 when she enrolled in a fine arts degree, she was exploring new media, first in slides and sound and later in video with installation. In these works she rigorously analysed the structural nature of the medium in keeping with the best conceptual art traditions while bringing a rich poetic and often erotic content to their form. Rudyard's interest in the writings of Marcel Proust and Stéphane Mallarmé underpins the key concerns of her new explorations, and has continued to influence her artistic vision: in Proust she found a beautiful evocation of the nature of memory and the way it clings to and slides off objects in our everyday lives, while Mallarmé shows how the abstraction of memory attaches to cultural associations.'This is ...' was one of her first video installations and makes this nexus very clear. Its form consists of a simplified reconstruction of her kitchen made in the studio: a stack of glossy white cubes replicates the work bench, the floor is made of plain black and white tiles, a stool stands by the bench, while a bit further away armchairs are placed in front of a television, potted palms are arranged in the space and a highly polished toaster sits on the bench, along with a coffee cup and a plate. The television is playing a video in which the eye of the camera slowly, meticulously, glides across the surfaces of the objects, as if caressing them in every detail. As the lens reaches the reflective surface of the toaster, it picks up the reflection of the stool's legs on the black floor tiles but we gradually become aware that something has changed, that these are the legs of another stool on another tiled floor. As the camera pulls back, we discover the image is now Vermeer's'An artist in his studio' of c1655. The transition is seamless. A soundtrack weaves around the visual image: Rudyard's voice describes the scene and crosses to passages from Proust while the music of Steve Reich's 'Violin phase' 1967 comes in and out of phase. Rudyard's voice is mesmerising, closely caressing its subjects in perfect parallel with the sensuality of her visual exploration. Like most of Rudyard's subsequent works, her everyday and domestic world is transformed into a rich tapestry of minutely observed qualities which then unfold and connect her solitary life to the world outside her window. Through a complex network of cultural connections, she takes us on a journey from the intimate and ordinary to visions of connectivity and association. © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 95.1986.a-dd
Art Gallery of New South Wales This woman is not a car Purchase/Collection 1982 00:23:00 min 16mm film, colour, black and white, optical sound © Margaret Dodd Margaret DODD A mother, isolated in an outer Adelaide suburb drives a station wagon full of children to a distant beach. Imagination and reality fuse. Her sense of herself is assaulted by car-fetishists in a rural service station. Memory, fear and fantasy are interwoven as the film takes Woman's assigned role in the 'Australian Dream' to its absurd conclusion. Script/Direction: Margaret Dodd Actors: Pauline Sedgewick (as the Mother) and Phil Colson (as the Mechanic) Cinematography: John Foster and David Foreman Editing: Tim Burns, Margaret Dodd and Sarah Gibson Post production: Sara Bennett Ceramic models: Margaret Dodd Music: Throbbing Gristle, Brian Eno, Pelaco Bros. and Fabulous Nudes 36.1986
Art Gallery of New South Wales Tide table Purchase/Collection 2003 00:08:53 min 35mm film transferred to digital tape (betacam) shown as single channel digital video, black and white, sound © William Kentridge William KENTRIDGE William Kentridge's artistic practice offers a distinctive vision of the complex history of South Africa, the legacy of apartheid and more broadly, the nature of human emotions and memory. Through his drawings, films, installations and sculpture, he reflects on the psychological landscape of a country which has experienced great upheaval, violence, racial and social injustice, the effects of colonialism and the politics of apartheid, and more recently, the confronting acceptance of responsibility and truth. 'I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures and uncertain endings. An art (and a politics) in which optimism is kept in check and nihilism at bay.' 1 Kentridge does not preach about apartheid from a distant or moral high ground but speaks from the position of implication. Like many South African Jews, he was vehemently against the abuse of human rights involved in apartheid but lived in a society privileged as a result. His work not only explores the political through personal experience (as does the work of Mike Parr and Doris Salcedo) but his process of making films is highly manual and reveals a strongly expressive gesture that encourages an empathy between viewer and artist: he does not use traditional single-cell animation (where hundreds or thousands of individual images are drawn) but changes his drawings using charcoal and an eraser. Nor does he systematically plan the drawings; rather they seem to evolve with the process of drawing. Each modification is filmed on a 35mm camera to create a sense of movement. In some ways the subject of the film then becomes the process of drawing almost as much as the narrative it describes. Kentridge's films generally focus on individual characters: Soho Eckstein is a ruthless Johannesburg industrialist in pinstripes. Felix Teitelbaum is a sensitive poet and artist, possibly two sides of the South African persona or aspects of Kentridge himself. In 'Tide table', Soho Eckstein contemplates for the first time the devastating impact of HIV and AIDS on South Africa. The film begins with a seascape of cliffs and sand and a calm sea, then gradually bungalows, beach chairs and breaking waves come into view. Soho appears, on a hotel balcony, while on a floor below three generals look outwards through binoculars. Soho is next seen on the beach reading his morning paper. As he falls asleep, the surroundings take on the quality of a dream. A black woman soothes the sleeping Soho; a beach chair begins to move about in a strange dance; cattle appear. Some of the cattle drown, or are slaughtered and hung on meat racks while the carcasses of others are washed ashore. And so on, as other characters come and go throughout this unfolding dream. 1. William Kentridge quoted by Carolyn Christov-Bakargiev, 'William Kentridge', Palais des Beaux-Arts de Bruxelles, Brussels 1998 © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 134.2005
Art Gallery of New South Wales Touch cinema Purchase/Collection 1969 00:01:08 min digital tape (betacam) shown as single channel digital video, black and white, sound © Valie Export. Courtesy Electronic Arts Intermix (EAI), New York. Valie EXPORT 'Touch cinema' is a document of Valie Export's famous street performance, in which the public was invited to touch her inside a curtained box attached to the artist's upper torso. The work is a witty and confrontational comment on the objectification of women's bodies. (Electronic Arts Intermix website http://www.eai.org access 7/9/11) 312.2007
Art Gallery of New South Wales Train no. 9 (Shinkansen) Gift/Collection 2007 00:05:00 min continuous single channel digital video, colour, sound aspect ratio 16:9 © Daniel Crooks Daniel CROOKS Daniel Crooks plays with space and time in his moving image works using the 'time slice' method invented by Tim McMillan and popularized by the special effects in the science fiction film The Matrix 1999. Crooks dissects a moment recorded with his camera and digitally stitches the scene back together in a way that warps the linearity of the sequence. These works render reality abstract and redefine our perception of time and space in unexpected and mesmerizing ways. 35.2021
Art Gallery of New South Wales Train no.1 Purchase/Collection 2002 2005 00:04:00 min three channel digital video, colour, sound aspect ratio: 16:9 © Daniel Crooks Daniel CROOKS 'Train No.1' is part of Daniel Crooks''TimeSlice' research project, which he has been developing since the late 1990s. Using timelapse and precision motion control rather than the single perspective that cameras and video usually presume, Crooks creates multiple simultaneous viewpoints. Time and space are distorted in the process, creating flattened images which unfold and ripple in segmented parts across the three screens of this projection. The objects and people filmed, in this case an inner-city train in Melbourne and its passengers, flicker in and out of the image as it moves; when the train stops and passengers alight, there is an intriguing after-effect across the screens as time is suspended but not quite simultaneously. This delay seems to fragment the world itself as it becomes crystalline particles, multiple moments which each seem to have their own time logic rather than the seamless continuum we usually experience. While this rippling image/time is the result of Crooks' temporal and spatial distortions, it also recalls late 19th-century experiments in visual perception and in analysing movement in space, such as the famous 'Animal locomotion' photographic series by Eadweard Muybridge and early moving image experiments by étienne-Jules Marey. They also inevitably recall paintings that referred to these early photographic and film developments, such as Marcel Duchamp's 'Nude descending a staircase' 1912 in which the human figure appears mechanical, multiple and fragmented. The recording of movement through space and of time passing is integral to the video and film mediums. While many artists have experimented with these inherent qualities in moving image media, Crooks has developed his own insights and technological solutions to express them. Contemporary life is frequently characterised as having sped up due at least in part to developments in digital technology. Yet Crooks deliberately cuts into time, stretches it and slows it in some frames and speeds it up in others to create the mesmerising snake-like movement through which we seem able to see time itself as both stuttering and liquid – unfolding before our eyes. © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 342.2005.a-c
Art Gallery of New South Wales Turns in Arabba Purchase/Collection 2005 clay, wax, wick, pewter, plaster, polyurethane, wood, formply, silicone, peppercorns, ceramic, drums, speaker, sound 240.0 x 200.0 x 60.0 cm approx. © Hany Armanious Hany ARMANIOUS This work is the final configuration of a project spanning the last two years. Initially I began by transposing Abba music to Arabic instrumentation. Considering this conflation as a sculptural key I began replicating objects that were reminiscent of both Middle-Eastern forms and modernist Scandinavian design. This process was not linear, but circuitous with unexpected and complex associations. In trying to cast the cavity of the bell I realised that its clapper would interfere with the casting. This reminded me of the problem of trying to fill a pepper mill with peppercorns and having the shaft of the mill get in the way. Increasingly, the task was to try and articulate this central axis, so that the shape of things turned or spun on a central point became a feature of the work. Another feature is the relationship between the function of an object and its manufacture. Each of these objects is a type of machine that acts on matter in a specific way, be it grinding filling or melting, but they are also a by-product of another physical process. Within this exchange paradoxes arise as seen in the making of a candle, whereby a wick placed centrally within the cast wax is part of its own undoing. It is this undermining of the nature of the article that led me to simulate lathed wood in clay, electric lamps as candles, and sand Arabic bongo drums as the outer case of a mould. Overall, the piece presents an interrogation of form that, once initiated, snowballs into an ensemble of objects that speak not only of their origin but also of their poetic potential. Hany Armanious, 'National Sculpture Prize and Exhibition 2005', National Gallery of Australia, Canberra, 2005, p.14 8.2006.a-xxx
Art Gallery of New South Wales Undertow Purchase/Collection 2002 Six channel digital video, colour, sound, projection boxes © Susan Norrie Susan NORRIE Since the 1980s Susan Norrie has been interested in the practice of painting, the language used to describe the medium, and the way it is understood by the viewer. It was not surprising when Norrie began working with video during the late 1990s. The sensual textures she achieved with her investigations into painting are aptly transformed into the moving image, a medium capable of affective nuances in light and tonal density. 'Undertow' is one of her most ambitious video installations and the culmination of several years of experimentation. Through projected and screen images, sound and sculptural objects, it portrays the world in a state of both beauty and corruption, shuddering with natural and unnatural events that verge on the catastrophic. The viewer is immersed in images of ominous tempests, delicate spring blossoms, boiling mud pools, swirling clouds of dust and scientific experiments which in the face of these phenomena seem futile and inadequate. The range and scale of imagery have a vertiginous and unsettling effect, immediately powerful but with a lingering afterlife. In 'Undertow', a large projection of changing images dominates the exhibition space. A tumultuous ocean surges and boils. A forest wreathed in haze recalls the sublime grandeur of paintings by German romantics such as Caspar David Friedrich but the haze is from chemical fires which envelop the trees. In another sequence the earth itself seems to smoke and burn. One of the most resonant images shows the massive dust storm that swept over Melbourne in 1983. Clouds of eroded soil rear up over the city and roll in, blocking out the sun and engulfing such familiar buildings as Flinders Street station. As traffic crawls through the haze and people use flashlights mid afternoon to find their way, the resulting darkened and eerie city feels post-apocalyptic. Another projection in the exhibition space of scientists clad in protective clothing releasing a fragile balloon to measure ozone-destroying gases in the atmosphere seems to suggest how science has furthered understanding but has also failed to find a balance between modernity's progress and environmental degradation. Norrie's sense of the futility of individual human endeavour in the face of bureaucracy is suggested in the endlessly repeating loop of a scene from Orson Welles' film version of Franz Kafka's 'The trial'. And yet on another screen, encountered just before leaving the room, a child carried on a man's shoulders reaches for cherry blossom, a cloud of pink flowers above her head. Utterly fragile and beautiful, it is an image of the promise and enduring beauty of nature renewed each season. Despite the potential horror of some of the imagery, a dark and compelling beauty animates 'Undertow'. Its gothic painterly quality is underscored by an insistent and hypnotic soundtrack by Robert Hindley. Welles' voiceover at the beginning of 'The trial' is prescient: 'It has been said that the logic of this story is the logic of a dream, of a nightmare'. 266.2003.a-i
Art Gallery of New South Wales Underwood Gift/Collection 1998 papier-mâché, wire, synthetic polymer paint, 5 channel DVD, colour, silent, 05:59 min loop dimensions variable Stephen BIRCH In common with many of Birch's other sculptural works, 'Underwood' trades on an appearance of realism or illusionism: it sets out to represent but at the same time deliberately never appears quite real. Birch's considerable artisanal skills are turned to creating objects that are careful enough to simulate, but not careful enough to replicate, their source material. Birch's realism is life-like in the manner of a well-crafted but nonetheless not quite convincing stage or film set. It also seems paradoxically more real for being reproduced. The effect is not of a Duchampian ready-made, or an arte-povera of found materials and objects, as the transformative power of the artist, rather than the academy, is not discounted. Birch does not just play out sculptural and spatial possibilities or rehearse questions about realism and illusionism, as his art also has a social conscience. This is always approached in an oblique manner, implied in certain combinations of materials or placement of forms, or by the associations these forms carry. Birch has made a point of representing the psychological games we play with nature. The addition of shoes to trees, tying tree trunks into knots, casually nesting video monitors in tree branches, or huddling monitors at their bases, creates quietly surreal objects which seem as improbably natural as ascribing human values, desires, emotions and fears to the natural world. Birch's version of realism is also poetic, as he uses a type of displacement, or visual metaphor and metonymy, to work away at the chinks between what we see and how we represent it to ourselves. These trees have video monitors nesting in their branches in which obscure narratives seem to unfold with a somewhat Hitchcockian bent: birds hover ominously for instance in one while other natural scenes never quite arrive at a denouement. Birch always keeps us guessing while providing clues to possible outcomes. 262.2008.a-j
Art Gallery of New South Wales Untitled Purchase/Collection 1982 00:10:00 min 16mm film, colour, optical sound Christine KOENIGS 317.1982
Art Gallery of New South Wales Untouchable Purchase/Collection 2003 00:18:38 min three channel digital video, colour, sound, custom screens aspect ratio: 4:3, display dimensions variable © David Rosetzky, courtesy Sutton Gallery, Melbourne David ROSETZKY David Rosetzky's single-channel videos and video installations consider how we represent our lives to ourselves and how our experience of self is affected by relationships with others. In 'Untouchable' we look into three rooms whose inhabitants speak about an emotionally charged experience that is preoccupying them. Each speaker narrates, in voice-overs and out loud, thoughts that seem at least initially to refer to the other person in the room. However the relationship between the protagonists becomes increasingly ambiguous as speakers on different screens start to say each other's lines. Each monologue seems to tell us as much about the person speaking as it does about the person being discussed. Yet the familiarity of the emotions and situations and the swapping of narratives suggest that these experiences are not unique and contribute to a sense of communality between the speakers and ourselves. As anthropologist Marc Augé has observed, 'any representation of the individual is also a representation of the social link consubstantial with him'. 1 At the same time the narrative interchange is disconcerting, recalling the over-familiar way in which personal events are discussed publicly on daytime TV, where the same experiences seem to appear again and again on different talk shows. 'Untouchable' also recalls the genre of the self-revelatory pop song as it traverses a similar territory of confidence, anxiety and optimism. This comparison is reinforced by the sudden change of the ambient soundtrack into up tempo beats and the narrators' simultaneous shift into a choreographed dance sequence. At this point the dancers are looking directly to the camera/audience, seemingly to address us. However it is also the moment when we may feel most distanced from what we are seeing as the video shifts from the visual cues of a stylised realism into a more deliberately artificial sequence. Yet anyone who has grown up with MTV knows that choreography can embed you further, not leave you outside, as sound and image combine with a highly contrived movement to achieve an almost physical identification with what is on the screen. The title'Untouchable' suggests that we remain distanced despite any empathy we may have for the protagonists, echoing the protagonists' own inability to connect with each other. This distance reflects the uncertain relationship between our contemporary drive to individualism and our desire for communality, for a sense of meaning achieved through belonging and interrelationships. While the title'Untouchable' situates itself between unapproachable desirability and undesirable isolation, the work traces out the nuances between these meanings. It seems to suggest that the performative nature of our own lives and the anxious self-fashioning that we undertake can leave us caught in a similar hiatus between distance and connection. This is perhaps the inevitable correlative of a tendency to construct a sense of self through narratives in which we are the chief protagonist, which can leave us on the outside looking in at our own lives as they unfold. 1. Marc Augé, 'Non-places: introduction to an anthropology of supermodernity', Verso, London 1995, p 19 © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 5.2005.a-y
Art Gallery of New South Wales Versus Gift/Collection 2002 00:05:15 min single channel digital video, colour, sound © Angelica Mesiti The KINGPINS 198.2011
Art Gallery of New South Wales WYE Gift/Collection 00:48:30 min three channel film, colour, sound © Mikhael Subotzky Mikhael SUBOTZKY Mikhail Subotzky's complex three channel video installation WYE was commissioned by the Sherman Contemporary Art Foundation in 2016. The work examines the human impact of colonisation and the historical links between Britain, South Africa and Australia through a narrative spanning time and space, told from the perspectives of three fictional characters: Craig Hare, a present-day light-house keeper, James T. Lethbridge, a colonial settler in 1820, and Feio, an Australian psycho-anthropologist from the future. Three short films, titled Feio, Hare and Lethbridge, were shown simultaneously on separate screens in a purpose-built sound space. The floor was covered with sand, contributing to an immersive environment that echoes the coastal location featured in each of the films. 49.2021
Art Gallery of New South Wales Waterfall Gift/Collection 2001 Installation with full length mirror, old picture frame, sandblasted glass, water and projection © Mat Collishaw Mat COLLISHAW Mat Collishaw came to prominence after participating in the exhibition 'Freeze' in 1988, which recognised many of the now famous Young British Artists including Tracey Emin, Damien Hirst and Gary Hume. For that exhibition Collishaw presented a series of 15 lightboxes which in their entirety showed in close detail a bullet hole to the head. The design looked like an advertising billboard, its slick format almost belying the graphic content of the overall image. In a more recent series of photographs he positioned young fairies amid drunken debris. Such staging of confronting material – copulation, suicide, homelessness and disabled children – in unexpected arrangements is typical of Collishaw's approach. In other works the subject matter may be less perceptibly menacing or difficult, although it still wrestles with the relationship between illusion and reality. As he has said: '… [there] is always going to be a kind of fiction about the way we all see things'.1 Issues of representation are central to Collishaw's work, which includes photography, installation, sculpture and film. By making transparent the means of construction or contrasting unlikely material, his work succeeds at attracting and then distancing the viewer, subtly involving them in a mode of deception.'Waterfall' demonstrates these ideas. The work includes a video image of a picturesque waterfall projected onto an antique cheval mirror, which in turn reflects downward to an old gilt-framed mirror resting on the floor and filled with rippling water. In the projected image, the movement of the falling water is barely discernable. Synthetic cascades of water descend metaphorically into real water, emphasising the chasm between what we believe and what we know to be there. The effect is meant to be inscrutable; a barrier to looking which influences perception and understanding, establishing a space between impression and actuality. A similar dialectic is achieved by combining recent technology and old-fashioned furniture. The cheval mirror and gilt frame reference a past era, while the video image is a contemporary element that situates the work in a present timeframe. This engenders an abstract exchange between past and present accentuating the work's pretence. Combining pre-existing and artificial elements, 'Waterfall' deals with a recurring theme in Collishaw's work: the rapport between nature and culture. In elucidating how nature is framed by cultural constructs, 'Waterfall' represents Collishaw's inquiry into processes of looking, revealing his ability to surreptitiously invent slippages in comprehension. 1. Mat Collishaw & Gianna Romano (eds), 'Mat Collishaw', Galerie Analix, B & L Polla, Geneva 1993, p 39 © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 34.2003.a-k
Art Gallery of New South Wales What's left behind Purchase/Collection 2018 mixed media installation display dimensions variable © Brook Andrew. Courtesy the artist and Tolarno Galleries, Melbourne Brook ANDREW Brook Andrew's work calls into question dominant accounts of history, often by using found images and museum-like display structures. The sculptural vitrines in 'What's left behind' each represent an element – water, air, fire, earth and metal – conjuring environmental forces. The archives they house, by contrast, suggest an approach to knowing and ordering the world that revolves around objects and documents. Many of the materials that Andrew has assembled refer to global narratives of colonisation. The relations between them are deliberately unfixed. By dispensing with historical conventions like classification and chronology, the work points to the different meanings that can attach to objects as they move between contexts and are subject to shifting agendas. The inflatable forms are covered in Andrew's signature black-and-white graphic patterning, adapted from Wiradjuri shield designs and dendroglyphs. Like giant globes, they seem to propose a new world order. 442.2018.1-167
Art Gallery of New South Wales Whitney action Purchase/Collection 2015 0.0194444444444444 single channel digital video, colour, sound © Guerrilla Girls, courtesy of guerrillagirls.com Guerrilla GIRLS 22.2019.25
Art Gallery of New South Wales Woolloomooloo night Purchase/Collection 2004 00:25:40 min single channel digital video, colour, sound aspect ratio: 16:9 © Shaun Gladwell Shaun GLADWELL Shaun Gladwell's videos focus on how his subjects move; breakdancers, skateboarders, roller-bladers, BMX bike riders are filmed on the streets and in urban public spaces such as parks, train stations and malls. Gladwell is himself a skateboarder and he creates a mesmerising dialogue between performance and street culture. 'Woolloomooloo (night)' was filmed in a service station near the AGNSW. Emma Magenta, a capoeira dancer, spins, twists and lunges in slow motion on the forecourt near the petrol pumps. Both a dance and a martial art, capoeira is thought to have been developed by African slaves in Brazil as a means of disguising self-defensive skills and fighting techniques. Combining strength, flexibility, balletic grace and razor-sharp timing, the dancing, spinning kicks and head lunges change rapidly from defensive to aggressive, with trickiness being particularly prized. The capoeirista in Gladwell's video negotiates the space of the service station, using it as stage rather than backdrop. The video has been slowed down, enabling the detail of her movements to be clearly seen, both demystifying the often rapid action of capoeira but also increasing our respect for the skill involved. The video moves from close-ups of Magenta to wide shots of the empty space around her, and her isolated figure seems to both embrace and react against this solitude. The slow speed and Kazumichi Grimes' atmospheric soundtrack contribute to an elegiac mood, drawing attention to the haunting imagery of the lone figure moving through the empty forecourt. Gladwell has slowed time in many of his videos, deliberately working against the real-time recording inherent in video documentation. In 'Storm sequence' 2000 the skateboarder gracefully executing kicks and flips in front of an approaching storm was reduced to a balletic pace. In 'Godspeed verticals' 2004, a breakdancer slowly ascends an escalator, dances and then descends back into a train station. Time slowed in films usually implies that the particular scene needs scrutiny beyond narrative speed: the slowness can be poetic, emphasising certain images, objects or human relations, and it is often tragic, allowing the full import of an event to unfold. Perhaps most importantly the warping of time adds another dimension to what we are witnessing, particularly as it frees visual narrative from realist demands. Against the accelerated time and speed so often associated with contemporary urban life, Gladwell pauses, slows and presents another version of time as he films creative temporary interventions into the functional rationalism of generic public spaces. 129.2005
Art Gallery of New South Wales Writing in the rain Gift/Collection 2011 single-channel video, sound, 3 wooden desks with 24 inch TV monitors, 3 chairs display dimensions variable © FX Harsono FX HARSONO A name is a very personal form of identity. FX Harsono was given a Chinese name, Oh Hung Bun, in Hokkien dialect (Hu Feng Wen in Mandarin) by his parents who were Chinese Indonesians. He used it until the age of 18 years old when it was taken away in 1967. That year an Indonesian government regulation was established determining that 'authentic' Indonesian names were to be used, rather than 'unnationalistic' Chinese names which had negative connotations associated with them. Hence Franciscus became his baptised Catholic name provided by his mother and he found the Harsono surname for himself. In this installation work, Harsono remembers the erasure of his name, which he repeatedly writes in Chinese characters using black ink, and which are constantly washed away by the rain. 46.2021.a-f
Art Gallery of New South Wales Yokohama Untitled Gift/Collection 2005 00:19:20 min single channel digital video, colour, sound aspect ratio: 16:9 © Shaun Gladwell Shaun GLADWELL This video embodies Gladwell's core practice: slowed recordings of urban subcultural practitioners occupying public space in unexpected ways. Young people balance their bodies with extreme skill to undertake physically complex interactions with the zones in which they are situated – metro stations, shopping malls, retail outlets. In 'Yokohama Untitled' four Japanese break dancers are filmed in urban public spaces – performing in turn in a metro carriage, a shopping arcade, a metro platform and a department store. As Blair French has written, 'Dressed in uber-chic streetwear they lope along in languid rhythms, trailed by the camera, every so often breaking into a set of spellbinding moves that lay claim to space, asserting presence and identity within otherwise everyday, almost homogenous environments' [Blair French (ed.), 'Shaun Gladwell: videowork', Artspace, Sydney 2007, pg. 9]. It can be added that the dancers do this with extreme grace and physical prowess. 214.2011.1
Art Gallery of New South Wales datum Purchase/Collection 2019 computer generated software program, sound, colour dimensions variable © Norimichi Hirakawa Norimichi HIRAKAWA This work, 'datum' was a creative outcome of a collaboration between Hirakawa and the Kavli Institute for the Physics and Mathematics of the Universe (Kavli IPMU). The collaboration was part of an Artist-in-Residency program (AIR) and represented an interdisciplinary effort to bring together artists and scientists in unique ways. The art-science binary is a recurring theme in Hirakawa's work and manifests as a collision between the imagination and real-time processed computer programming. 'datum' is an immersive audio-visual experience in which automated computer coding orchestrates pixelated moving patterns. The imagery forms waves, morphing into alien topographies before momentarily taking on the likeness of landscape or a geometric shape, before dissipating again into the swarm of ever-changing pixels. 140.2019
Art Gallery of New South Wales re-ma(r)king Gift/Collection 2010 00:05:15 min dual channel digital video, colour, sound aspect ratio 16:9, display dimensions variable © Eugenia Raskopoulos Eugenia RASKOPOULOS Drawing on her experience of growing up in the Greek diaspora, Eugenia Raskopoulos' work 're-ma(r)king' reflects on how cultural knowledge is transferred across contexts and between generations through objects, rituals and stories. 're-ma(r)king' is focused on two items that belonged to the artist's grandmother, which she animates through performance. On one screen, we see Raskopoulos unraveling a woven doily then winding this into a ball of thread, restoring the crafted object to its material origins. In the other, we see her dripping olive oil from her mouth, then spreading this across the floor with a rolling pin as though preparing pastry. These actions invoke the power of mnemonic triggers, such as taste and touch. A portrait of the artist can be glimpsed in the reflective surface of the oil, partial and provisional, like memory itself. 19.2019.a-b
Art Gallery of New South Wales tracing transcendence Purchase/Collection 2018 2021 03:51:00 min continuous hand pierced copper, single channel sound file display dimensions variable, © Shireen Taweel Shireen TAWEEL Working almost exclusively with copper and using traditional coppersmithing techniques, Sydney-based artist Shireen Taweel pursues a materially driven inquiry into cultural heritage and identity. Commonly used in Islamic art, copper is a material that carries distinct symbolic weight. Hand-cutting intricate geometric Islamic decorative motifs into sheets of copper that are later shaped into three-dimensional sculptural forms, Taweel creates art historical echoes that draw from her own Lebanese heritage. Her works cite history through pattern and sensitively consider how the physical spaces of her community reflect a complex cultural landscape. tracing transcendence 2018–21, charts the history of mosques in Australia. The installation comprises three large suspended copper rings that have been meticulously hand-cut and pierced. This formidable sculptural trio is accompanied by a soundscape. The work speaks to the lineage of Islamic presence in Australia, the evocation of remote Australian landscapes and the nuances of Islamic decorative arts. Each ring in the trio derives from a different source. The designs etched into the smallest ring were inspired by the Mosque built by Afghan Cameleers in Broken Hill, NSW in 1887. Broken Hill's 'Ghantown' mosque is the only one of its kind that has survived since Afghan Cameleers, otherwise known as 'Ghans', traversed and traded supplies in the Australian outback during the 1860s. The patterns etched into the copper ring quote the decorative sheets of pressed tin that line the interior walls of the mosque. The second, medium sized ring was inspired by the first mosque to be constructed in Australia in the remote South Australian town of Marree. While the site of this mosque is now reduced to a few eroded stumps in the South Australian desert, Taweel took inspiration from a Cameleer's Coat held in the collection of the Migration Museum in Adelaide to inspire the design cut into this band. Both sites in NSW and SA are resonant and critical landmarks of Australian Islamic history. The third and largest copper ring speaks to an as yet unfixed site – a future Australian mosque. Sitting alongside tributes to historical contexts, this third ring is an response to the ongoing importance of the mosque as a cultural space within Australia and the strength and significance of the communities that it fosters. The patterns depicted in this ring have evolved from Taweel's drawings rather than specific atchitectural features. The soundscape that accompanies tracing transcendence is reminiscent of the adhan, the Islamic call to prayer, and is a compilation of field recordings made by the artist on location in Marree and Broken Hill. This sonic inclusion amplifies the ambient nature of the installation. For this is an experiential work; the intricacy of the patterns emerge as the visitor navigates the suspended forms. Though static, the work evokes movement. Shadows and the shock of light spill through the cut-outs. Here, history is animated and the past placed in dialogue with the present. 67.2021.a-d
Art Gallery of New South Wales un Purchase/Collection 1999 wood shelf, modelling clay, glass, Perspex, plasticine, audio tape, fabric, glue, synthetic polymer paint © Mikala Dwyer. Courtesy Roslyn Oxley9 Gallery. Mikala DWYER Many of Mikala Dwyer's seemingly abstract sculptural forms and her more directly representational sculptures originate in her interest in shelter, the home and urban structures. This interest often focuses on such primary manifestations of the desire for habitation as a child's urge to construct cubby houses, small domains in which children exert control over their environment and the meanings of things. Dwyer's work is characterised by a playful and excessive accumulation of elements, and she has created installations out of fabric, play dough, stockings, felt, vinyl, plastic, organza and nail varnish. Her choice of materials has been identified as feminine and by extension as a subtle feminist critique of recent art history. However her teasing references to modernist abstraction, the more organic forms of minimalism and to pop art (such as the saggy Kenneth Noland-like target forms and Oldenburg-esque baggy vinyl shapes in'Hanging eyes') are an acknowledgment of antecedents rather than necessarily having a critical agenda. The room installation'iffytown' is comprised of four components –'un','Hanging eyes','IOU' and'iffytown' – which can also be exhibited individually. The installation was conceived as a schematic urban environment, but one that embodies imaginary and psychological responses to the idea of a city rather than to any town planning reality.'un' is a wall piece in which a roughly modelled town has its own inverted double hanging underneath, a doppelganger which echoes the scene we see on top and seems to literalise the idea of a city having a hidden other life just beneath the surface. A cluster of colourful PVC plumbing pipes entitled'iffytown' rises up from the gallery floor and hangs down from the ceiling. Dwyer's awareness of the contingent and even inadequate nature of her urban enterprise is suggested in the title; however the assemblage of colourful tubes engages in a form of childlike substitution in which the shapes and their arrangement stand in as schematic forms for dwellings, skyscrapers and public spaces. 'Hanging eyes' is a disembodied form which oversees this enterprise, a combination of body bag and vaguely erotic anthropomorphic object. The soft sculpture eyes sag from the wall in an abject manner, seemingly undertaking a surveillance of the rest of the installation. The cubby house shelter'IOU' has a mirrored lid propped up against it. Spilling out from the cubby are three-dimensional letters with openings, add-ons and furniture inside. The phrase'IOU' has appeared in a number of Dwyer's works and if, as American artist Vito Acconci has said,'public space is leaving home',1 the IOU acknowledges much more than a debt to the recent history of sculptural art. Dwyer's simple abbreviation enters into a humble exchange with the audience, suggesting the importance of bringing private associative imaginary realms into public institutions. 1. Quoted by Anthony Vidler,'Warped space: art, architecture and anxiety in modern culture', MIT Press, Mass 2000, p 135 © Art Gallery of New South Wales Contemporary Collection Handbook, 2006 100.2002
City of Melbourne Art and Heritage Collection 20 000 c2005 video monitor, mixed media H: 850mm W: 600mm Dominic REDFERN Audiovisual artwork, video of person under water, framed by round port hole and section of plywood panelling with jagged splintered edges 1092520
City of Melbourne Art and Heritage Collection Elevator 3 2002 3:52 single channel digital video, colour, silent aspect ratio: 4:3, edition 4/5 Daniel CROOKS New Zealand-born, Melbourne-based Daniel Crooks is best known for his remarkable digital-video works. These captivating, dreamlike visual streams stretch and manipulate space and time, drawing the viewer into a radically different experience of the world. Each projection dares the viewer to understand the intense plasticity unfolding across the screen, as the work loops back on itself to replay. The subject matter on which the artist trains his lens is often quotidian - an elevator, a commuter train, a tai chi practitioner, city laneways. But Crooks' skill in slicing, dicing and recalibrating time infuses these everyday subjects with a poetics that invites metaphysical deliberation. Purchased for the collection in 2008, 'Elevator 3' is a single-channel, 4:3 ratio work of 3:52 minutes. It records the rhythm and pathos of a motif of 20th-century urban existence, the elevator. Crooks' Index was commissioned by the City of Melbourne in 2016 as a work that specifically engages with the urban milieu of Melbourne. The network of brass footpath discs that mark the Golden Mile heritage trail drew Crooks across the central city's surface. This three-channel work of 6:23 minutes, which is played on three portrait-oriented screens, also interpolates images from the collection's engineering photo-file book. Both works are silent. 1285516
City of Melbourne Art and Heritage Collection Fountain 1998 0:48 looped duration Super 8 transferred to video Laresa KOSLOFF Laresa Kosloff has a keen interest in performance, the human body and the body's capacity for agency, particularly as an intervention into social spaces and activities. Super 8 film and video are two favoured media through which she considers the various representational strategies for figuring the body.The three Super 8 works held in the Art and Heritage Collection - 'St Kilda Road', 'Stock Exchange' and 'Fountain' - record social interactions in public places, documenting very specific human activities against the built fabric of the city. Super 8 works against the familiar spatial and temporal anchoring of the moving image, its flat, grainy, monochromatic character encouraging us to consider the imagery more conceptually as exercises in thought and analysis than as narrative representations. The distanciation the medium creates also, perhaps, prompts us to reflect on our own role and processes in the act of looking. 'St Kilda Road', a silent 1:56-minute looped work, is shot in the grassy space between the Victorian Art Centre and National Gallery of Victoria on St Kilda Road. A group of young adult participants is engaged in low-impact exercises, mainly performed while sitting, moving in some semblance of synchronicity. A few young men appear to be instructing them, though this is no sure thing. They walk among the group, wearing either a black tee-shirt or white, with 'reach' emblazoned on the front of each tee-shirt and 'escape' on the back. Inscribing this cultural precinct as a public exercise space, the performing bodies seem to mimic the obedience of mass tai chi or calisthenics. Yet the camera, which restlessly pans, rests and moves once more, just as our spectorial gaze would, is captivated by a child playing on an outdoor sculpture. The camera is distracted by this disruption of bodily order, and the child's play works against the corporeal geometry of the mass performance. 1726901
City of Melbourne Art and Heritage Collection From Melbourne With Love 2010 10:05 film Malcolm MCKINNON The film 'From Melbourne with Love' 2010 was made for the 'Lord Mayor's City Gifts' Exhibition at City Gallery. 1769541
City of Melbourne Art and Heritage Collection Grey Ghosts 2007 16:01 film Malcolm MCKINNON This film titled 'Grey Ghosts' was made by Malcolm McKinnon in 2007 for the 'Walk and Talk' Exhibition at City Gallery. 1769540
City of Melbourne Art and Heritage Collection Li Ji: Warrior Girl 2000 14:35 colour video transferred to digital betacam, sound Kate BEYNON In 21st-century urban Melbourne, Li Ji experiences flashback scenes from her past life as a warrior girl in ancient China. In a story, originally by Gan Bao of the Eastern Jin Dynasty (AD 317-420), Li Ji lived in a village on Yongling Mountain that was menaced by a giant python residing in a cave. Each year the python ritually ate a young girl from the village, and it had killed many who had tried to destroy it. Pretending to sacrifice herself as the next victim, Li Ji took with her a sword and a snake-hunting dog and slayed the beast, saving the town and becoming a queen. In the present day, Li Ji takes a trip to the centre of the city, heading towards Chinatown. After getting off the tram, Li Ji walks past various scenes of contemporary city life: the Unity Arcade shops, a construction site with spray-painted graffiti, an ornamental arch in Chinatown, the Happy Dragon Chinese Restaurant, the Hong Kong-style BBQ shop. The city scenes trigger flashbacks and alternate with visions of her journey on the mountain with her dog, from an ancient Chinese village to her eventual battle with the python in her past life. Contemplating issues of ethnicity, immigration, racism, Indigenous Australian rights and reconciliation, Li Ji questions her own mixed identity - both Asian and Australian. Gradually, she begins to understand that she has intrinsic strength to combine elements of her background with the present to create a unified existence. 'Li Ji: Warrior Girl' is about asserting a positive mindset for living in a multicultural society, recognising and respecting that issues of race and identity, including a sense of belonging, are everyday internal concerns for many people living in Australia. 1558973
City of Melbourne Art and Heritage Collection St Kilda Rd 2010 1:56 looped duration Super 8 transferred to video Laresa KOSLOFF Laresa Kosloff has a keen interest in performance, the human body and the body's capacity for agency, particularly as an intervention into social spaces and activities. Super 8 film and video are two favoured media through which she considers the various representational strategies for figuring the body.The three Super 8 works held in the Art and Heritage Collection - 'St Kilda Road', 'Stock Exchange' and 'Fountain' - record social interactions in public places, documenting very specific human activities against the built fabric of the city. Super 8 works against the familiar spatial and temporal anchoring of the moving image, its flat, grainy, monochromatic character encouraging us to consider the imagery more conceptually as exercises in thought and analysis than as narrative representations. The distanciation the medium creates also, perhaps, prompts us to reflect on our own role and processes in the act of looking. 'St Kilda Road', a silent 1:56-minute looped work, is shot in the grassy space between the Victorian Art Centre and National Gallery of Victoria on St Kilda Road. A group of young adult participants is engaged in low-impact exercises, mainly performed while sitting, moving in some semblance of synchronicity. A few young men appear to be instructing them, though this is no sure thing. They walk among the group, wearing either a black tee-shirt or white, with 'reach' emblazoned on the front of each tee-shirt and 'escape' on the back. Inscribing this cultural precinct as a public exercise space, the performing bodies seem to mimic the obedience of mass tai chi or calisthenics. Yet the camera, which restlessly pans, rests and moves once more, just as our spectorial gaze would, is captivated by a child playing on an outdoor sculpture. The camera is distracted by this disruption of bodily order, and the child's play works against the corporeal geometry of the mass performance. 1636658
City of Melbourne Art and Heritage Collection Stock Exchange 1998 2:22 looped duration Super 8 transferred to video Laresa KOSLOFF Laresa Kosloff has a keen interest in performance, the human body and the body's capacity for agency, particularly as an intervention into social spaces and activities. Super 8 film and video are two favoured media through which she considers the various representational strategies for figuring the body.The three Super 8 works held in the Art and Heritage Collection - 'St Kilda Road', 'Stock Exchange' and 'Fountain' - record social interactions in public places, documenting very specific human activities against the built fabric of the city. Super 8 works against the familiar spatial and temporal anchoring of the moving image, its flat, grainy, monochromatic character encouraging us to consider the imagery more conceptually as exercises in thought and analysis than as narrative representations. The distanciation the medium creates also, perhaps, prompts us to reflect on our own role and processes in the act of looking. 'St Kilda Road', a silent 1:56-minute looped work, is shot in the grassy space between the Victorian Art Centre and National Gallery of Victoria on St Kilda Road. A group of young adult participants is engaged in low-impact exercises, mainly performed while sitting, moving in some semblance of synchronicity. A few young men appear to be instructing them, though this is no sure thing. They walk among the group, wearing either a black tee-shirt or white, with 'reach' emblazoned on the front of each tee-shirt and 'escape' on the back. Inscribing this cultural precinct as a public exercise space, the performing bodies seem to mimic the obedience of mass tai chi or calisthenics. Yet the camera, which restlessly pans, rests and moves once more, just as our spectorial gaze would, is captivated by a child playing on an outdoor sculpture. The camera is distracted by this disruption of bodily order, and the child's play works against the corporeal geometry of the mass performance. 1726902
Curtin University Art Collection 20.08.2010 2010 4:35 digital video, digital image mounted on plywood Kiana JONES 05917740
Curtin University Art Collection Apocryphal tales 1994 13:10 video projection, gilt frame Carol RUDYARD 03503300
Curtin University Art Collection Art student 2014 16:41 digital video Shaun PRIOR 05941160
Curtin University Art Collection Artist 1999 10:00 PAL BetaCam video Tracey MOFFATT 05387600
Curtin University Art Collection Australian Film Studies (Nicole Kidman [BMX Bandits, To Die For, The Others]) 2006 14:47 video, monitors, found objects Tom FREEMAN 05899300
Curtin University Art Collection Bedevil 1993 90:00 digital BetaCam Tracey MOFFATT 04204100
Curtin University Art Collection Bin in (PM) 2009 N/A digital video Alistair ROWE 05912110
Curtin University Art Collection Body language #3 1996 1997 11:35 SP BetaCam Carol RUDYARD 04663600
Curtin University Art Collection Clutch, clasp, grip, hold, hug, embrace, press, squash, squeeze... 2010 5:58 digital video Markela PANEGYRES 05918980
Curtin University Art Collection Colonial hide 1995 5:00 SP BetaCam Carol RUDYARD 04663900
Curtin University Art Collection Conversations 2012 4:58 digital video, duration 4:58 minutes Dylan HEWSON 05923800
Curtin University Art Collection Cross Currents 1998 N/A CD-Rom, booklet Dennis DEL FAVERO 04711000
Curtin University Art Collection Doomed 2007 10:00 DVD Tracey MOFFATT 05904680
Curtin University Art Collection Experiments in convergence: Divergence 2007 20:18 digital video projection on cloth Elise HARMSEN, Jurgen KERKOVIUS 05905170
Curtin University Art Collection Experiments in convergence: Kinesis 2007 9:58 digital video projection on cloth Elise HARMSEN, Jurgen KERKOVIUS 05905180
Curtin University Art Collection Experiments in convergence: Pressure/Compression 2007 7:47 digital video projection on cloth Elise HARMSEN, Jurgen KERKOVIUS 05905190
Curtin University Art Collection Fairbridge trees 2008 2:05 digital video Annette NYKIEL 05909300
Curtin University Art Collection Fungi 2008 4:35 digital video Annette NYKIEL 05909320
Curtin University Art Collection Heaven 1997 29:51 SP BetaCam Tracey MOFFATT 05912970
Curtin University Art Collection Larngerner (The Colour of Country) 2018 21:11 2 channel 4k video, sound Julie GOUGH 05965460
Curtin University Art Collection Led, Guided, Followed 2010 7:26 single channel HD digital video Jason HANSMA 05917730
Curtin University Art Collection Leibniz Cool Ridge 2011 1:37 digital video David ATTWOOD 05919940
Curtin University Art Collection Lets put our heads together 2010 7:25 digital video Markela PANEGYRES 05917710
Curtin University Art Collection Li Ji: Warrior Girl 2000 10:00 SP BetaCam Kate BEYNON 04819100
Curtin University Art Collection Lip 1999 10:00 PAL BetaCam video Tracey MOFFATT 05387500
Curtin University Art Collection Method as outcome 2006 N/A DVD, monitors, chair and photo collages on kraft paper Mark PARFITT 05899260
Curtin University Art Collection Moodeitj Yorgas (Solid women) 1988 22:00 digital BetaCam Tracey MOFFATT 04204200
Curtin University Art Collection Natural screens 2008 4:10 digital video Annette NYKIEL 05909310
Curtin University Art Collection Nice Coloured Girls 1987 16:00 digital BetaCam Tracey MOFFATT 04204300
Curtin University Art Collection Night Cries 1990 17:00 digital BetaCam Tracey MOFFATT 04204000
Curtin University Art Collection Pinch 2010 1:44 digital video Markela PANEGYRES 05917670
Curtin University Art Collection Poke 2010 3:39 digital video Markela PANEGYRES 05917680
Curtin University Art Collection Portrait 1995 4:16 SP BetaCam Carol RUDYARD 04663700
Curtin University Art Collection Random Samples 2001 N/A microfiche reader, microfiche, audio component, shelving Anthony KELLY 04958900
Curtin University Art Collection Skinned: Part I Mouth, Part II Elephant 1999 20:00 (each) Digital video Michele THEUNISSEN 04652400
Curtin University Art Collection Still life with taps 1981 N/A slide projection, sound work, bathroom fixtures Carol RUDYARD 04514600
Curtin University Art Collection Surrogate 2010 3:41 digital video Markela PANEGYRES 05919000
Curtin University Art Collection The beautiful foolishness of things 2010 6:10 N/A Jenna DOWNING 05917620
Curtin University Art Collection The presence in the absence 2011 8:04 digital video stop motion animation Michelle WILLIAMSON 05919930
Curtin University Art Collection Unfinished Part I & II 2005 N/A video installation Mark PARFITT 05868750
Curtin University Art Collection Untitled 2010 0:40 digital video Markela PANEGYRES 05918990
Curtin University Art Collection Visions of Xes 1991 12:45 BetaCam Carol RUDYARD 04663800
Federation University Australia 100 pathways to creativity 2007 03:07:00 videorecording 2 videodiscs (DVD) (187 min.) : sd., col. ; 4 3/4 in. J.a.d. PORTER DVC; Contemporary Arts Media 701.15 O58 2007
Federation University Australia 19th Century Australian painting 1976 slide 17 slides : colour ; 5 x 5 cm. + in folder (19 x 19 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 759.994 N6223c 1976
Federation University Australia 21 Ada Street : sustainable house documentary 2009 00:36:00 videorecording 1 videodisc (DVD) (ca. 36 min.) : sd., col. ; 4 3/4 in. 728.047 T971 2009
Federation University Australia A Level product design : teacher's CD-ROM 2004 electronic resource 1 CD-ROM : sd., col. ; 4 3/4 in. + 1 installation instructions ([3] p.) Brian EVANS, Will POTTS 745.2 Ev15a
Federation University Australia A genealogy of graphic design in Victoria 2005 electronic resource 1 computer disc (vii, 247 leaves ; 30 cm.);"text rdacontent";"computer rdamedia";"computer disc rdacarrier" Alan S. YOUNG 741.609945 Y841g 2005
Federation University Australia A journey of imagination 1995 00:28:00 videorecording 1 videocassette (VHS) (28 min.) : sd., col. with b&w sequences ; 1/2 in. 759.0663 JOU
Federation University Australia A matter of identity : four Aboriginal artists : Bronwyn Bancroft, Kev Carmody, Matthew Doyle, Tracey Moffatt 1994 00:34:00 1 videocassette ((VHS) (34 min.) : sd., col.), 1 v. (39 p. : ill. (some col.)) 700.92 M435 1993
Federation University Australia A shimmer in the city 1995 00:55:00 videorecording 1 videocassette (VHS PAL) (ca. 55 min.) : sd., col. ; 1/2 in. Amanda HICKEY 709.94 S556 1995
Federation University Australia Aboriginal art : yesterday and today 1996 00:27:00 videorecording 1 videodisc (DVD) (27 min.) : sd., col. ; 4 3/4 in. 704.039915 A154 1996
Federation University Australia Aboriginal artists in Arnhem Land 1997 00:17:00 videorecording 1 videocassette (VHS) (17 min.) : sd., col. ; 1/2 in. 709.94 A791 1997
Federation University Australia Aboriginal arts 2006 00:30:00 videorecording 1 videodisc (30 minutes) : sound, colour with black and white sequences ; 4 3/4 inches 700.71 Ar796a
Federation University Australia Aboriginal women artists 1992 00:50:00 videorecording 1 videocassette (VHS) (50 min.) : sd., col. ; 1/2 in. 709.94 A154 1992
Federation University Australia Action movie essentials 2007 electronic resource 1 DVD-ROM : col., sd. ; 4 3/4 in. Andrew KRAMER 778.5345 K89A 2007
Federation University Australia Adium : thirty South Australian artists 2004 02:58:00 videorecording 2 videodiscs (178 minutes) : sound, colour ; 4 3/4 inches + support notes. 759.99423 Ad48iu
Federation University Australia Advanced broadcast camera techniques Vols. 1 & 2 2003 videorecording 2 DVDs : sd., col. ; 4 3/4 in. + 2 information sheets. John COOKSEY 778.5 A244 2003
Federation University Australia Ai Weiwei : never sorry 2012 01:25:00 videorecording 1 videodisc (DVD) (85 min.) : sd., col. ; 4 3/4 in. 709.051 A288 2012
Federation University Australia Albert Tucker 1986 01:38:00 videorecording 1 videocassette (VHS) (98 min.) : sd., col. ; 1/2 in. 759.994 A333 1986
Federation University Australia Alex Schweder La : space time performance 2010 01:01:00 videorecording 1 videodisc (61 min.) : sd., col. ; 4 3/4 in. 730.92 Sch97a
Federation University Australia Alexander Calder 2004 01:00:00 videorecording 1 videodisc (DVD) (60 minutes) : sound, colour with black and white sequences ; 4 3/4 inches Thirteen; WNET; Florentine Films; Sherman Pictures 730.92 C127a
Federation University Australia Alfred Stieglitz : the eloquent eye 2001 01:30:00 videorecording 1 videodisc (DVD) (90 min.) : sd., col. with b&w sequences ; 4 3/4 in. Perry Miller ADATO Thirteen/WNET 779.092 S855 ALF 2001
Federation University Australia Alison Watt : phantom 2008 00:54:00 videorecording 1 videodisc (54 minutes) : sound, colour ; 4 3/4 inches Colin WIGGINS 759.2911 W34w
Federation University Australia Alvar Aalto: 1898 - 1976 1989 videorecording 1 videodisc (DVD-ROM) : sd., col. ; 4 3/4 in. 724.910924 Av86aa
Federation University Australia Alvar Sunõl : his vision and his art 00:42:00 videorecording 1 videodisc (42 minutes) : sound, colour, black and white sequences ; 4 3/4 inches Alan STECKER, Betty Jean CRAIGE ASV Communications; University of Georgia 759.6 Av86sh
Federation University Australia American photography : a century of images 2004 02:40:00 videorecording 1 videodisc (DVD) (160 min.) sd., col. ; 4 3/4 in. KTCA St. Paul/Minneapolis; Middlemarch Films, Inc. 770.973 A512 2004
Federation University Australia Ancient Greek art and architecture 2000 00:21:00 videorecording 1 videodisc (DVD) (21 minutes) : sound, colour ; 4 3/4 inches + study guide questions and answers (3 pages) 709.38 An22ga
Federation University Australia Andre Kerteśz 2006 00:30:00 videorecording 1 videodisc (DVD) (30 min.) : sd., col. ; 4 3/4 in. 779.092 K41 AND 2006
Federation University Australia Animated identities : Isobel Knowles, Van Sowerwine, Jemima Wyman 2010 00:30:00 videorecording 1 videodisc (30 mins) : sd., col. ; 4 3/4 in. 709.05 K643oa
Federation University Australia Animation ambiences : live and installed 2011 01:15:00 videorecording 2 DVD-videos (75 min.) : sd., col. ; 4 3/4 in. + 1 CD-ROM (4 3/4 in.) Paul FLETCHER 778.5347 F636a
Federation University Australia Animation in schools : applications and inspiration 2010 00:23:00 videorecording 1 videodisc (DVD) (23 min.) : sd., col. ; 4 3/4 in. 778.5347 An54is
Federation University Australia Annette Bezor 2008 00:59:00 videorecording 1 videodisc (DVD) (59 min.) : sd., col. ; 4 3/4 in. 759.994 B469a
Federation University Australia Annie Leibovitz : life through a lens 2008 01:23:00 videorecording 1 videodisc (DVD) (ca. 83 min.) : sd., col. with b&w sequences ; 4 3/4 in. Barbara LEIBOVITZ 779.092 L525 ANN 2008
Federation University Australia Annie Leibovitz : life through a lens 2006 02:27:00 videorecording 1 videodisc (147 minutes) : sound, colour with black and white sequences ; 4 3/4 inches Barbara LEIBOVITZ 779.2092 An74t
Federation University Australia Antarctic oasis : a haunting journey 2009 00:28:00 videorecording 1 videodisc (DVD) (28 min.) : sd., col. ; 4 3/4 in. 704.94369712 An86oh
Federation University Australia Antoni Tàpies 1979 00:30:00 videorecording 1 videocassette (VHS) (30 min.) : sd., col. ; 1/2 in. 759.6 T162 Z/A
Federation University Australia Antonio Gaudi 2008 01:12:00 videorecording 2 videodiscs (DVD) (72 min.) : sd., col. ; 4 3/4 in. + 1 booklet (34 p.) Noriko NOMURA, Hiroshi TESHIGAHARA Toho Co., Ltd.; Sogetsu Foundation 720.946 G267 ANT 2008
Federation University Australia Antonio Gaudí 2008 01:12:00 videorecording 2 videodiscs (72 minutes) : sound, colour ; 4 3/4 inches + 1 booklet (36 pages) Janus Films; Teshigahara Production 720.92 G233a
Federation University Australia Après l'impressionisme : Vuillard, Seurat, Toulouse-Lautrec 2003 01:30:00 videorecording 1 videodisc (90 minutes) : sound, colour ; 4 3/4 inches 759.056 Ap68i
Federation University Australia Architectural and interior design 2005 00:28:00 videorecording 1 videodisc (DVD) (28 minutes) : sound, colour ; 4 3/4 inches + teacher's notes (2 pages) CLASSROOM VIDEO 729 Ar25id
Federation University Australia Architectures 1 2001 02:43:00 videorecording 1 videodisc (163 minutes) : sound, colour with black and white sequences ; 4 3/4 inches Richard COPANS, Stan NEUMANN 720.9 Ar25ch
Federation University Australia Architectures 2 2003 02:16:00 videorecording 1 videodisc (DVD) (136 minutes) : sound, colour with black and white sequences ; 4 3/4 inches Richard COPANS, Stan NEUMANN 720.9 Ar25ch
Federation University Australia Architectures 3 2003 02:40:00 videorecording 1 videodisc (160 minutes) : sound, colour, NTSC ; 4 3/4 inches 720.9 Ar25ch
Federation University Australia Architectures 4 2005 02:40:00 videorecording 1 videodisc (160 minutes) : sound, colour ; 4 3/4 inches Richard COPANS, Stan NEUMANN 720.9 Ar25ch
Federation University Australia Architectures 5 2007 02:40:00 videorecording 1 videodisc (160 minutes) : sound, colour ; 4 3/4 inches Richard COPANS, Stan NEUMANN 720.9 Ar25ch
Federation University Australia Art + soul 200- 00:55:00 videorecording 3 videodiscs (DVD) (ca. 55 min. each) : sd., col. ; 4 3/4 in. 759.994 Ar756s
Federation University Australia Art + soul: A personal journey into the world of Aboriginal art 02:46:00 2 videodiscs (166 minutes) : sound., colour ; 12 cm + 1 booklet.;"performed music prm rdacontent";"audio s rdamedia";"audio disc sd rdacarrier" 704.039915 A784.3 2010
Federation University Australia Art 21 : art in the twenty-first century . Series one 2004 03:34:00 videorecording 4 videodiscs (ca. 214 min.) : sd., col. ; 4 3/4 in. Susan DOWLING, Susan SOLLINS, Catherine TATGE, Deborah SHAFFER Art 21, Inc. 709.7309051 A784 2004
Federation University Australia Art 21 : art in the twenty-first century. Season 3. 2007 03:36:00 videorecording 4 videodiscs (DVD) (ca. 216 min.) : sd., col. ; 4 3/4 in. 709.7309051 A784 2007
Federation University Australia Art 21 : art in the twenty-first century. Season five 2009 04:00:00 videorecording 1 videodisc (DVD) (ca. 240 min.) : sd., col. ; 4 3/4 in. Susan DOWLING, Susan SOLLINS Art 21, Inc. 709.7309051 A784/5 2009
Federation University Australia Art 21 : art in the twenty-first century. Season four 2007 03:40:00 videorecording 1 videodisc (ca. 220 minutes) : sound, colour ; 4 3/4 inches Susan DOWLING, Susan SOLLINS 709.7309051 A784 2007/4
Federation University Australia Art 21 : art in the twenty-first century. Series 2 2003 03:48:00 videorecording 4 videodiscs (228 min) : sound, colour ; 4 3/4 inches + 1 educator's guide (34 pages : illustrations ; 30 cm.) Susan DOWLING, Susan SOLLINS, Catherine TATGE, Deborah SHAFFER 709.73 Ar75tw2
Federation University Australia Art 21 : art in the twenty-first century. Series 3 2006 03:36:00 videorecording 4 videodiscs (DVD) (216 minutes) : sound colour ; 4 3/4 inches 709.73 Ar75tw3
Federation University Australia Art 21 : art in the twenty-first century. Series two 2003 04:00:00 videorecording 4 videodiscs (DVD) (ca. 60 min. each) : sd., col. ; 4 3/4 in. Susan DOWLING, Susan SOLLINS, Catherine TATGE 709.7309051 A784 2003
Federation University Australia Art 21 : spirituality. Series 1, episode 2 00:54:00 videorecording 1 videodisc (54 min) : sound, colour ; 4 3/4 inches 709.73 Ar75tw1
Federation University Australia Art C20 : the Thames & Hudson multimedia dictionary of modern art 1998 electronic resource 1 computer optical disc : sound, colour ; 4 3/4 inches + booklet ([8] pages ; 18 cm.) 709.04 T366A 2005
Federation University Australia Art Models Ultra : Becca 2010 electronic resource 1 DVD-ROM : col. ; 4 3/4 cm. 743.49 A784 2010
Federation University Australia Art city 2004 02:54:00 videorecording 3 videodiscs (174 minutes each) : sound, colour ; 4 3/4 inches 709.73 Ar75ci
Federation University Australia Art from the heart? 1999 00:56:00 videorecording 1 videocdisc (DVD) (ca. 56 min.) : sd., col. ; 4 3/4 in. 709.9404 A784 1999
Federation University Australia Art from the heart? 1999 00:56:00 videorecording 1 videocdisc (DVD) (ca. 56 min.) : sd., col. ; 4 3/4 in. 759.994 Ar75fh
Federation University Australia Art in Australia : postmodernism and cultural identity 1999 00:50:00 videorecording 1 videodisc (50 mins.) : sound, colour ; 4 3/4 inches Paul WOOD 709.994 Ar75au
Federation University Australia Art in reverse 2004 02:41:00 videorecording 3 videodiscs (161 minutes) : sound, colour 709.94 Ar78ir
Federation University Australia Art in the National Gallery 2003 01:05:00 videorecording 1 videodisc (ca. 65 minutes) : sound, colour ; 4 3/4 inches + teacher's notes (8 pages) 759.2 Ar75tn
Federation University Australia Art in the Tate Modern 2003 01:15:00 videorecording 1 videodisc (DVD) (75 minutes) : sound, colour ; 4 3/4 inches Richard STEMP 708.21 Ar75tt
Federation University Australia Art of lighting for film 2003 electronic resource 1 CD-ROM : sound, colour ; 4 3/4 inches + 1 student workbook (56 pages : colour illustrations ; 24 cm.) 778.5343 Ar75lf
Federation University Australia Art safari 2009 03:44:00 videorecording 2 videodiscs (224 min.) : stereo. sd., col. ; 4 3/4 in. + 1 booklet ([24] p. : ill. ; 19 cm.);"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" Ben LEWIS BBC; ; Bergmann Pictures; TV2 Danmark; 2DF; YLE 1; NPS 709.0511 Ar756s 2009
Federation University Australia Art safari 2005 : complete series 2005 2006 01:56:00 videorecording 1 videodisc (116 minutes) : sound, colour ; 4 3/4 inches 709.0511 Ar75sa
Federation University Australia Art with a message 1990 00:36:00 videorecording 1 videodisc (DVD) (36 min.) : sd., col. ; 4 3/4 in. 704.949301 Ar75wm
Federation University Australia Artfully crafted 2004 00:25:00 videorecording 1 videodisc (25 minutes) : sound, colour ; 4 3/4 inches Katherine JEANS, Michael LAEWEN 724.6 Ar75c
Federation University Australia Arthur Boyd : a man in two worlds 2008 00:56:00 videorecording 1 videodisc (DVD) (56 minutes) : sound, colour ; 4 3/4 inches 759.994 B692am
Federation University Australia Arthur Boyd : testament of a painter 200- 00:55:00 videorecording 1 videodisc (55 minutes) : sound, colour ; 4 3/4 inches 759.994 B692a
Federation University Australia Artists at work : David Frazer 2007 00:28:00 videorecording 1 videodisc (28 min.) : sd., col. ; 4 3/4 in. 709.94 F869a
Federation University Australia Artists at work : Del Kathryn Barton 2010 00:28:00 videorecording 1 videodisc (DVD) (28 min.) : sd., col. ; 4 3/4 in. 709.94 B285a
Federation University Australia Artists at work : Jon Cattapan 2009 00:28:00 videorecording 1 videodisc (DVD) (28 min.) : sd., col. ; 4 3/4 in. Louise TURLEY 759.994 C294a
Federation University Australia Artists at work : Joshua Yeldham 2008 00:28:00 videorecording 1 videodisc (DVD) (ca 28 min.) : sd., col. ; 4 3/4 in. 759.994 Y36a
Federation University Australia Artists at work : Linde Ivimey 2007 00:28:00 videorecording 1 videodisc (28 min.) : sd., col. ; 4 3/4 in. 709.94 Iv5a
Federation University Australia Artists at work : Lindy Lee 2008 00:30:00 videorecording 1 videodisc (DVD) (30 min.) : sd., col. ; 4 3/4 in. 709.94 L513a
Federation University Australia Artists at work : William Eicholtz 2008 00:28:00 videorecording 1 videodisc (DVD) (ca 28 min.) : sd., col. ; 4 3/4 in. 730.994 Ei24aw
Federation University Australia Artists in print [1-5] Etching ; Relief printing ; Lithography ; Screen printing ; Prints and reproductions 1980 videorecording 5 videocassettes (VHS) : sd., col. ; 1/2 in. Suzanne DAVIES 760 Ar78ip
Federation University Australia Artists in the Arnhem Land 1992 00:15:00 videorecording 1 videocassette (VHS) (15 min.) : sd., col. ; 1/2 in. 709.94 A791 1992
Federation University Australia Arts action : a resource to support teachers implement the NSW Creative Arts K-6 syllabus 2002 electronic resource 1 CD-ROM : sd., col. ; 4 3/4 in. + Guide (8 p. : col. ill. ; 21 cm.). New South Wales Department of Education and Training, Professional Support and Curriculum Directorate 707 N558A 2002
Federation University Australia Arts in the West Arts : arts criticism and aesthetics 2006 00:29:00 videorecording 1 videodisc (DVD) (29 minutes) : sound, colour ; 4 3/4 inches 700.71 Ar796a
Federation University Australia Australian artists : Arthur Boyd 1960 slide 9 slides : col. ; 5 x 5 cm. + in folder (19 x 19 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 759.994 B6923A 196-
Federation University Australia Australian artists : Charles Blackman 1970 slide 9 slides : colour ; 5 x 5 cm. + in folder (19 x 19 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 759.994 B565A 197-
Federation University Australia Australian artists : John Brack 1970 slide 10 slides : col. ; 5 x 5 cm. + in folder (19 x 19 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 759.994 B724A 197-
Federation University Australia Australian artists : Russell Drysdale 1970 slide 8 slides : colour ; 5 x 5 cm. + in folder (19 x 19 cm.), teachers' notes (4 leaves ; 33 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 759.994 D849A 197-
Federation University Australia Australian ceramics 1980 slide 25 slides : colour ; 5 x 5 cm.;"still image rdacontent";"projected rdamedia";"slide rdacarrier" SHEPPARTON ART GALLERY 738.20994 Au81
Federation University Australia Australian indigenous images 1999 electronic resource 1 computer disc : ill. ; 4 3/4 in . 709.94 A938 1999
Federation University Australia Australian painters - Sidney Nolan 1960 slide 10 slides : colour ; 5 x 5 cm. + in folder (19 x 19 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 759.994 N715A 196-
Federation University Australia Autour de 1800 : Géricault, David, Goya 2003 01:30:00 videorecording 1 videodisc (90 minutes) : sound, colour ; 4 3/4 inches 759.4 Au82do
Federation University Australia Bacon's arena 2009 01:35:00 videorecording 1 videodisc (DVD) (ca. 95 min.) : sd., col. ; 4 3/4 in. 759.2 B128 BAC 2009
Federation University Australia Bauhaus : the face of the 20th century 00:49:00 videorecording 1 videodisc (DVD) (ca. 49 minutes) : sound, colour ; 4 3/4 inches 709.43 B326ft
Federation University Australia Bauhaus : the face of the 20th century (1994) 00:50:00 1 videodisc (50 minutes) : sound, colour ; 4 3/4 in + 1 booklet (9 pages : illustrations ; 19 cm.) Julia CAVE, Frank WHITFORD 709.43 B326ft
Federation University Australia Behind the design : designers on designing 2007 videorecording 3 videodiscs : sound, colour ; 4 3/4 inches Brian ARNOLD, Brendan EDDY 760 Ar64b
Federation University Australia Ben Quilty and the Maggots 2009 00:30:00 videorecording 1 videodisc (DVD) (30 min.) : sd., col. ; 4 3/4 in. 759.994 Q41ma
Federation University Australia Bernini architect 1997 00:30:00 videorecording 1 videodisc (30 minutes) : sound, colour ; 4 /34 inches Glenn SCOTT 720.92 B457a
Federation University Australia Beyond the dreamtime 200- 00:55:00 videorecording 1 videodisc (DVD) (55 min.) : sd., col. (with some b&w sequences) ; 12 cm. Valley of the Winds; Australian Film Commission 759.994 B468dt
Federation University Australia Beyond the dreamtime (1994) 1994 00:54:00 videorecording 1 videocassette (VHS) (54 min.) : sd., col. ; 1/2 in. Valley of the Winds; Australian Film Commission 759.994 B468dt
Federation University Australia Beyond words : photographers of war 2005 00:58:00 videorecording 1 videodisc (DVD) (58 min.) : sd., col. ; 4 3/4 in. 778.9935502 B573 2005
Federation University Australia Birth of an icon : Frank Gehry's Disney Hall 2004 00:11:00 videorecording 1 videodisc (DVD) (11 minutes) : sound, colour ; 4 3/4 inches 725.81 B539i
Federation University Australia Black Australia 1990 00:58:00 videorecording 1 videocassette (VHS) (58 min.) : sd., col. ; 1/2 in. + teachers' guide (31 p. ; 30 cm.) 305.89915 FIL
Federation University Australia Black angels : a widening vision 00:56:00 videorecording 1 videodisc (DVD) (56 min.) : sd., col. ; 4 3/4 in. 759.994 B561aw
Federation University Australia Black angels : a widening vision 2007 00:56:00 videorecording 1 videodisc (DVD) (56 min.) : sd., col. with some b&w sequences ; 12 cm. 759.994 B627 2007
Federation University Australia Black angels : a widening vision 00:55:00 videorecording 1 videocassette (VHS) (55 min.) : sd., col. ; 1/2 in. 759.994 BLA
Federation University Australia Black white + gray : a portrait of Sam Wagstaff + Robert Mapplethorpe 2008 01:18:00 videorecording 1 videodisc (DVD) (78 min.) : sd., col. with b&w sequences ; 4 3/4 in. James CRUMP LM Media GmbH; Arthouse Films 770.973 W135 BLA 2008
Federation University Australia Body and self : performance art in Australia 1969-96 1996 electronic resource 1 CD-ROM : col. ; 4 3/4 in. Anne MARSH 700.994 M352b
Federation University Australia Boomalli : five Koorie artists 1988 00:28:00 videorecording 1 videocassette (VHS) (28 min.) : sd., col. ; 1/2 in. + teacher's notes (12 p. ; 21 cm.) Paul HUMFRESS, Michael RILEY Film Australia 704.0311 BOO
Federation University Australia Borromini 1996 00:35:00 videorecording 1 videodisc (35 minutes) : sound, colour ; 4 3/4 inches Glenn SCOTT 724.16 B645o
Federation University Australia Brett Whiteley 1973 1973 00:30:00 videorecording 1 videodisc (30 min.) : sd., col., with b&w sequences ; 4 3/4 in. 759.994 W587b
Federation University Australia Brett Whiteley 1973 : Alchemy 1996 00:30:00 videorecording 1 videocassette (VHS) (30 min.) : sd., col., with b&w sequences ; 1/2 in. 709.94 B845 1996
Federation University Australia Building a dream : a family affair 2005 00:41:00 videorecording 1 videodisc (41 min.) : sd., col. ; 4 3/4 in. 728 B868dr
Federation University Australia Building your own potters kiln 2003 01:12:00 videorecording 1 DVD-video (72 min.) : col., sd. ; 4 3/4 in. Graham SHEEHAN 738.136 Sh41b
Federation University Australia Camera natura 200- 00:32:00 videorecording 1 videodisc (DVD) (32 min.) : sd., col. with b&w sequences ; 4 3/4 in. 719.0994 C182 200-
Federation University Australia Caravaggio 2004 00:34:00 videorecording 1 videodisc (34 minutes) : sound, colour ; 4 3/4 inches 759.94 D611 2004
Federation University Australia Carl McConnell : stoneware and porcelain 1977 slide 22 slides ; col. + 1 script ([4] leaves ; 22 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" Carl MCCONNELL, John DALACOUR Crafts Resource Productions; Crafts Council of Australia 738.092 M4599C 1977
Federation University Australia Carol Rudyard : video works compilation 2007 01:15:00 videorecording 1 videodisc (75 min.) : sd., col. ; 4 3/4 in. + 4 catalogues, 2 leaves of plates. 709.94 R836cr
Federation University Australia Carrolup found 2007 00:27:00 videorecording 1 videodisc (27 minutes) : sound : colour, black and white ; 12 cm.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" 759.9941 C2369c 2007
Federation University Australia Caught on camera 2004 00:17:00 videorecording 1 videodisc (DVD) (17 minutes) : sound, colour ; 4 3/4 inches RED GUM TELEVISION, AUSTRALIA 778.59 C31oc
Federation University Australia Cave of forgotten dreams 2012 01:27:00 videorecording 1 videodisc (ca. 87 min.) : sd., col. ; 4 3/4 in. Werner HERZOG, Erik NELSON, Adrienne CIUFFO History Films; Creative Differences 759.0112 C3151f
Federation University Australia Census at Bethlehem 2006 00:52:00 videorecording 1 videodisc (DVD) (52 min.) : sd., col. ; 4 3/4 in. 759.492 B832c
Federation University Australia Ceramics of the 80's, part 1 1980 slide 24 slides : colour ; 5x5 cm. + 1 script ([18] leaves : 22 cm.) + booklist.;"still image rdacontent";"projected rdamedia";"slide rdacarrier" Bernard SAHM, Douglas THOMPSON Crafts Resource Productions, Crafts Council of Australia 738.0994 C3343O 1980
Federation University Australia Ceramics of the 80's, part 11 1980 slide 24 slides : colour ; 5x5 cm. + 1 script ([18] leaves ; 22 cm.) + booklist.;"still image rdacontent";"projected rdamedia";"slide rdacarrier" Bernard SAHM, Douglas THOMPSON Crafts Resource Productions; Crafts Council of Australia 738.0994 C3343O 1980
Federation University Australia Certain doubts of William Kentridge = Certas dùvidas de William Kentridge 2000 00:52:00 videorecording 1 videodisc (52 min.) : sd., col. with b&w sequences ; 4 3/4 in. Associação Cultural Videobrasil 709.2 K419c
Federation University Australia Chagall 2000 00:49:00 videorecording 1 videodisc (49 minutes) : sound, colour ; 43/4 inches 759.7 C346ha
Federation University Australia Challenges and choices : Eduardo Kac, Michael Burton, Shen Shaomin 2010 00:30:00 videorecording 1 videodisc (30 mins) : sd., col. ; 4 3/4 in. 709.05 K643oa
Federation University Australia Charles Blackman : dreams and shadows 2008 00:54:00 videorecording 1 videodisc (DVD) (54 minutes) : sound, colour with black and white sequences ; 4 3/4 inches 759.994 B565cd
Federation University Australia Charles Blackman : dreams and shadows 2008 00:55:00 videorecording 1 videodisc (DVD) (55 min.) : sd., col. with b&w sequences ; 4 3/4 in. Richard MOORE, Felicity ST. JOHN MOORE RM Films; Australian Broadcasting Corporation 759.994 B629 CHA 2008
Federation University Australia Charles Rennie Mackintosh 1983 00:48:00 videorecording 1 videodisc (48 min.) : sd., col. ; 4 3/4 in. Andrew MACMILLAN 720.92 C38r
Federation University Australia Chris Thorne : portrait of an aboriginal artist 2006 00:26:00 videorecording 1 DVD-video (PAL) (26 minutes) : sound, colour ; 12 cm. 759.994 C461tp
Federation University Australia Civilisation : a personal view 2005 10:50:00 videorecording 4 videodiscs (DVD) (ca. 650 min.) : sd., col. ; 4 3/4 in. + 1 viewing notes booklet. Kenneth CLARK, Michael GILL, Peter MONTAGNON 709.1 C582 2005
Federation University Australia Claude Monet : painter of light 2000 00:55:00 videorecording 1 videodisc (55 minutes) : sound, colour ; 12 cm. Dominik RIMBAULT 759.4 M746pl
Federation University Australia Coates art review on CDROM Volume 1, Impressionism 1991 electronic resource 1 computer laser optical disc : col. ; 4 3/4 in. + 1 notes (7 p.) 709.0344 COA
Federation University Australia Color and light in motion imaging 2003 electronic resource 1 CD-ROM : sound, colour ; 4 3/4 inches + 1 student workbook (44 pages : colour illustrations ; 24 cm.) 778.5343 C719lm
Federation University Australia Comic book coloring with Steve Furchow 2007 03:00:00 electronic resource 1 DVD-ROM (180 min.) : sd., col. ; 4 3/4 in. Gnomon Workshop; Design Studio Press 741.6 F983 COM 2007
Federation University Australia Comic book confidential 2005 01:26:00 videorecording 1 videodisc (DVD) (86 min.) : sd., col. with b&w sequences ; 4 3/4 in. 741.5 C733 2005
Federation University Australia Comic book inking with Joe Weems 2007 02:30:00 videorecording 1 videodisc (DVD) (150 min.) : sd., col. ; 4 3/4 in. + 1 folded insert. Gnomon Workshop; Design Studio Press 741.6 W397 COM 2007
Federation University Australia Comic-Con : Episode IV, A fan's hope 2012 01:27:00 videorecording 1 videodisc (87 minutes) : sound, colour ; 12 cm.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" Morgan SPURLOCK 741.5973 C7351c 2012
Federation University Australia Completing the picture : women artists and the Heidelberg era : slide resource kit for art and Australian history and Australian studies 1992 kit 1 book (130 pages ; 21 cm.), 42 slides, 1 copy of articles : col. ill. ; in plastic envelope.;"text rdacontent";"still image rdacontent";"other rdamedia";"projected rdamedia";"slide rdacarrier" 759.994 C738p 1992
Federation University Australia Concept art : an introduction : a drawing tutorial 2010 02:05:00 videorecording 2 videodiscs (DVD) (ca. 125 min.) : sd., col. ; 4 3/4 in. David LOVEGROVE 741.2 C744 2010
Federation University Australia Conceptual storyboarding : storytelling and struggle : storyboarding techniques 2007 02:37:00 electronic resource 1 DVD-ROM (157 min.) : sd., col. ; 4 3/4 in. Derek THOMPSON 741.58 T469 CON 2007
Federation University Australia Conserving our national art 2005 00:24:00 videorecording 1 videodisc (24 minutes) : sound, colour ; 4 3/4 inches + teacher's notes (5 pages) 702.880994 C765on
Federation University Australia Contacts 1 : The great tradition of photojournalism 2000 02:36:00 videorecording 1 videodisc (DVD) (156 min.) : sd., col. ; 4 3/4 in. 770 C759/1 2000
Federation University Australia Contacts 2 : The renewal of contemporary photography 2000 02:23:00 videorecording 1 videodisc (DVD) (143 min.) : sd., col. ; 4 3/4 in. 770 C759/2 2000
Federation University Australia Contacts 3 : Conceptual photography 2004 02:10:00 videorecording 1 videodisc (DVD) (130 min.) : sd., col. ; 4 3/4 in. 770 C759/3 2004
Federation University Australia Contemporary aboriginal art 2009 videorecording 3 videodiscs (DVD) : sd., col. ; 4 3/4 in. 704.039915 C767aa
Federation University Australia Contemporary art post-1960 : painting 1 1992 slide 24 slides : colour ; 5x5 cm. + catalogue notes (15 unnumbered leaves ; 30 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 759.13 C7672A 1992
Federation University Australia Contemporary painting, 1950-1979 1982 01:00:00 videorecording 1 videocassette (VHS) (60 min.) : sd., col. ; 1/2 in. David MUIR, Malcolm OTTON 759.994 C761 1982
Federation University Australia Contemporary trends 1986 00:21:00 videorecording 1 videodisc (21 min.) : sd., col. ; 4 3/4 in. 759.06 C767tr
Federation University Australia Contexts in visual arts 2004 00:24:00 videorecording 1 videodisc (DVD) (24 minutes) : sound, colour ; 4 3/4 inches 700.71 Ar796a
Federation University Australia Copyrites 2006 00:52:00 videorecording 1 videodisc (52 min.) : sd., col. ; 4 3/4 in. Australian Film Finance Corporation 305.89915 C785 2006
Federation University Australia Corrupt mythologies : AES + F, Serge Spitzer, David Eliott 2010 00:30:00 videorecording 1 videodisc (30 mins) : sd., col. ; 4 3/4 in. 709.05 K643oa
Federation University Australia Countdown to Wednesday : an inside look at the comic book biz and how to break in 2003 01:50:00 videorecording 1 videodisc (DVD) (110 min.) : sd., col. ; 4 3/4 in. Roger MICHEFF, Dustin CALLIF, Hal LONG Spacedog 741.5 C855 2003
Federation University Australia Cracking the colour code 2009 02:36:00 videorecording 3 videodiscs (ca. 156 min.) : sd., col. ; 4 3/4 in. 701.85 C841cc
Federation University Australia Creating a logo : a process for designers 2003 00:25:00 videorecording 1 videodisc (25 minutes) : sound, colour ; 4 3/4 inches + video support notes (8 pages ; 30 cm.) 741.6 C86l
Federation University Australia Creating an Australian icon : the Rip Curl logo : a graphic communication case study 1996 00:20:00 videorecording 1 videodisc (DVD) (20 min) : sd., col. ; 4 3/4 in. RIP CURL 741.60994 C912 1996
Federation University Australia Crumb 2010 02:00:00 videorecording 1 videodisc (DVD) (120 min.) : sd., col. ; 4 3/4 in. + 2 booklets.;"two-dimensional moving image tdi rdacontent";"video v rdamedia";"videodisc vd rdacarrier" David LYNCH, Lynn O'DONNELL, Terry ZWIGOFF Superior Pictures 741.5973 C8885C 2010
Federation University Australia Culture as nature 1980 01:00:00 videorecording 1 videocassette (VHS) (60 min.) : sd., col. ; 1/2 in. Robert HUGHES, Lorna PEGRAM, David RICHARDSON 709.04 HUG
Federation University Australia Cultures-paysages = Cultures-landscapes 2004 00:35:00 videorecording 1 videodisc (DVD) (35 min.) : sd., col. ; 1/2 in. + 1 booklet. Laetitia BOURGET 778.59 B772C 2004
Federation University Australia Dada cinema 2005 01:15:00 videorecording 1 videodisc (75 minutes) : sound, black and white ; 4 3/4 inches + booklet (33 pages ; 18 cm.) 709.0406 D12ci
Federation University Australia Dark matter : reactivating myth to visually express the existential experience of 'The Change' 2010 electronic resource 1 computer disc (vii, 107 leaves) : illustrated (chiefly colour) ; 31 cm.;"text rdacontent";"computer rdamedia";"computer disc rdacarrier" Janelle MENDHAM 704.9424 M5231d 2010
Federation University Australia David Batchelor 2006 00:26:00 videorecording 1 videodisc (ca. 26 minutes) : sound, colour with black and white sequences ; 4 3/4 inches 709.2 B314d
Federation University Australia Desert heart 2007 00:27:00 videorecording 1 videodisc (DVD) (27 minutes) : sound, colour ; 4 3/4 inches 704.039915 D457h
Federation University Australia Design 2008 videorecording 3 videodiscs (17 x 26 min.) : sd., col. with b&w sequences ; 4 3/4 in. 745.4 D46es
Federation University Australia Design : applying the elements 2004 00:27:00 videorecording 1 videodisc (27 minutes) : sound, colour ; 4 3/4 inches + notes (8 pages : forms ; 30 cm.) 745.2 D46ae
Federation University Australia Design : understanding the elements 2007 00:18:00 videorecording 1 videodisc (18 minutes) : sound, colour ; 4 3/4 inches James STRZELINSKI, Sherri HOLLAENDER, John ROACH 745.4 D46ue
Federation University Australia Design : understanding the principles 2007 00:22:00 videorecording 1 videodisc (22 minutes) : sound, colour ; 4 3/4 inches James STRZELINSKI, Sherri HOLLAENDER, John ROACH 745.4 D46up
Federation University Australia Design and make it!. 1 1999 01:15:00 videorecording 1 videodisc (75 minutes) : sound, colour ; 4 3/4 inches + 1 teacher's notes ([7] pages : illustrations ; 30 cm.) 745.2 D46mi
Federation University Australia Design and make it!. 2 1999 01:13:00 videorecording 1 videodisc (73 minutes) : sound, colour ; 4 3/4 inches + 1 teacher's notes ([26] pages : illustrations ; 30 cm.) 745.2 D46mi
Federation University Australia Design for sustainability 2008 00:26:00 videorecording 1 videodisc (26 min.) : sd., col. ; 4 3/4 in. + notes. 745.2 D46su
Federation University Australia Designing and constructing a kitchen 2007 00:31:00 videorecording 1 videodisc (DVD) (31 minutes) : sound, colour ; 4 3/4 inches + 1 teacher's notes (15 pages) 747.797 D46ck
Federation University Australia Designing on screen 2009 00:27:00 videorecording 1 DVD (27 min.) : sd., col. ; 4 3/4 in. + program support notes (9 p.) 745.20285 D46os
Federation University Australia Destination art : Australia 2008 00:24:00 videorecording 1 videodisc (ca. 24 min.) : sd., col. ; 4 3/4 in. Francine STOCK 709.94 D474aa
Federation University Australia Destination art : Berlin 2008 00:24:00 videorecording 1 videodisc (ca. 24 min.) : sd., col. ; 4 3/4 in. Francine STOCK 709.43155 D474ab
Federation University Australia Destination art : Israel 2008 00:24:00 videorecording 1 videodisc (ca. 24 min.) : sd., col. ; 4 3/4 in. Francine STOCK 709.5694 D474ai
Federation University Australia Destination art : Italy 00:24:00 1 videodisc (ca. 24 min.) : sd., col. ; 4 3/4 in. Francine STOCK 709.45 D474ai
Federation University Australia Destination art : Los Angeles 2008 00:24:00 videorecording 1 videodisc (ca. 24 min.) : sd., col. ; 4 3/4 in. Francine STOCK 709.79494 D474ao
Federation University Australia Destination art : Mexico City 2008 00:24:00 videorecording 1 videodisc (ca. 24 min.) : sd., col. ; 4 3/4 in. 709.7253 D474am
Federation University Australia Destination art : Tokyo 00:24:00 videorecording 1 videodisc (ca. 24 min.) : sd., col. ; 4 3/4 in. Francine STOCK 709.52135 D474at
Federation University Australia Diane Arbus 2006 00:30:00 videorecording 1 videodisc (DVD) (30 min.) : sd., col. ; 4 3/4 in. 779.092 A667 DIA 2006
Federation University Australia Difficult pleasure : a portrait of Brett Whiteley 2007 00:50:00 videorecording 1 videodisc (50 min.) : sd., col. ; 4 3/4 in. 759.994 W588d
Federation University Australia Digital design 2006 00:24:00 videorecording 1 videodisc (24 min.) : sd., col. ; 4 3/4 in. + program support notes. 729.0285 D569de
Federation University Australia Digital lighting magic 1, 2 & 3 2002 03:45:00 videorecording 3 videodiscs (3 DVD) (75 min. ea.) : sd., col. ; 4 3/4 in. 778.7 D574 2002
Federation University Australia Dithers 2004 03:00:00 videorecording 3 videodiscs (DVD) (ca. 3 hrs.) : sound, colour ; 4 3/4 inches 709.73 D634i
Federation University Australia Donald Friend 1975 01:00:00 videorecording 1 videocassette (VHS) (60 min.) : sd., col. ; 1/2 in. 759.994 D675 1975
Federation University Australia Donald Friend -- artist, author, wit, 1915-1989 : the prodigal Australian 2007 01:30:00 videorecording 1 videodisc (DVD) (90 minutes) : sound, colour ; 4 3/4 inches THE ART GALLERY OF NEW SOUTH WALES 759.994 F915dp
Federation University Australia Dreamings : the art of Aboriginal Australia 1988 00:29:00 videorecording 1 videocassette (VHS) (29 min.) : sd., col. ; 1/2 in. 709.0110994 D771 1988
Federation University Australia Dreamlives 2002 00:25:00 videorecording 1 videocassette (VHS) (25 min.) : sd., col. ; 1 /2 in. Jennifer CRONE 779.092 D771 2002
Federation University Australia Du romantisme au realisme : Delacroix, Ingres, Courbet 2002 01:30:00 videorecording 1 videodisc (90 min.) : sd., col. ; 4 3/4 in. 759.409034 R662r
Federation University Australia E.P. sculptor : five themes and variations in the work of Eduardo Paolozzi 1987 01:00:00 videorecording 1 videodisc (DVD) (60 minutes) : sound, colour ; 4 3/4 inches 730.92 P197ep
Federation University Australia Eating art 2010 02:30:00 videorecording 2 videodiscs (DVD) (ca. 270 min.) : sd., col. ; 4 3/4 in. Oliver PEYTON 704.9496413 E14 2010
Federation University Australia Edward Steichen 2006 00:30:00 videorecording 1 videodisc (DVD) (30 min.) : sd., col. ; 4 3/4 in. David WAYNE 779.092 S818 EDW 2006
Federation University Australia Egyptian relief carving 1960 slide 10 slides : colour ; 5 x 5 cm. + notes (3 pages);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 736.50932 EG78R 196-
Federation University Australia Elements and principles of design 2004 00:59:00 videorecording 1 videodisc (59 minutes) : sound, colour ; 4 3/4 inches 745.4 El26pd
Federation University Australia Emily in Japan : the making of an exhibition 2009 01:22:00 videorecording 1 videodisc (DVD) (ca. 82 min.) : sd., col. ; 4 3/4 in. 759.994 K739e
Federation University Australia Eudosia : my own particular anxiety 2005 00:30:00 videorecording 1 videodisc (DVD) (ca. 30 min.) : sd., col. ; 4 3/4 in. Domenico DE CLARIO 709.94 D295E 2005
Federation University Australia Exit through the gift shop 2010 01:26:00 videorecording 1 videodisc (DVD) (ca. 86 min.) : sd., col. ; 4 3/4 in. Jaimie D'CRUZ Paranoid Pictures; Banksy 751.73 B218E 2010
Federation University Australia Exploring arts issues : galleries on show 2005 00:23:00 videorecording 1 videodisc (DVD) (23 min.) : sd., col. ; 4 3/4 in. + 1 teacher's notes. 708.994 E96 2005
Federation University Australia Exploring modern art 1994 electronic resource 1 computer disc ; 4 3/4 in. + user guide. 709 EXP
Federation University Australia Eye for design : learning visual literacy 2006 00:22:00 videorecording 1 videodisc (22 min.) : sd., col. ; 4 3/4 in. LEARNING SEED 745.401 Ey31d
Federation University Australia Fairweather man 2008 00:56:00 videorecording 1 videodisc (DVD) (56 min.) : sd., col. ; 4 3/4 in. Film Finance Corporation Australia; Fury Productions; Pacific Film and Television Commission 759.994 F169ma
Federation University Australia Famous paintings animations 00:21:00 videorecording 1 videodisc (21 minutes) : sound, colour ; 4 3/4 inches 759 F211p
Federation University Australia Film magic pro 2007 electronic resource 1 DVD-ROM : col., sd. ; 4 3/4 in. Andrew KRAMER 778.5345 K89F 2007
Federation University Australia First citizen : Albert Namatjira 1989 00:54:00 videorecording 1 videodisc (DVD) (54 min.) : sd., col. ; 4 3/4 in. John Davy TRISTRAM, I. James WILSON, Nadine AMADIO 759.994 N174 FIR 20--
Federation University Australia First earth : uncompromising ecological architecture 2010 01:27:00 videorecording 1 videodisc (DVD) (87 min.) : sd., col. ; 4 3/4 in. David SHEEN 720.47 F527 2010
Federation University Australia Four colonial painters, 1832-1887 1980 00:40:00 videorecording 1 videocassette (VHS) (40 min.) : sd., col. ; 1/2 in. David MUIR, Malcolm OTTON 759.994 F773 1980
Federation University Australia Francis Bacon 2000 00:55:00 videorecording 1 videodisc (55 minutes) : sound, colour ; 4 3/4 inches David HINTON London Weekend Television 759.2 B132fb
Federation University Australia Frank & Alvar : Ideas and influences 2006 00:31:00 videorecording 1 videodisc (31 minutes) : sound, colour ; 4 3/4 inches + 1 study guide (4 pages) Films for the Humanities & Sciences 720.92 F851ai
Federation University Australia Frank Hurley : the man who made history 2005 00:59:00 videorecording 1 videodisc (DVD) (59 min.) : sd., col. ; 4 3/4 in. 779.092 H965 FRA 2005
Federation University Australia Frank Lloyd Wright : a film 2004 02:33:00 videorecording 1 videodisc (DVD) (ca. 153 minutes) : sound, colour & black and white ; 4 3/4 inches Ken BURNS, Lynn NOVICK Florentine Films; WETA, Washington, D.C 720.924 W938n
Federation University Australia Freestyle : new Australian design for living 2006 00:30:00 videorecording 1 videodisc (30 minutes) : sound, colour ; 4 3/4 inches + 1 program support notes (11 pages : illustrations ; 30 cm.) Mark MCAULIFFE Object; Australian Centre for Craft and Design; Melbourne Museum; VEA 745.20994 F878na
Federation University Australia From Duchamp to pop art 2002 01:30:00 videorecording 1 videodisc (90 minutes) : sound, colour ; 4 3/4 inches Alain JAUBERT 759.06 D856pa
Federation University Australia Garbage warrior 2008 01:24:00 videorecording 1 videodisc (DVD) (84 min.) : sd., col. ; 4 3/4 in. Oliver HODGE Open Eye Media UK; ITVS International; Sundance Channel 720.47 G162wa
Federation University Australia Gary Hume 2005 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 759.2 H882g
Federation University Australia Gaudi's Barcelona 2003 00:48:00 videorecording 1 videodisc (48 minutes) : sound, colour ; 4 3/4 inches 720.92 G233ba
Federation University Australia Gaudi's shadow 2004 00:55:00 videorecording 1 videodisc (55 min.) : sd., col. ; 4 3/4 in. 720.92 G233s
Federation University Australia Gavin Turk 2003 00:25:00 videorecording 1 videodisc (25 minutes) : sound, colour ; 4 3/4 inches 730.92 T847g
Federation University Australia Geoff Mainwaring 1996 00:35:00 videorecording 1 videocassette (VHS) (35 min.) : sd., col. ; 1/2 in. 759.994 P838ag
Federation University Australia Gerhard Richter painting 2011 01:37:00 videorecording 1 videodisc (DVD) (97 min.) : sd., col. ; 4 3/4 in. Corrina BELZ Zero One Film; Terz Film 759.3 G368 2011
Federation University Australia Ghosts, angels & suburbia : four contemporary Australian artists 1997 00:25:00 videorecording 1 videodisc (25 minutes) : sound, colour ; 4 3/4 inches + teacher's notes (1 pages) + 1 electronic text ( : PDF file) Sue KYTE, Julie RAFFAELE 709.94 G346as
Federation University Australia Ghosts, angels and suburbia : four contemporary Australian artists 1997 00:25:00 videorecording 1 videocassette (VHS) (25 min.) : sd., col. ; 1/2 in. + teachers notes. Sue KYTE, Julie RAFFAELE 709.94 G427 1997
Federation University Australia Gilbert & George 2006 00:26:00 videorecording 1 videodisc (DVD) (26 minutes) : sound, colour ; 4 3/4 inches 709.2 G372ge
Federation University Australia Giotto 2004 00:34:00 videorecording 1 videodisc (34 minutes) : sound, colour ; 4 3/4 inches 759.94 D611 2004
Federation University Australia Girl in a mirror : a portrait of Carol Jerrems 2005 01:40:00 videorecording 1 videodisc (DVD) (100 min.) : sd., col. with b&w sequences ; 4 3/4 in. Film Finance Corporation Australia; Toi-Toi Films 770.92 J486g
Federation University Australia Girl in a mirror : a portrait of Carol Jerrems 2005 00:55:00 videorecording 1 videodisc (DVD) (55 min.) : sd., col. with b&w sequences ; 4 3/4 in. 779.092 J56 DRA 2005
Federation University Australia Godzilla meets the Brady Bunch : the art of Maria Kozic 1986 00:32:00 videorecording 1 videocassette (VHS) (32 min.) : sd., col. ; 1/2 in. 759.994 G592 1989
Federation University Australia Golden summers : the Heidelberg School 1985 00:34:00 videorecording 1 videocassette (VHS) (34 min.) : sd., col. ; 1/2 in. Patrick MCCAUGHEY 759.994 G618 1985
Federation University Australia Goodbye revolution 2008 00:53:00 videorecording 1 videodisc (53 min.) : sd., col. ; 4 3/4 in. + study guide (10 p :ill.; 30 cm.) 759.994 G611re
Federation University Australia Gothic 2004 00:31:00 videorecording 1 videodisc (DVD) (31 minutes) : sound, colour ; 4 3/4 inches University of the West of England, Faculty of the Built Environment; Video Project 723.5 G712ot
Federation University Australia Gothic : art for England 1400-1547 2003 00:50:00 videorecording 1 videodisc (50 min) : colour sd, ; 4 3/4 inches Sam FLYNN Illuminations production; Five 709.4209024 G712ae
Federation University Australia Gothic cathedrals 1995 00:50:00 videorecording 1 videodisc (DVD) (50 min.) : sd., col. ; 4 3/4 in. Jaffe Productions; Hearst Entertainment Television; History Channel 726.6 G712ca
Federation University Australia Goya : crazy like a genius 2002 01:30:00 videorecording 1 videodisc (75 minutes) : sound, colour with black and white sequences ; 12 cm. 759.6 G748cl
Federation University Australia Grace Crowley 1975 00:50:00 videorecording 1 videocassette (VHS) (50 min.) : sd., col. ; 1/2 in. 759.994 G729 1975
Federation University Australia Graffiti limbo 2004 00:19:00 videorecording 1 videodisc (DVD) (19 minutes) : sound, colour ; 4/34 inches Storyville Pictures; Boon Pics; James & James Doc 751.73 G758i
Federation University Australia Graffiti verité : read the writing on the wall 1995 03:35:00 videorecording 5 videodiscs (DVD) (ca 67 minutes each) : sound, colour ; 4 3/4 inches Bob BRYAN 751.730979494 G758vr
Federation University Australia Grand designs 2004 72:08:00 videorecording 24 videodiscs (72 hrs, 8 mins) : sd., col. ; 4 3/4 in. Kevin MCCLOUD, Fiona CALDWELL 728 G7626de
Federation University Australia Grand designs : the complete series one 2004 07:58:00 videorecording 2 videodiscs (478 minutes) : sound, colour ; 4 3/4 inches FremantleMedia; Channel 4 728 G762de
Federation University Australia Grand designs Australia. Series 1 2011 08:06:00 videorecording 3 videodiscs (ca. 486 min.) : sd., col. ; 4 3/4 in. 728.0994 G7626d
Federation University Australia Grand designs. Revisited by request 2013 06:16:00 videorecording 2 videodiscs (ca. 376 min.) : sd., col. ; 4 3/4 in. 728 G7626ds 2013
Federation University Australia Grand designs. Series five 2005 16:48:00 videorecording 5 videodiscs (ca. 1008 min.) : sd., col. ; 4 3/4 in. 728 G762de
Federation University Australia Grant Morrison : talking with gods 2010 01:20:00 videorecording 1 videodisc (DVD) (80 min.) : sd., col. ; 4 3/4 in. Patrick MEANEY Halo-8; Respect Films and Sequart 741.59411 M878 GRA 2010
Federation University Australia Graphic Design services directory 2005 electronic resource 1 CD-ROM ; 4 3/4 in. 741.6025 G766 2005
Federation University Australia Graphics & design : architecture 199- 00:53:00 videorecording 1 videodisc (53 min.) : sd., col. ; 4 3/4 in. + program support notes. Image Link; Video Education Australasia 720.28 G767da
Federation University Australia Gwyn Hanssen Pigott : a potters film 2008 00:30:00 videorecording 1 videodisc (PAL) (30 min.) : sd., col. ; 12 cm. 738.0994 H199pf
Federation University Australia Gwyn Hanssen Pigott : education resource pack 02:00:00 videorecording 1 videodisc (DVD) (120 minutes) : sound, colour ; 4 3/4 inches 738.0994 H199g
Federation University Australia H.R. Giger's sanctuary : a short documentary 2008 00:39:00 videorecording 1 videodisc (DVD) (ca. 39 min.) : sd., col. ; 4 3/4 in. Nick BRANDESTINI, Steve ELLINGTON 709.2 G459 HRG 2008
Federation University Australia Hallucination and landscape : Bill Fontana, David Haines, Joyce Hinterding, Angelica Mesiti 2010 00:30:00 videorecording 1 videodisc (30 mins) : sd., col. ; 4 3/4 in. 709.05 K643oa
Federation University Australia Hamish Fulton 2006 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 779.36 F959h
Federation University Australia Hans Heysen recollections 1990 00:28:00 videorecording 1 videodisc (28 min.) : sd., col. ; 4 3/4 in. Eugene SCHLUSSER, Reg MCLEAN 759.994 H519hh
Federation University Australia Hatsu-yume = First dream 2005 00:56:00 videorecording 1 videodisc (DVD) (56 min.) : sd., col. ; 4 3/4 in. Bill VIOLA 778.59 V795 HAT 2005
Federation University Australia Hazards in the arts 1986 02:30:00 videorecording 1 videocassette (VHS) (ca. 150 min.) : sd. , col. ; 1/2 in. Monona ROSSOL 751.2 HAZ
Federation University Australia Head on 2008 : alternative portraits 2008 00:25:00 videorecording 1 videodisc (ca. 25 minutes) : sound, colour ; 4 3/4 inches 704.942 H34ot
Federation University Australia Heidelberg School - Arthur Streeton 1960 slide 7 slides : colour ; 5 x 5 cm. + in folder (19 x 19 cm.) + study guide (4 pages);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 759.994 St835h 196-
Federation University Australia Heidelberg school : Tom Roberts 1980 slide 8 slides : colour ; 5 x 5 cm. + in folder (19 x 19 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 759.994 R5443h 198-
Federation University Australia Here's my hand : a testimony to an Aboriginal memorial 1988 00:28:00 videorecording 1 videocassette (VHS) (28 min.) : sd., col. ; 1/2 in. 704.039915 H421m 1988
Federation University Australia Hidden treasures : inside the National Library of Australia 2008 00:50:00 videorecording 1 videodisc (DVD) (50 min.) : sd., col. ; 4 3/4 in. Betty CHURCHER 708.99471 H53ti
Federation University Australia Hidden treasures with Betty Churcher 2006 01:15:00 videorecording 1 videodisc (75 minutes) : sound, colour with black and white sequences ; 4 3/4 inches Film Australia; Early Works 708.99471 C475h
Federation University Australia Hired assassins : political cartooning in Australia 2003 00:58:00 videorecording 1 videodisc (58 minutes) : sound, colour ; 4 3/4 inches Helen BARROW Film Finance Corporation Australia; Evershine 741.5994 H614ap
Federation University Australia Hockney at the Tate 2002 00:52:00 videorecording 1 videodisc (DVD) (52 min.) : sd., col. ; 4 3/4 in. + 1 booklet (6 p.) Alan BENSON 759.2 G685 HOC 2002
Federation University Australia How art made the world 2006 04:50:00 videorecording 2 videodiscs (DVD) (290 min.) : sd., col. ; 4 3/4 in. Mark HEDGECOE BBC; KCET Hollywood 709 H847 2006
Federation University Australia How to make digital stories 2008 00:24:00 videorecording 1 videodisc (DVD) (24 min.) : sd., col. ; 4 3/4 in. 778.59 H847 2008
Federation University Australia How to shoot RAW without fear, uncertainty and doubt : video tutorials 2007 videorecording 2 videodiscs ; 4 3/4 inches Michael TAPES 775 T161h
Federation University Australia Howard Hodgkin 2002 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 759.2 H667h
Federation University Australia Howard Taylor : forest artist 2001 00:27:00 videorecording 1 videodisc (DVD) (27 min.) : sd., col. ; 4 3/4 in. 709.94 T242 HOW 2001
Federation University Australia I witness : the art of George Gittoes 1999 00:55:00 videorecording 1 videodisc (55 minutes) : sound, colour ; 4 3/4 inches 759.994 G447i
Federation University Australia Ian Davenport 2006 00:26:00 videorecording 1 videodisc (26minutes) : sound, colour ; 4 3/4 inches 759.06 D274i
Federation University Australia Ian Hamilton Finlay 2005 00:26:00 videorecording 1 videodisc (26 minutes) : sound, col ; 4 3/4 inches Illuminations production; Five 730.941 F496i
Federation University Australia Images and meaning : analysing visual text in newspapers 00:30:00 videorecording 1 videodisc (DVD) (30 min) : sd., col. ; 4 3/4 in. Alan WOODRUFF 741.65 I31 1997
Federation University Australia Impressionism in art and music 1986 00:34:00 videorecording 1 videocassette (VHS)(34 min.) : sd., col. ; 1/2 in. EAV Production 700.9 Im7am
Federation University Australia In the footsteps of Van Gogh 1999 00:56:00 videorecording 1 videodisc (56 minutes) : sound, colour ; 4 3/4 inches Dominik RIMBAULT 759.9492 G557r
Federation University Australia Inside Australia : with Antony Gormley 00:50:00 videorecording 1 videodisc (DVD) (50 minutes) : sound, colour ; 4 3/4 inches 730.92 In7a
Federation University Australia International style 1999 00:25:00 videorecording 1 videodisc (25 minutes) : sound, colour ; 4 3/4 inches 728.37 In8st
Federation University Australia Intimacy of touch screen : Jean DuBois, Chloé Lefebvre, Lawrence Malstaff 00:30:00 videorecording 1 videodisc (30 mins) : sd., col. ; 4 3/4 in. 709.05 K643oa
Federation University Australia Introduction to design : elements 2010 00:24:00 videorecording 1 videodisc (ca. 24 min.) : sd., col. ; 4 3/4 in. Aprille HOLLIS, Scott GARDNER 701.8 In891t
Federation University Australia Intuitive interfaces : David Kousemaker, Laurent Mignonneau & Christa Sommerer, Grégory Lasserre & Anaïs met den Ancxt 2010 00:30:00 videorecording 1 videodisc (30 mins) : sd., col. ; 4 3/4 in. 709.05 K643oa
Federation University Australia Is this art? Episode 6, Poetry : visual poetry 2005 00:33:00 videorecording 1 videodisc (DVD) (ca. 33 min.) : sd., col. ; 4 3/4 in. 709.0407 I73 2005
Federation University Australia James Gleeson : the artist as an evolving landscape 2006 00:29:00 videorecording 1 videodisc (DVD) (29 minutes) : sound, colour ; 4 3/4 inches FILM SOUTH 759.994 G479a
Federation University Australia Jasper Johns : ideas in paint 2006 00:56:00 videorecording 1 videodisc (56 minutes) : sound, colour ; 4 3/4 inches 759.13 J623j
Federation University Australia Jenny Sages: Paths to portraiture 2012 00:28:00 videorecording 1 videodisc (28 min.) : sd., col. ; 4 3/4 in. 759.994 J45s
Federation University Australia Jenny Watson 1986 00:29:00 videorecording 1 videocassette (VHS) (29 min.) : sd., col. ; 1/2 in. 759.994 JEN
Federation University Australia Joe Tilson 2006 00:29:00 videorecording 1 videodisc (29 minutes) : sound, colour ; 4 3/4 inches 709.2 T469j
Federation University Australia John Brack : slide set and notes slide 40 slides : b&w and col. + notes (24 p. : ill. ; 30 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 759.994 B724J 1992
Federation University Australia John Olsen : a retrospective 1991 00:17:00 videorecording 1 videocassette (VHS) (17 min.) : sd., col. ; 1/2 in. 759.994 Ol8j
Federation University Australia John Olsen : journey through you beaut "country." 1992 01:32:00 videorecording 1 videodisc (DVD) (92 minutes) : sound, colour ; 4 3/4 inches 759.994 Ols8jj
Federation University Australia John Szarkowski : a life in photography 1998 00:47:00 videorecording 1 videodisc (DVD) (47 min.) : sd., col. with b&w sequences ; 4 3/4 in. Richard B. WOODWARD, Sandra MCLEOD Checkerboard Foundation, Inc 779.092 S996 JOH 1998
Federation University Australia John Wolseley 2005 02:00:00 videorecording 2 videodiscs (DVD) (120 min.) : sd., col. ; 4 3/4 in. + 1 CD-ROM (4 3/4 in.) 709.2 W837s
Federation University Australia John Wolseley : the smokers have taken the gold 2005 00:29:00 videorecording 1 videodisc (DVD) (29 minutes) : sound, colour ; 4 3/4 inches + 1 teachers book (120 leaves : illustrations ; 30 cm.) Creative Cowboy 709.2 W837s
Federation University Australia Joie de vivre 2005 01:00:00 videorecording 1 videodisc (DVD) (ca. 60 min.) : sd., col. ; 4 3/4 in. 709.05 J74 2005
Federation University Australia Judgement Day : images of heaven and hell 2005 01:09:00 videorecording 1 videodisc (69 min.) : sd., col. ; 4 3/4 in. Tim MARLOW Seventh art productions 704.948 J891di
Federation University Australia Julian Opie 2006 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 730.9224 Op3j
Federation University Australia Julie Gough 2007 02:00:00 videorecording 2 videodiscs (120 min.) : sd., col. ; 4 3/4 in. + 1 CD-ROM (4 3/4 in.) 709.2 G726j
Federation University Australia Julie Gough : we walked on a carpet of stars 2007 00:26:00 videorecording 1 videodisc (DVD) (26 min.) : sd., col. ; 4 3/4 in. + 1 resource book (99 leaves : ill. ; 30 cm.) 709.2 G726j
Federation University Australia Karl Weschke 2006 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 759.2 W511k
Federation University Australia Keith Carter 2006 01:00:00 videorecording 1 videodisc (DVD) (60 min.) : sd., col. ; 4 3/4 in. John SPELLOS Anthropy Arts 779.092 C323 KEI 2006
Federation University Australia Kimberley : Wandjina country 1989 00:46:00 videorecording 1 videocassette (VHS) (46 min.) : sd., col. ; 1/2 in. + teacher's guide (16 p.) 759.994 K49 1989
Federation University Australia Kiss of art. Vol. 3, Generation next 2010 00:30:00 videorecording 1 videodisc (30 min.) : sd., col. ; 12 cm. 709.05 K643oa
Federation University Australia Know what's what in art, craft, design 1997 electronic resource 1 computer optical disc (CD) : sd., col. ; 4 3/4 in. + user's guide. John SKULL 700.105 Sk73k
Federation University Australia La naissance de l'impressionisme = Birth of impressionism = Édouard Manet, Olympia ; Pierre-Auguste Renoir, Le bal du moulin de la Galette ; Claude Monet, Le bassin aux nymphes 2000 01:30:00 videorecording 1 videodisc (90 minutes) : sound, colour ; 4 3/4 inches 759.054 N144dl
Federation University Australia Landscape with figures : the art of Australia 2007 04:53:00 videorecording 5 videodiscs (293 minutes) : sound, colour ; 3 3/4 inches Robert HUGHES 759.994 L239fa
Federation University Australia Lascaux, préhistoire de l'art 2001 01:12:00 videorecording 1 videodisc (72 minutes) : sound, colour & black and white, ; 4 3/4 inches 709.011 L332p
Federation University Australia Le Siècle des Lumieres : Watteau, Chardin, Fragonard 2005 01:30:00 videorecording 1 videodisc (90 minutes) : sound, colour ; 4 3/4 inches 709.033 Si15l
Federation University Australia Le Temps des Titans : Titien, Vinci, Raphaël 2005 01:30:00 videorecording 1 videodisc (90 minutes) : sound, colour ; 4 3/4 inches 709.024 T249dt
Federation University Australia Le grand siècle Française : La Tour, Le Lorrain, Poussin 2003 01:30:00 videorecording 1 videodisc (90 minutes) : sound, colour ; 4 3/4 inches 759.4 G765sf
Federation University Australia Le mystere Picasso = The mystery of Picasso 2003 01:15:00 videorecording 1 videodisc (DVD) (75 min.) : sd., col. and b&w ; 4 3/4 in. Henri-georges CLOUZOT Filmsonor 759.6 P586 CLO 2003
Federation University Australia Le siècle d'or des Pays-Bas : Rubens, Rembrandt, Vermeer 2002 01:30:00 videorecording 1 videodisc (90 min.) : sd., col. ; 4 3/4 in. 759.9492 S15dp
Federation University Australia Len Lye 2007 00:26:00 videorecording 1 videodisc (DVD) (ca. 26 minutes) : sound, colour ; 4 3/4 inches 709.2 L986e
Federation University Australia Len Lye : rhythms 2009 00:47:00 videorecording 1 videodisc (47 minutes) : sound, colour ; 4 3/4 inches + 1 booklet (27 pages : illustrations ; 18 cm.) 709.2 L986r
Federation University Australia Leonardo : the divine Michelangelo 2004 04:55:00 videorecording 2 videodiscs (DVD) (295 min.) : sd., col. ; 4 3/4 in. 709.2 L553d
Federation University Australia Les grands modernes : Picasso, Bonnard, Matisse 2000v 01:30:00 videorecording 1 videodisc (90 minutes) : sound, colour ; 4 3/4 inches 709.2 G764m
Federation University Australia Leunig animated 2002 01:40:00 videorecording 1 videodisc (DVD) (ca. 100 min.) : sd., col. ; 4 3/4 in. 741.5994 L653 2002
Federation University Australia Life drawing : techniques in action 2007 02:48:00 videorecording 2 videodiscs (168 minutes) : sound, colour ; 4 3/4 inches Bridget WOODS 743.4 W861i
Federation University Australia Light & shade 2000 00:10:00 videorecording 1 videodisc (10 min.) : sd., col. ; 4 3/4 in. Double Diamond 741.2 L626sh
Federation University Australia Light and shadow 1991 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 701.8 L626sh
Federation University Australia Lighting 2006 00:21:00 videorecording 1 videodisc (21 min.) : sd., col. ; 4 3/4 in. + program support notes. 729.28 L626ig
Federation University Australia Lighting for digital video 2005 00:36:00 videorecording 1 videodisc (DVD) (ca. 36 min.) : sd., col. ; 4 3/4 in. 778.592 L724 2005
Federation University Australia Liliane Lijn 2005 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 730.973 L627l
Federation University Australia Lisa Milroy 2006 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 759.2 M638l
Federation University Australia Lisa Roet : ape lady 2009 00:28:00 videorecording 1 videodisc (DVD) (28 min.) : sd., col. ; 4 3/4 in. 704.9432988 R629al
Federation University Australia Listening to the paintings : Australia 00:38:00 videorecording 1 videodisc (DVD) (38 minutes) : sound, colour ; 4 3/4 inches + 1 sound disc + teacher notes (10 leaves ; 30 cm.) 759.994 L697tp
Federation University Australia Lloyd Rees : a tribute to Sydney 20-- 00:30:00 videorecording 1 videodisc (DVD) (30 min) : sd., col. with b&w sequences ; 4 3/4 in. Sue GREGORY, Wendy CHARELL 759.994 R259t
Federation University Australia Louis Kahn : silence and light 1997 01:00:00 videorecording 1 videodisc (60 min.) : sd., col. with b&w sequences ; 4 3/4 in. Michael BLACKWOOD 720.92 L9289s
Federation University Australia Louise Bourgeois 2008 00:52:00 videorecording 1 videodisc (DVD) (52 minutes) : sound, colour ; 4 3/4 inches + booklet (11 pages) Camille GUICHARD Terra Luna Films; Centre George Pompidou 730.92 B666u
Federation University Australia Louise Bourgeois : the spider, the mistress and the tangerine 2010 01:39:00 videorecording 1 videodisc (DVD) (ca. 99 min.) : sd., col. ; 4 3/4 in. 730.973 B772 LOU 2010
Federation University Australia Lucy Culliton's big skies 2010 00:26:00 videorecording 1 videodisc (DVD) (26 min) : sd., col. ; 4 3/4 in. Sue GREGORY, Wendy CHARELL 759.994 C898bs
Federation University Australia Making masterpieces 1997 03:00:00 videorecording 6 videodiscs (DVD)(180 min.) : sd., col. ; 4 3/4 in. 751 M235 1997
Federation University Australia Malcolm Morley 2006 00:34:00 videorecording 1 videodisc (34 minutes) : sound, colour ; 4 3/4 inches 759.2 M828m
Federation University Australia Man Ray 2004 00:50:00 videorecording 1 videodisc (DVD) (50 min.) : sd., col. and b&w ; 4 3/4 in. 709.2 R264 MAN 2004
Federation University Australia Manet : the man who invented modern art 2012 01:29:00 videorecording 1 videodisc (DVD) (ca. 89 min.) : sd., col. ; 4 3/4 in. 759.4 M3131m
Federation University Australia Manufactured landscapes 2008 01:36:00 videorecording 1 videodisc (DVD) (ca. 96 min.) : sd., col. ; 4 3/4 in. MONGREL MEDIA Mercury Films; Foundry Films; National Film Board of Canada; TVOntario 779.092 B974 MAN 2008
Federation University Australia Margaret Olley : a life in paint 2012 00:55:00 videorecording 1 videodisc (DVD) (55 min.) : sd., col. with b & w sequences ; 12 cm. 759.994 M327 2012
Federation University Australia Market of dreams 1990 00:52:00 videorecording 1 videodisc (52 min.) : sd., col. ; 4 3/4 in. 759.994 M341d
Federation University Australia Martin Creed 2006 00:26:00 videorecording 1 videodisc (26 min.) : sound, colour ; 4 3/4 in.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" 709.2 C8613m 2006
Federation University Australia Mask making 1994 01:00:00 videorecording 1 videodisc (60 minutes) : sound, colour ; 4 3/4 inches Kriszta BODONYI 731.75 M379m
Federation University Australia Masters of design 200- videorecording 2 videodiscs (DVD) : sound, colour ; 4 3/4inches Exero Media 729 M393d
Federation University Australia Materials for design : resin jewellery 2006 00:24:00 videorecording videorecording 739.27028 M417d
Federation University Australia Matisse/Picasso 2002 00:52:00 videorecording 1 videodisc (52 minutes) : sound, colour ; 4 3/4 inches 759.4 M427p
Federation University Australia Max Germaine's artists and galleries on CD-ROM : the essential reference of contemporary art in Australia 1997 electronic resource 1 computer optical disc (CD) : sd., col. ; 4 3/4 in. 709.940320 G317a
Federation University Australia McCullin 2012 01:31:00 videorecording 1 videodisc (91 minutes) : sound, colour, back and white sequences ; 4 3/4 in.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" Jacqui MORRIS, David MORRIS 770.92 M1392c 2012
Federation University Australia Meaning in abstract art 2006 00:31:00 videorecording 1 videodisc (31 minutes) : sound, colour ; 4 3/4 inches + 1 program support notes (8 pages ; 30 cm.) Paul WOOD 709.04052 M462aa
Federation University Australia Meeting James Gleeson 2004 00:50:00 videorecording 1 videodisc (DVD) (50 minutes) : sound, colour ; 4 3/4 inches 759.994 G479ja
Federation University Australia Melbourne : the school of the forties, 1943-1947 1981 00:42:00 videorecording 1 videocassette (VHS PAL) (42 min.) : sd., col. ; 1/2 in. 759.994 M517 1984
Federation University Australia Michael Cardew, 1901-1983 1999 00:30:00 videorecording 1 videodisc (30 min.) : sd., col. ; 4 3/4 in. Eve MUIR, Fred FEIBEL 738.092 C178mc
Federation University Australia Michael Landy 2005 00:26:00 videorecording 1 videodisc (ca. 26 minutes) : sound, colour ; 4 3/4 inches Illuminations Production; Channel Four Television, London; WDR, Cologne 709.2 L239m
Federation University Australia Michael Leunig 00:28:00 videorecording 1 videodisc (28 minutes) : sound, colour ; 4 3/4 inches 741.5994 L572m
Federation University Australia Michelangelo 2004 00:41:00 videorecording 1 videodisc (41 minutes) : sound, colour ; 4 3/4 inches 759.94 D611 2004
Federation University Australia Michelangelo's David 2001 00:49:00 videorecording 1 videodisc (DVD) (49 min.) : sd., col. ; 4 3/4 in. + teacher's notes. 730.92 M582d
Federation University Australia Microsoft art gallery : the collection of the National Gallery, London 1993 electronic resource 1 computer laser optical disc : sd., col. ; 4 3/4 in. + user guide. 708.212 MIC
Federation University Australia Mies 2006 01:01:00 videorecording 1 videodisc (61 minutes) : sound, colour with black and white sequences ; 4 3/4 inches 720.92 M586ie
Federation University Australia Milliya rumarra = Brand new day 1984 00:50:00 videorecording 1 videocassette (VHS) (50 min.) : sd., col. ; 1/2 in. 700.99411 M655 1984
Federation University Australia Mona Hatoum 2005 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches Sam FLYNN Illuminations Production; Channel Four Television, London; WDR, Cologne 709.2 H286m
Federation University Australia Monsieur René Magritte 1978 00:51:00 videorecording 1 videodisc (51 minutes) : sound, colour ; 4 3/4 in + 1 booklet (9 pages : illustrations ; 19 cm.) RM Productions; Antenne 2; WDR 759.9493 M276m
Federation University Australia Monumental vision 2007 02:45:00 videorecording 6 videodiscs (DVD) (165 min.) : sd., col. ; 4 3/4 in. 730.994 R724 MON 2007
Federation University Australia More human than human 2005 00:52:00 videorecording 1 videodisc (DVD) (52 minutes) : sound, colour ; 4 3/4 inches + teacher's note (9 pages, 30 cm.) 704.942 M813h
Federation University Australia More than a glance : Tony Woods 2005 00:15:00 videorecording 1 videodisc (15 minutes) : sound colour ; 4 3/4 inches 759.994 W867mt
Federation University Australia Morning Star painter : Aboriginal art and culture 00:30:00 1 videocassette (30 min.) : sd., col. ; 1/2 in. 709.011 M828s 1979
Federation University Australia Music and dance 2007 00:30:00 videorecording 1 videodisc (DVD) (30 min.) : sd., col. ; 4 3/4 in. Justin SHORTAL, Rod PARNALL 700.71 Ar796a
Federation University Australia Naked states 2002 01:20:00 videorecording 1 videodisc (80 minutes) : sound, colour ; 4 3/4 inches Arlene DONNELLY Junto Films Production; Chaiken Films 704.9421 N145st
Federation University Australia New buildings in old settings : Ted Cullinan talks to Victoria Perry 200- 00:53:00 videorecording 1 videodisc (53 min.) : sd., col. ; 4 3/4 in. Monica PIDGEON 720.28 C897n
Federation University Australia New directions in clay 1983 slide 24 slides : col. + 1 script ([15] leaves ; 21 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" 738.0994 N42
Federation University Australia Noise driven ambient audio and visuals 2006 videorecording 1 videodisc : sd., col. ; 4 3/4 in. KNBSC505 778.59 N784 2006
Federation University Australia Nora Heysen : a life of her own 2006 00:55:00 videorecording 1 videodisc (55 minutes) : sound, colour ; 4 3/4 inches Eugene SCHLUSSER, Reg MCLEAN 759.994 H519nl
Federation University Australia Not quite art 2007 01:30:00 videorecording 3 videodiscs (30 min. ea.) : sd., col. ; 12 cm. 709 N843q
Federation University Australia Not quite art 2007 01:30:00 videorecording 1 videodisc (DVD) (ca. 90 min.) : sd., col. ; 12 cm. 709 N899 2007
Federation University Australia Not quite art. Series 2 2007 01:21:00 videorecording 3 videodiscs (81 min.) : sd. , col. ; 4 3/4 in.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" Emma CRIMMINGS, Frank HAINES 709 N843q
Federation University Australia Objects of desire 2009 videorecording 2 videodiscs (DVD) (102 min.) : sd., col. ; 4 3/4 in. 745.2 Ut8bt
Federation University Australia Ochre and ink : a Chinese artist in Aboriginal Australia 2011 00:27:00 videorecording 1 videodisc (27 min.) : sd., col. ; 4 3/4 in. + 1 study guide (14 p.: col. ill. ; 30 cm.). 759.994 Oc37i
Federation University Australia Olafur Eliasson : notion motion 2005 01:30:00 videorecording 1 videodisc (DVD) (90 min.) : sound, colour ; 4 /34 in.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" 709.489 El42o 2005
Federation University Australia Ordinary miracles : the Photo League's New York 2012 01:17:00 videorecording 1 videodisc (DVD)(77 min.) : sd., b&w and col. ; 4 3/4 in. Daniel ALLENTUCK, Nina ROSENBLUM 779.997471 O65 2012
Federation University Australia Originality in design : creating a unique form language 2005 02:00:00 videorecording 1 videodisc (DVD) (120 min.) : sd., col. ; 4 3/4 in. Nick PUGH 741.6 P978 ORI 2005
Federation University Australia P & S '86 1986 kit 58 slides : colour ; 5 x 5 cm.;"still image rdacontent";"projected rdamedia";"slide rdacarrier" 709.047 P4163s 1986
Federation University Australia Painting Australia 2007 02:42:00 videorecording 3 videodiscs (DVD) (162 min.) : sd., col. ; 4 3/4 in. 759.994 P148.1 2007
Federation University Australia Painting Australia 2007 02:42:00 videorecording 3 videodiscs (DVD) (162 min.) : sd., col. ; 4 3/4 in. 759.994 P166au
Federation University Australia Painting country 2000 00:52:00 videorecording 1 videocassette (VHS) (52 min.) : sd., col. ; 1/2 in. Sally INGLETON, Robin EASTWOOD, Andrew OGILVIE 759.994 P148 2000
Federation University Australia Painting country 2000 00:52:00 videorecording 1 videodisc (52 minutes) : sound, colour ; 4 3/4 inches Australian Film Finance Corporation; Electric Pictures; Robin Eastwood Productions 759.9940899915 P166co
Federation University Australia Painting the town : a film about Yosl Bergner 2008 00:58:00 videorecording 1 DVD-video (PAL)(58 min.) : sound, colour with some black &white sequences ; 12 cm.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" 759.994 B4545p 2008
Federation University Australia Paradise found : the story of Islamic art 2011 01:43:00 videorecording 1 videodisc (DVD) (103 min.) : sd., col. ; 4 3/4 in. 709.1767 P211f
Federation University Australia Paris : the luminous years 2011 01:46:00 videorecording 1 videodisc (DVD) (ca. 106 min.) : sd., col. ; 4 3/4 in. 700.904 P2186u
Federation University Australia Patterns of landscape : through the eyes of Fred Williams, 1927-1982 1989 00:46:00 videorecording 1 videocassette (VHS) (46 min.) : sd., col. ; 1/2 in. Christina WILCOX 709.94 PAT
Federation University Australia Paul Driessen : inside out 2003 00:52:00 videorecording 1 videodisc (DVD) (52 minutes) : sound, colour ; 4 3/4 inches Ton GLOUDEMANS, Paul DRIESSEN, Guus VAN WAVEREN 778.5347 D831i
Federation University Australia Paul Driessen : inside out 2006 00:52:00 videorecording 1 videodisc (DVD) (52 min.) : sd., col. ; 4 3/4 in. Ton GLOUDEMANS, Paul DRIESSEN, Guus VAN WAVEREN 778.5347 P324 2006
Federation University Australia Permutations into darkness trilogy 1985 02:26:00 videorecording 1 videocassette (VHS) (146 min.) : sd., col. ; 1/2 in. + notes(5 p.) Nicholas TSOUTAS 709.94 P451 1985
Federation University Australia Peter Berner's loaded brush 2005 00:56:00 videorecording 1 videodisc (DVD) (56 min.) : sd., col. ; 4 3/4 in. 757 B525 PET 2005
Federation University Australia Peter Berner's loaded brush 2005 00:56:00 videorecording 1 videodisc (DVD) (56 min.) : sd., col. ; 4 3/4 in. 757 P441bb
Federation University Australia Peter Churcher : the master at work 2005 00:40:00 videorecording 1 DVD-video (40 min.) : sd., col. ; 12 cm. 757.0994 C475p
Federation University Australia Phillip McConnell - forms and surface 1980 slide 17 col. slides (plastic mounts) ; 5 x 5 cm., teacher's manual.;"still image rdacontent";"projected rdamedia";"slide rdacarrier" John DALACOUR Crafts Council of Australia Resource Centre 738.092 M4599P 1980
Federation University Australia Photographers of Australia : Dupain, Sievers, Moore 1992 00:43:00 videorecording 1 videodisc (DVD) (43 min.) : sd., col., with b&w sequences ; 4 3/4in. 770.994 P575 1992
Federation University Australia Photography 2006 00:14:00 videorecording 1 videodisc (DVD) (14 minutes) : sound, colour ; 4 3/4 inches 770 P566h
Federation University Australia Picasso : Guernica (1937) 2006 00:52:00 videorecording 1 videodisc (DVD) (052 min.) : sd., col. ; 4 3/4 in. 759.6 P581gu
Federation University Australia Piero della Francesca 2004 00:35:00 videorecording 1 videodisc (35 minutes) : sound, colour ; 4 3/4 inches 759.94 D611 2004
Federation University Australia Plains tribal dream catchers and medicine bags 2005 00:24:00 videorecording 1 videodisc (24 minutes) : sound, colour ; 4 3/4 inches 745.5 P691td
Federation University Australia Poles apart 2001 01:00:00 videorecording 1 videodisc (DVD) (60 min.) : sd., col. ; 4 3/4 in. 701.030994 P758ap
Federation University Australia Portrait of Imogen 1987 00:26:00 videorecording 1 videocassette (VHS) (26 min.) : sd., b&w ; 1/2 in. 770.92 P853 1987
Federation University Australia Poster art 1914-1920 : an interactive art exhibition on a CD-ROM disc 1993 electronic resource 1 optical laser disc : sd., col. ; 4 3/4 in., in container 13 x 15 x 1 cm. BOARD OF STUDIES NSW 741.67407 POS
Federation University Australia Prairie style 1998 00:23:00 videorecording 1 videodisc (23 min.) (DVD) : sd., col. ; 4 3/4 in. 728.37 P884st
Federation University Australia Private life of a masterpiece. Series 3, Sunflowers 2004 00:50:00 videorecording 1 videodisc (DVD) (50 minutes) : sound, colour ; 4 3/4 inches + teacher's note (10 pages 30 cm) 759.9492 G557p
Federation University Australia Prix Ars Electronica : CyberArts 2008 : international compendium Prix Ars Electronica : Computer animation/film/VFX, digital music, hybrid art, interactive art, digital communities, Media Art Research Award, u19 - freestyle computing 2008 319 pages : illustrations (some colour) ; 24 cm. + 1 DVD-ROM, 1 CD (51 minutes) + booklet (12 pages : illustrations ; 12 cm.) Hannes LEOPOLDSEDER, Christine SCHöPF, Gerfried STOCKER 776.2 P939p
Federation University Australia Professional practice : Dominique Falla 00:59:00 videorecording 1 videodisc (59 min.) : sd., col. ; 4 3/4 in. VCV 741.6092 F19p
Federation University Australia RASH 2005 01:12:00 videorecording 1 videodisc (72 min.) : sound, colour ; 4 3/4 in.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" Nicholas HANSEN 751.73099451 R1835a 2005
Federation University Australia Rachel Whiteread 2005 00:26:00 videorecording 1 videodisc (DVD) (26 minutes) : sound, colour ; 4 3/4 inches 730.92 W588r
Federation University Australia Rachel Whiteread : house 1995 00:26:00 videorecording 1 videocassette (VHS) (26 min.) : sd., col.; 1/2 in. John KELLY, Helen SILVERLOCK 730.9421 R119 1995
Federation University Australia Raffaello 00:42:00 videorecording 1 videodisc (42 minutes) : sound, colour ; 4 3/4 inches 759.94 D611 2004
Federation University Australia Rembrandt and his world 00:42:00 videorecording 1 videodisc (42 min.) : col., sd. ; 4 3/4 in. Robin LUTZ 759.9492 R282l
Federation University Australia Rembrandt's masterly brushstrokes : a scientific research of his paint in collaboration with DSM 00:28:00 videorecording 1 videodisc (ca. 28 minutes) : sound, colour ; 4 3/4inches Visser & Van Rijckevorsel Filmprodukties 759.9492 R282v
Federation University Australia Remembrance of things to come 2008 01:08:00 videorecording 1 videodisc (DVD) (68 min.) : sd., b&w ; 4 3/4 in. Chris MARKER, Yannick BELLON Les Films de l'equinoxe; ARTE France 779.092 B447 REM 2008
Federation University Australia Remote-controlled suspension 1987 00:18:00 videorecording 1 videocassette (VHS) (18 min) : sd. col. ; 1/2 in. 700.92 St38r 1987
Federation University Australia Return to the dreaming 1969 00:50:00 videorecording 1 videocassette (VHS) (50 min) : sd., col. ; 1/2 in. 709.011 R439 1969
Federation University Australia Returning figures : a sculpture commission by Greg Johns for Ibiza 2005 00:27:00 videorecording 1 videodisc (27 minutes) : sound, colour ; 4 3/4 inches Ashley STARKEY 730.994 R316f
Federation University Australia Richard Deacon 2006 00:26:00 videorecording 1 videodisc (DVD) (26 min.) : sound, colour ; 4 3/4 in.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" 730.92 D3404r 2006
Federation University Australia Richard Tuttle : never not an artist 2005 00:32:00 videorecording 1 videodisc (32 min.) : sd., col. ; 4 3/4 in. Twelve films 709.2 T888nn
Federation University Australia Richard Wilson 2006 00:26:00 videorecording 1 videodisc (DVD) (26 min.) : sound, colour ; 4 3/4 in.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" 709.2 W6971r 2006
Federation University Australia Rivers and tides : Andy Goldsworthy : working with time 2006 02:35:00 videorecording 2 videodiscs (DVD) (ca. 155 min.) : sd., col. ; 4 3/4 in. + booklet ([19] p. : ill. ; 19 cm.) 730.942 R524ta
Federation University Australia Road to Cherbourg : surveying issues in contemporary indigenous art 1999 electronic resource 1 computer optical disc (CD-ROM) : sd., col. ; 4 3/4 in. 759.994 S485 ROA 1999
Federation University Australia Roar! : Melbourne expressionism in the 1980s 00:26:00 videorecording 1 videodisc (DVD) (25 min.) : sd., col. ; 4 3/4 in. + teacher notes (5 p.) Traudi ALLEN, Peter WISEMAN 709.9451 R628 2006
Federation University Australia Robert Irwin : the beauty of questions 1997 01:00:00 videorecording 1 videocassette (VHS) (60 min.) : sd., col. with b&w sequences ; 1/2 in. 709.2 R641 1997
Federation University Australia Robert Jacks : the artist's journey 00:20:00 videorecording 1 DVD-video (20 min.) : sd., col. ; 12 cm. 759.994 J131rj
Federation University Australia Robert Rauschenberg : man at work 2001 00:57:00 videorecording 1 videodisc (57 minutes) : sound, colour ; 4 3/4 inches Andrea MILLER, Chris GRANLUND BBC; RM Arts; Guggenheim Museum; Ovation 709.2 R193r
Federation University Australia Rome wasn't built in a day 2011 04:42:00 videorecording 6 videodiscs (282 min.) : sd., col. ; 4 3/4 in. 728.8093763 R6642w
Federation University Australia Ron Mueck 2007 00:14:00 videorecording 1 videodisc (DVD) (14 minutes) : sound, colour ; 4 3/4 inches 730.92 M885rm
Federation University Australia Ron Mueck : [a girl] : Cacmálaga, Centro de Arte Contemporáneo de Málaga 2007 videorecording 1 videodisc (DVD) : sd., col. ; 4 3/4 in. 730.994 M945R 2007
Federation University Australia Ron Mueck : [a girl] : Cacmálaga, Centro de Arte Contemporáneo de Málaga 2007 01:10:00 videorecording 1 videodisc (ca 70 minutes) : sound, colour ; 4 3/4 inches 730.92 M885c
Federation University Australia Roy Lichtenstein 2005 00:51:00 videorecording 1 videodisc (DVD) (51 minutes) : sound, colour ; 4 3/4 inches Chris HUNT 709.24 L617r
Federation University Australia Roy Lichtenstein 2005 00:53:00 videorecording 1 videodisc (DVD) (ca. 53 min.) : sd., col. ; 4 3/4 in. Chris HUNT 759.13 L699 ROY 2005
Federation University Australia Rubens and his world 1998 electronic resource 1 CD-ROM : sd., col. ; 4 3/4 in. Hans DEVISSCHER, Paul HUVENNE, Hans NIEUWDORP 759.9493 R823d
Federation University Australia Rupert Charles Wulsten Bunny : colour, mood and the senses 2000 00:58:00 videorecording 1 videodisc (58 minutes) : sound, colour ; 4 3/4 inches Eugene SCHLUSSER, Reg MCLEAN 759.994 B885rc
Federation University Australia Safety in ceramics 1983 00:12:00 videorecording 1 videocassette (VHS) (12 min.) : sd., col. ; 1/2 in. K. STARBUCK 738.18 S128 1983
Federation University Australia Santiago Sierra : art vs globalisation 2006 00:29:00 videorecording 1 videodisc (29 min.) : sd., col. ; 4 3/4 in. 709.2 Si17s
Federation University Australia Saving Fallingwater 00:54:00 videorecording 1 videodisc (DVD) (54 min.) : sd., col. and b&w ; 4 3/4 in. Kenneth LOVE 728 W949 SAV 2006
Federation University Australia Sculpting comic book style 2008 02:00:00 videorecording 1 videodisc (DVD) (120 min.) : sd., col. ; 4 3/4 in. John BROWN, Chris SEARS 731.42 B878 SCUL 2008
Federation University Australia Sculpture by the sea 2007 00:39:00 videorecording 1 videodisc (DVD) (ca. 39 minutes) : sound, colour ; 4 3/4 inches Rebel PENFOLD-RUSSELL, Adam BAYLISS 730.994 Sc78se
Federation University Australia Sears Tower 2004 00:45:00 videorecording 1 videodisc (45 min.) : sd., col. and b&w ; 4 3/4 in. Kristina DJOKIC, Emily LAU, Bruce NASH Actuality Productions, Inc 720.483 Se17to
Federation University Australia Seeingdrawing 2001 electronic resource 1 DVD-ROM : sd., col. ; 4 3/4 in. + 1 sheet Don GRATTON London Institute IT Research and Development Unit 741.0285 L847S 2001
Federation University Australia Selection of edited parts from : Suspension and amplified body events 1990 00:55:00 videorecording 1 videocassette (VHS) (55 min.) : sd., col. ; 1/2 in. 700.92 St38s 1990
Federation University Australia Serious effects & compositing : advanced techniques for After Effects 7 2006 electronic resource 1 DVD-ROM (ca. 180 min.) : sd., col. ; 4 3/4 in. Andrew KRAMER 778.5345 K89S 2006
Federation University Australia Show us a light : the art of Carrolup 1991 00:28:00 videorecording 1 videocassette (VHS) (ca. 28 min.) : sd., col. ; 1/2 in. Pat NUNN, John WILLIAMSON, Nancy SOKIL, Diana WILLIAMS Marribank Family Centre Education Section 759.9941 Sh82ul
Federation University Australia Show us a light : the art of Carrolup (200-) 200- 00:28:00 1 videodisc (28 minutes) : sound, colour ; 4 3/4 inches 759.9941 Sh82ul
Federation University Australia Sidney Nolan : an Australian dream 1982 01:10:00 videorecording 1 videocassette (ca. 70 min.) : sd., col. ; 1/2 in. 759.994 N711s
Federation University Australia Sidney Nolan, Mary Nolan : an Australian dream 1982 01:11:00 videorecording 1 videodisc (DVD) (71 min.) : sd., col. ; 4 3/4 in. 759.994 N711s
Federation University Australia Sidney Nolan, Mary Nolan : an Australian dream 2004 01:15:00 videorecording 1 videodisc (DVD) (75 min.) : sd., col. ; 4 3/4 in. 759.994 N789S BEN 2004
Federation University Australia Signac : revealing light 2000 00:51:00 videorecording 1 videodisc (51 minutes) : sound, colour ; 4 3/4inches Dominik RIMBAULT 759.4 Si26rl
Federation University Australia Site specific 2007 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 728.37 Si86sp
Federation University Australia Skyscrapers 2004 01:05:00 videorecording 1 videodisc (ca. 65 minutes) : sound, colour ; 4 3/4 inches WGBH Science Unit; Production Group, Inc 720.483 Sk96ys
Federation University Australia Snow, sand and savages : the life of Frank Hurley 1999 00:47:00 videorecording 1 videocassette (47 min.) : sd., b&w ; 1/2 in. 770.92 H965 SNO 1999
Federation University Australia Sophie Calle : conceptual heart 2006 00:29:00 videorecording 1 videodisc (29 min.) : sd., col. ; 4 3/4 in. Ben LEWIS 709.2 C132s
Federation University Australia Speaking of art : John Szarkowski on John Szarkowski 2005 01:00:00 videorecording 1 videodisc (DVD) (ca. 60 min.) : sd., col. ; 4 3/4 in. Checkerboard Foundation, Inc 779.092 S996 SPE 2005
Federation University Australia Sport and money 2000 00:26:00 videorecording 1 videodisc (26 min.) : sd., col. ; 4 3/4 in. + support notes. 306.483 S764 2000
Federation University Australia State of the art : ideas and images in the 1980s 2006 05:29:00 videorecording 2 videodiscs (329 min.) : sound, colour ; 12 cm;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" Illuminations Production; Channel Four Television, London; WDR, Cologne 701 St2914a 1987
Federation University Australia State of the art : ideas and images in the 1980s 2006 videorecording 2 videodiscs ( minutes) : sound, colour ; 4 3/4 inches Illuminations Production; Channel Four Television, London; WDR, Cologne 709.048 St29oa
Federation University Australia Steam power : the Eveleigh Railway workshops 2010 00:17:00 videorecording 1 videodisc (DVD) (17 min.) : sd., col. with b&w sequences ; 4 3/4 in. 711.750994 S799 2010
Federation University Australia Stelarc Contemporary arts media presents 2005 00:36:00 videorecording 1 videodisc (DVD) (36 minutes) : sound, colour ; 1/2 inches + 1 CD-ROM. 700.92 St38ca
Federation University Australia Stubbs & the horse 2005 00:40:00 videorecording 1 videodisc (DVD) (ca. 40 min.) : sd., col. ; 4 3/4 in. 759.2 S932 2005
Federation University Australia Student art - a case study : Holly Cole, photographer 1996 00:17:00 videorecording 1 videocassette (VHS) (17 mins) : sd., col. ; 1/2 in. + 1 teacher notes Alan WOODRUFF 770.28 S933 1996
Federation University Australia Studio : Australian painters on the nature of creativity 2007 01:43:00 videorecording 1 videodisc (103 min) : sd., col. ; 4 3/4 in.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" 759.994 St9465a 2007
Federation University Australia Successful video production 1999 05:42:00 videorecording 4 videodiscs (DVD) (342 min.) : sd., col. ; 4 3/4 in. + 8 user guides. Mik PARSONS 778.592 S942.2 2002
Federation University Australia Sunday arts : 07/09/2008 2008 00:57:00 videorecording 1 videodisc (DVD) (ca. 57 min.) : sd., col. ; 4 3/4 in. 709.94 Su72sa
Federation University Australia Sunday arts : 31/08/2008 2008 00:57:00 videorecording 1 videodisc (DVD) (ca. 57 min.) : sd., col. ; 4 3/4 in. 709.94 Su72s
Federation University Australia Sunday arts : the best of the visual artists 2009 02:10:00 videorecording 2 videodiscs (ca. 130 min.) : sd., col. ; 4 3/4 in. 709.94 Su722a
Federation University Australia Superstar 2000 01:27:00 videorecording 1 videodisc (DVD)(87 min.) : sd., b&w & col. ; 4 3/4 in. Chuck WORKMAN Marilyn Lewis Entertainment Ltd 709.2 W275 WOR 2000
Federation University Australia Surface design on ceramics 1978 slide 27 slides : col. + 1 script ([9] leaves ; 22 cm.);"still image rdacontent";"projected rdamedia";"slide rdacarrier" Stephen BENWELL, Ivan HEXTER Crafts Resource Productions; Crafts Council of Australia 738.092 B447S 1978
Federation University Australia Suzon Fuks #1 2008 00:43:00 videorecording 1 videodisc (43 min.) : sd., col. ; 4 3/4 in. Suzon FUKS 709.04 F989s
Federation University Australia Suzon Fuks #2 2008 00:42:00 videorecording 1 videodisc (DVD) (42 min.) : sd., col. ; 4 3/4 in. Suzon FUKS 709.04 F989s
Federation University Australia Tadao Ando 1989 00:59:00 videorecording 1 videodisc (59 min.) : sd., col. with b&w sequences ; 4 3/4 in. 720.92 An24t
Federation University Australia Takashi Murakami : toying with art 00:28:00 1 videodisc (28 min.) : sd., col. ; 4 3/4 in. 709.2 M931t
Federation University Australia Talking about Aboriginal art 1992 03:18:00 videorecording 4 videocassettes (VHS) (198 min.) : sd., col. ; 1/2 in. + teacher's notes (31 p. : 1 map, ports. ; 21 cm.) 709.94 T144a
Federation University Australia Talking art 2005 00:51:00 videorecording 1 DVD (51 minutes) : sound, colour ; 4 3/4 inches + teacher's notes ([8] pages 30 cm.) 709.41 T131a
Federation University Australia Teaching through the arts 2009 00:37:00 videorecording 1 videodisc (DVD) (37 min.) : sd., col. ; 4 3/4 in. Annette MUÑOZ-KADRWEAS 700.71 T253 2009
Federation University Australia The Adventure of photography : 150 years of the photographic image 1988 04:20:00 videorecording 2 videodiscs (DVD) (260 min.) : sd., col. ; 4 3/4 in. 770.9 A244 1998
Federation University Australia The Arts 2008 00:28:00 videorecording 1 videodisc (DVD) (28 min.) : sd., col. ; 4 3/4 in. 701.03 Ar79t
Federation University Australia The Australian Aboriginal heritage : an introduction through the arts 320 p. : ill. (some col.), maps, music ; 31 cm + 2 sound discs (33 1/3 rpm; 12 in) Ronald M. BERNDT, E.s. PHILLIPS 700.994 AUS
Federation University Australia The Australian impressionists, 1888-1896 1983 00:49:00 videorecording 1 videocassette (VHS) (49 min.) : sd., col. ; 1/2 in. David MUIR, Malcolm OTTON 759.994 A938 1983
Federation University Australia The Australian modernists, 1916-1942 1981 00:48:00 videorecording 1 videocassette (VHS PAL) (48 min.) : sd., col. ; 1/2 in. 759.994 A938 1984
Federation University Australia The Break with tradition 1986 00:32:00 videorecording 1 videodisc (32 min.) : sd., col. ; 4 3/4 in. 759.054 B74wt
Federation University Australia The Colosseum 2004 00:44:00 videorecording 1 videodisc (44 min.) : sd., col. ; 4 3/4 in. 722.7 C719ol
Federation University Australia The Commonwealth Bank second national ceramic award, Canberra 1988 1988 slide 40 slides : colour, plastic ; 5x5 cm.;"still image rdacontent";"projected rdamedia";"slide rdacarrier" 738.0994 C737B 1988
Federation University Australia The Dali dimension : decoding the mind of a genius 2007 01:15:00 videorecording 1 videodisc (75 min.) : sd., col. ; 4 3/4 in. The Salvador Dali Society; Mediapro; Media 3.14; Televisio de Catalunya; Fundacio Gala-Salvador Dali; Institut Ramon Llull; AVRO; TVE Tematicos; RTBF; YLE Teema 759.6 D143 DAL 2007
Federation University Australia The Errol Morris collection : Gates of heaven, Vernon Florida, The thin blue line 2006 04:01:00 videorecording 3 videodiscs (DVD) (ca. 56 mins, 83 mins, 102 mins.) : sd., col. ; 4 3/4 in. Errol MORRIS 778.5 E72 2006
Federation University Australia The Fred Perry shirt 1990 00:30:00 videorecording 1 videocassette (VHS) (30 min.) : sd., col. ; 1/2 in. 745.2 F852 1990
Federation University Australia The French connection 2007 00:27:00 videorecording 1 videodisc (27 minutes) : sound, colour ; 4 3/4 inches 704.039915 F887c
Federation University Australia The Future that was 1979 01:00:00 videorecording 1 videocassette (VHS) (60 min.) : sd., col. ; 1/2 in. Robert HUGHES, David RICHARDSON 709.04 HUG
Federation University Australia The Gothic cathedral : a landmark in engineering 2000 00:26:00 videorecording 1 videodisc (DVD) (26 minutes) : sound, colour ; 4 3/4 inches 723.5 G712c
Federation University Australia The Impressionists : painting and revolution 2012 02:56:00 videorecording 2 videodiscs (DVDs) (ca. 236 min.) : sd., col. ; 4 3/4 in. 759.054 Im77m
Federation University Australia The Impressionists : with Tim Marlow 1998 03:12:00 videorecording 8 videodiscs (192 min.) : sd., col. ; 4 3/4 in. Phil GRABSKY, Ali RAY Seventh Art; Channel 5 759.054 Im7pr
Federation University Australia The Kiss 2004 00:50:00 videorecording 1 videodisc (DVD) (50 minutes) : sound, colour ; 4 3/4 inches + teacher's notes. 730.944 R617k
Federation University Australia The Landscape of pleasure 1979 01:00:00 videorecording 1 videocassette (VHS) (60 min.) : sd., col. with b&w sequences ; 1/2 in. Robert HUGHES, Lorna PEGRAM 709.04 HUG
Federation University Australia The Mechanical paradise 1979 01:00:00 videorecording 1 videocassette (VHS) (60 min.) : sd., col. with b&w sequences ; 1/2 in. Robert HUGHES 709.04 HUG
Federation University Australia The Metropolitan Museum seminars in art : expressionism/abstraction 1986 00:24:00 videorecording 1 videodisc (24 minutes) : sound colour ; 4 3/4 inches 759.0642 M567me
Federation University Australia The Metropolitan Museum seminars in art : techniques 1986 00:27:00 videorecording 1 videodisc (27 minutes) : sound, colour ; 4 3/4 inches The Center for Humanities 702.8 M567mt
Federation University Australia The Michelangelo code : cracking the secrets of the Sistine ceiling 2011 01:43:00 videorecording 1 videodisc (103 min.) : sd., col. ; 4 3/4 in. 759.5 M58252c
Federation University Australia The Morning star painter 1979 00:27:00 videorecording 1 videocassette (VHS) (27 min.) : sd., col. ; 1/2 in. 759.994 M866 1979
Federation University Australia The Natzlers 2003 00:15:00 videorecording 1 videodisc (15 min.) : sd., col. ; 4 3/4 in. Los Angeles County Museum of Art 738.0973 N219at
Federation University Australia The Powers that be 1979 01:00:00 videorecording 1 videocassette (VHS) (60 min.) : sd., col. 1/2 in. 709.04 HUG
Federation University Australia The Saatchi 100 2004 00:51:00 videorecording 1 videodisc (51 minutes) : sound, colour ; 4 3/4 inches 709.04 Sa12oh
Federation University Australia The Threshold of liberty 1980 00:52:00 videorecording 1 videocassette, 52 min. : sd., col. BBC-TV Time-Life Television 709.04 HUG
Federation University Australia The View from the edge 1979 01:00:00 videorecording 1 videocassette (VHS) (60 min.) : sd., col. with b&w sequences ; 1/2 in. 709.04 HUG
Federation University Australia The art and films of Lynn Hershman Leeson : secret agents, private I 2005 xix, 229 p., [16] p. of plates : ill. (some col.) ; 23 cm. + 1 DVD-ROM (4 3/4 in.) Meredith TROMBLE, Robin HELD, Kyle STEPHAN 700.92 H572 TRO 2005
Federation University Australia The art life 2007 01:18:00 videorecording 1 videodisc (DVD) (78 min.) : sd., col. ; 4 3/4 in. 709.94 A784 2007
Federation University Australia The art of Arnhem Land : past, present and future 1996 00:13:00 videorecording 1 videocassette (VHS) (13 minutes) : sound, colour ; 1/2 inches + 1 teacher notes. Marilynne BRADLEY 704.039915 Ar75al
Federation University Australia The art of Bill Henson 2006 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 770.92 H398ab
Federation University Australia The art of ancient Greece : The art of ancient Rome 1997 00:36:00 videorecording 1 videodisc (36 min.) : sd., col. ; 4 3/4 in. 709.38 Ar75ag
Federation University Australia The art of war 2005 01:44:00 videorecording 1 videodisc (DVD) (ca. 104 min) : sd., col. ; 4 3/4 in. 704.94935502 A748 2005
Federation University Australia The art of war 2005 01:44:00 videorecording 1 videodisc (DVD) (ca. 104 min) : sound, colour ; 4 3/4 inches 759.994 Ar75ow
Federation University Australia The artist as a social critic 1986 00:27:00 videorecording 1 videodisc (DVD) (27 min.) : sd., col. ; 4 3/4 in. 750 Ar78sc
Federation University Australia The artist as content 2004 videorecording 1 videodisc (DVD) : sd., col. ; 4 3/4in. 702.81 A791.3 2004
Federation University Australia The arts course advice : professional development support kit 1996 1 v. (loose-leaf) : forms ; 32 cm. + 1 videocassette. 700.710945 V645A 1996
Federation University Australia The arts show : Gascoigne country 2005 00:26:00 videorecording 1 videodisc (26 minutes) : sound, colour ; 4 3/4 inches 700.994 Ar79sh
Federation University Australia The ballad of Genesis and Lady Jaye 2012 01:10:00 videorecording 1 videodisc (DVD) (70 min.) : sd., col & b&w ; 4 3/4 in. Marie LOSIER, Steve HOLMGREN, Martin MARQUET 700.92 B188 2012
Federation University Australia The curious world of Hieronymus Bosch 2016 01:30:00 videorecording 1 videodisc (approximately 90 min.) : DVD video, sound, colour ; 12 cm.;"two-dimensional moving image tdi rdacontent";"video v rdamedia";"videodisc vd rdacarrier" 759.9492 B6506C 2016
Federation University Australia The cutting edge : the magic of movie editing 2005 01:39:00 videorecording 1 videodisc (99 minutes) : sound, colour and black and white ; 4 3/4 inches Mark Jonathan HARRIS, Wendy APPLE Starz Encore Entertainment; TCEP, Inc. production; The American Cinema Editors (ACE); NHK; BBC; AVRO 778.535 C982ed
Federation University Australia The development of decorative arts in Australia : Morris & Co. and imported taste, 1862-1939 2004 electronic resource 1 CD-ROM (2 volumes (ix, 848 leaves) : illustrations) ; 12 cm.;"text rdacontent";"computer rdamedia";"computer disc rdacarrier" Lesley Anne BAKER 745.0994 B1748d 2004
Federation University Australia The films of Charles & Ray Eames 2005 05:37:00 videorecording 6 videodiscs (337 minutes) : sound, colour ; 4 3/4 inches Eames DEMETRIOS, Shelley MILLS 745.20973 Ea62f
Federation University Australia The genius of photography 2009 05:52:00 videorecording 2 videodiscs (352 min.) : sd., col. with b&w sequences ; 4 3/4 in. WALL TO WALL Fulmar Television & Film; BBC 770.9 G331 2009
Federation University Australia The homes of Frank Lloyd Wright 1996 00:50:00 videorecording 1 videodisc (50 min.) : sd., col. ; 4 3/4 in. 728.3 W931h
Federation University Australia The impressionists : the other French Revolution 2001 01:40:00 videorecording 2 videodiscs (DVD) (ca. 100 min.) : sd., col. ; 4 3/4 in. 759.054 I34 2001
Federation University Australia The king of Belle-Ile : the story of Australia's first Impressionist painter John Russell 2001 00:52:00 videorecording 1 videocassette (VHS) (52 min.) : sd., col. ; 1/2 in. Albie THOMS 759.994 R964 KIN 2001
Federation University Australia The mindscape of Alan Moore 2006 01:18:00 videorecording 2 videodiscs (DVD) (78 min.) : sd., col. ; 4 3/4 in. + 1 booklet ([20] p. : col. ill. ; 19 cm.) Dez VYLENZ Shadowsnake Films 741.5941 M821 MIN 2006
Federation University Australia The photographers 2000 00:56:00 videorecording 1 videodisc (DVD) (56 min.) : sd., col. ; 4 3/4 in. NATIONAL GEOGRAPHIC SOCIETY 770.092 P575 2000
Federation University Australia The private life of a masterpiece. The complete series 1-5 2008 17:58:00 videorecording 7 videodiscs (ca. 1078 minutes) : sound, colour with black and white sequences ; 4 3/4 inches Russell DAVIES, Jeremy BUGLER Fulmar Television & Film; BBC 759.4 M313d
Federation University Australia The quest of Jimmy Pike 2009 00:51:00 videorecording 1 videodisc (51 min.) : sd., col. ; 4 3/4 in. I. James WILSON, Pat LOWE, John TRISTAM Juniper Film 759.994 Q38jp
Federation University Australia The reconstruction of space 1986 00:21:00 videorecording 1 videodisc (21 min.) : sd., col. ; 4 3/4 in. 759.0632 R245os
Federation University Australia The return to the mother : male surrealists - female bodies 2001 electronic resource 1 CD-ROM ; 4 3/4 in. (2 volumes : illustrations);"text rdacontent";"computer rdamedia";"computer disc rdacarrier" Marion MANIFOLD 709.04063 M3143r 2001
Federation University Australia The scream 2005 00:44:00 videorecording 1 videodisc (DVD) (44 minutes) : sound, colour ; 4 3/4 inches+ teacher's notes. 769.92 M921s
Federation University Australia The sculpture 100 : England's public sculpture 1905-2005 2005 00:58:00 videorecording 1 videodisc (58 minutes) : sound, colour ; 4 3/4 inches Sam FLYNN, Sebastian GRANT, Ajay HOTHI 730.941 Sc48oe
Federation University Australia The serpent and the cross 1991 00:55:00 videorecording 1 videocassette (VHS) (55 min.) : sd., col. ; 1/2 in. Chris HILTON, Ray THOMAS, Belinda NOLAN 759.994 S486 1991
Federation University Australia The true meaning of pictures : Shelby Lee Adams' Appalachia 2002 00:55:00 videorecording 1 videodisc (DVD) (ca. 55 min.) : sd., col. ; 4 3/4 in. Jennifer BAICHWAL 779.2 A217 TRU 2002
Federation University Australia The universe of Keith Haring 2008 01:30:00 videorecording 1 videodisc (90 min.) : sd., col. ; 4 3/4 in. Christina CLAUSEN Arthouse Films; Curiously Bright Entertainment ; OVERCOM; French Connection Films 709.7470904 Un3kh
Federation University Australia The universe of Keith Haring 2009 01:40:00 videorecording 1 videodisc (DVD) (ca. 100 min.) : sd., col. ; 4 3/4 in. 759.13 H281 UNI 2009
Federation University Australia The view from here 2002 00:26:00 videorecording 1 videodisc (26 min.) : sd., col ; 43/4 in. 759.994238 V679fh
Federation University Australia The way things go 2010 00:30:00 videorecording 1 videodisc (30 min.) : sd., col. ; 4 3/4 in. Peter FISCHLI, David WEISS T & C Film AG Zurich Production; Alfred Richterich 709.040755 W357 2010
Federation University Australia Tom & Jerry 2009 videorecording 2 videodiscs (DVD) : sd., col. & b&w ; 4 3/4 in. Thunderbean 741.5 T655 2009
Federation University Australia Tony Cragg 2006 00:26:00 videorecording 1 videodisc (ca. 26 minutes) : sound, colour ; 4 3/4 inches 730.92 C843t
Federation University Australia Touch the Earth lightly : the life and work of Glenn Murcutt 1994 00:54:00 videorecording 1 videodisc (DVD) (54 min.) : sd., col. ; 4 3/4 in. 728.0994 T642el
Federation University Australia Tracey Emin 2005 00:26:00 videorecording 1 DVD (26 minutes) : sound, colour ; 4 3/4 inches 709.2 Em47tr
Federation University Australia Tradition and change : art from the desert 1992 00:43:00 videorecording 1 videocassette (VHS) (43 min.) : sd., col. ; 1/2 in. 709.94 T763 1992
Federation University Australia Transformation and transience : a studio exploration of transformation through change, pattern and ornament 2012 electronic resource 1 computer disc (198 pages : colour illustrations);"text rdacontent";"computer rdamedia";"computer disc rdacarrier" Megan CAMPBELL 709.05015 C1532t 2012
Federation University Australia Trouble in Utopia 1980 00:58:00 videorecording 1 videocassette (VHS PAL) (58 min.) : sd., col. with b&w sequences ; 1/2 in. Robert HUGHES 709.04 HUG
Federation University Australia Twentieth century artistic revolutions 1996 00:32:00 videorecording 1 videocassette (VHS) (32 mins) : sd.,col. ; 1/2 in. + program notes, worksheets. 700.9 T918ca
Federation University Australia Two thirds sky : artists in desert country 2002 00:53:00 videorecording 1 videodisc (DVD) (53 minutes) : sound, colour ; 4 3/4 inches Australian Film Finance Corporation; Arcadia Pictures Production 759.994 T93ts
Federation University Australia Two women in three dimensions 1988 00:50:00 videorecording 1 videocassette (VHS) (50 min.) : sd., col. ; 1/2 in. 730.941 T93wt
Federation University Australia Ultimate : heroic male 2008 electronic resource 2 computer optical discs (DVD) : col. ; 4 3/4 in. 760.0285 U47.2 2008
Federation University Australia Ultimate boy toys 2000 videorecording 2 videodiscs (DVDs) : sd., col. ; 4 3/4 in. 745.2 U47 200-
Federation University Australia Understanding colour 2007 00:50:00 videorecording 1 videodisc (DVD)(50 min.) : sd., col. ; 4 3/4 in. 701.85 U55 2007
Federation University Australia Understanding colour 2007 00:50:00 videorecording 1 videodisc (DVD)(50 minutes) : sound, colour ; 4 3/4 inches+ notes (5 pages) 701.85 Un2c
Federation University Australia Understanding value and painting facial features 2008 01:18:00 videorecording 1 videodisc (ca. 78 min.) : sd., col. ; 4 3/4 in. Karyn MEYER, Daniella WOOLF artistsnetwork.tv 751.45 Un2vp
Federation University Australia Up in the sky : Tracey Moffat in New York 1999 00:26:00 videorecording 1 videocassette (VHS)(ca. 26 min.) : sd., col. ; 1/2 in. Jane COLE 779.9994 M695 COL 1999
Federation University Australia Up in the sky : Tracey Moffatt in New York : a film 1999 00:26:00 videorecording 1 videodisc (DVD) (26 min.) : sd., col. ; 4 3/4 in. Jane COLE 770.92 M723c
Federation University Australia Upper pleistocene art 1990 00:27:00 videorecording 1 videocassette (VHS) (27 min.) : sd., col. ; 1/2 in. 709.011 U68 199-
Federation University Australia Urban Aboriginal artists 1992 00:43:00 videorecording 1 videocassette (VHS) (43 min.) : sd., col. ; 1/2 in. 709.94 U72 1992
Federation University Australia Using color : creating color harmony 2006 00:21:00 videorecording 1 videodisc (21 minutes) : sound, colour ; 4 3/4 inches Learning Seed; Video Stage Fright Productions 701.85 Us4cc
Federation University Australia Van Dyck 2004 00:41:00 videorecording 1 videodisc (41 minutes) : sound, colour ; 4 3/4 inches 759.94 D611 2004
Federation University Australia Vera Moller 15/09/02 2003 00:16:00 sound recording 1 sound disc (ca 16 min.) : digital, stereo ; 4 3/4 in. ABC Radio National 709.2 M726 COP 2003
Federation University Australia Video-animation and sound art 2010 01:15:00 videorecording 3 DVD-videos (75 min.) : sd., col. ; 4 3/4 in. + 1 CD-ROM (4 3/4 in.) Paul FLETCHER 778.5347 F636v
Federation University Australia Vincent van Gogh 2005 00:50:00 videorecording 1 videodisc (DVD) (50 minutes) : sound, colour ; 4 3/4 inches Daniel ZUCKERBROT, Donna ZUCKERBROT 759.9492 G557z
Federation University Australia Visions of light : the art of cinematography 1994 01:31:00 videorecording 1 videodisc (91 minutes) : sound, colour with b&w sequences ; 1/2 inches 778.53 V825ol
Federation University Australia Visions of light : the art of cinematography 2000 01:32:00 videorecording 1 videodisc (92 min.) : sd., col. with b&w sequences ; 4 3/4 in. The American Film Institute; NHK Japan Broadcasting Corporation; American Society of Cinematographers 778.53 V831 2000
Federation University Australia Visions of light : the art of cinematography 2009 01:31:00 videorecording 1 videodisc (DVD) (91 min.) : sd., col. with b&w sequences ; 4 3/4 in. 778.53 V831 2009
Federation University Australia Visual design : elements and principles 2005 00:20:00 videorecording 1 videodisc (DVD) (20 min.) : sd., col. ; 4 3/4 in. Stewart ARDEN, John DAVIS 745.4 V829de
Federation University Australia Visual design basics 2007 electronic resource 745.4 V829db
Federation University Australia Visual literacy 2000 00:29:00 videorecording 1 videodisc (29 minutes) : sound, colour ; 4 3/4 inches 700.71 Ar796a
Federation University Australia Vong Phaophanit 2006 00:26:00 videorecording 1 videodisc (26 min.) : sound, colour ; 4 3/4 in.;"two-dimensional moving image rdacontent";"video rdamedia";"videodisc rdacarrier" 709.2 P493v 2006
Federation University Australia W. Eugene Smith : photography made difficult 2001 01:29:00 videorecording 1 videodisc (89 min.) : sd., col. ; 4 3/4 in. WES FORee Productions; WQED/Pittsburgh; WNET/New York 779.092 S663 LAS 2001
Federation University Australia Walker ceramics award 1992 1992 00:30:00 videorecording 1 videocassette (VHS) (30 min) : sd., col. ;1/2 in. 738.0994 W151c 1992
Federation University Australia Walker ceramics award retrospective 1977-1991 1993 00:40:00 videorecording 1 videocassette (VHS) (c40 min.) : sd., col. ; 1/2 in. WALKER CERAMICS 738.0994 W151c 1977-1991
Federation University Australia Walking, dancing, belonging 2007 00:22:00 videorecording 1 videodisc (22 min.) : sd., col. ; 4 3/4 in. 704.039915 W154db
Federation University Australia War Paint 2012 00:30:00 videorecording 1 videodisc (30 min.) : sd., col. ; 4 3/4 in. 759.994 W195p
Federation University Australia What is art? : What is the meaning of life? 2006 00:52:00 videorecording 1 videodisc (DVD) (52 minutes) : sound, colour ; 4 3/4 inches 701.1 Ex15ww
Federation University Australia What is minimalism : the American perspective 1958-1968 2004 01:01:00 videorecording 1 videodisc (61 minutes) : sound, colour ; 4 3/4 inches 709.040973 W556im
Federation University Australia Wheel throwing 1990 00:47:00 videorecording 1 vidoecassette (VHS) (47 min.) : sd., col. ; 1/2 in. 738.14 W561 1990
Federation University Australia Who gets to call it art? : a film by Peter Rosen 2005 01:20:00 videorecording 1 videodisc (ca. 80 min.) : sd., col., ; 4 3/4 in. Peter ROSEN 700.973092 W62ga
Federation University Australia William Turnbull 2005 00:27:00 videorecording 1 videodisc (27 minutes) : sound, col ; 4 3/4 inches 730.942 T849w
Federation University Australia Wilson "Snowflake" Bentley digital archives : the man and his images. Volume 1. 1999 electronic resource 1 CD-ROM : sd., b&w, col. ; 4 3/4 in. Meredith TROMBLE, Robin HELD, Kyle STEPHAN 700.92 B446w
Federation University Australia Wim Delvoye : is this sh*t art? 00:29:00 videorecording 1 videodisc (29 min.) : sd., col. ; 4 3/4 in. 709.2 D389w
Federation University Australia Women's art and feminism 1994 00:30:00 videorecording 1 videodisc (DVD) (30 min.) : sd., col. ; 4 3/4 in. Traudi ALLEN 704.042 W872 1994
Federation University Australia Women's art and feminism 1994 00:55:00 videorecording 1 videocassette (VHS) (55 min.) : sd., col. ; 1/2 in. + 1 teacher notes (4 p.) Traudi ALLEN 709.94 W842af
Federation University Australia Write and unite 2004 01:10:00 videorecording 1 videodisc (70 minutes) : sound, colour ; 4 3/4 inches MAGIC MOMENTS, SICK156 751.73 W93un
Federation University Australia Yinka Shonibare 2005 00:26:00 videorecording 1 videodisc (26 minutes) : sound, col ; 4 3/4 inches 709.2 Sh75y
Flinders University Art Museum 1) Inner and Outer 2) Before and After 3) Doppelganger 1970 1979 c 1970s 1/2 inch, reel to reel, black and white Helican Scan video tape (high density), 30 mins International Art. Post-Object And Documentation Art John FISHER 723
Flinders University Art Museum 1/ Five secular settings 2/ A different drummer 3/ Face to face 4/ Gunfire undated U-matic video Dimensions : 25.3 cm h x 17.5 cm w x 3.8 cm d International Art. Post-Object And Documentation Art Ken UNSWORTH 1227
Flinders University Art Museum 26 hours 1976 1976 created 10-11 December 1976 unknown Super 8mm film © the artist International Art Stuart BRISLEY Gift of the Australian Experimental Art Foundation Transferred to VHS tape 'EAF video documentation 1975-78' by Leigh Hobba in the mid-1990s. 5560
Flinders University Art Museum 3 poems for Mary Kathleen 1985 1985 created 8 May 1985 unknown audio © the estate of the artist Australian Art Jenny BOULT Gift of the Australian Experimental Art Foundation 5602b
Flinders University Art Museum 600,000 hours of mortality 1995 1995 created 1 October 1995 02:35:50 VHS video CAMPFIRE AGENCY, Michael EATHER, Richard GRAYSON, Leon MARVELL, Laurie NILSEN, Colin PARDOE, William YANG Supporting documentation indicates this tape is the master recording for works 5627, 5643.001, 5643.002. 5643.005
Flinders University Art Museum 600,000 hours of mortality 1 1995 1995 created 1 October 1995 01:30 audio Elisabeth BRONFEN, Anna GIBBS Conference proceedings. The National Library of Australia holds a collection of the papers presented and can be found at https://catalogue.nla.gov.au/Record/850118. 5601
Flinders University Art Museum 600,000 hours of mortality 2 1994 1994 created 1 October 1994 01:30 audio Felicity FENNER, Anna GIBBS, Jane GOODALL, Gary KRUG, Anne LOXLEY Conference proceedings. The National Library of Australia holds a collection of the papers presented and can be found at https://catalogue.nla.gov.au/Record/850118. 5608
Flinders University Art Museum 600,000 hours of mortality 3 1994 1994 created 1 October 1994 01:30 audio Gary KRUG, Thomas SOKOLOWSKI, Jyanni STEFFENSEN Conference proceedings. The National Library of Australia holds a collection of the papers presented and can be found at https://catalogue.nla.gov.au/Record/850118. 5606
Flinders University Art Museum 600,000 hours of mortality 3: Richard Grayson, Dr Colin Pardoe, Campfire Agency: Michael Eather and Laurie Nilsen, Leon Marvell and William Yang 1995 1995 created 3 October 1995 1:55:50 VHS video CAMPFIRE AGENCY, Michael EATHER, Richard GRAYSON, Leon MARVELL, Laurie NILSEN, Colin PARDOE, William YANG 5627
Flinders University Art Museum 600,000 hours of mortality 4 1994 1994 created 1 October 1994 01:30 audio Colin PARDOE, Griselda POLLOCK, Jyanni STEFFENSEN Conference proceedings. The National Library of Australia holds a collection of the papers presented and can be found at https://catalogue.nla.gov.au/Record/850118. 5610
Flinders University Art Museum 600,000 hours of mortality 5 1994 1994 1 October 1994 01:30 audio CAMPFIRE GROUP, Leon MARVELL, Colin PARDOE Conference proceedings. The National Library of Australia holds a collection of the papers presented and can be found at https://catalogue.nla.gov.au/Record/850118. 5607
Flinders University Art Museum 600,000 hours of mortality 6 1994 1994 created 1 October 1994 01:30 audio © the artist Australian Art William YANG Gift of the Australian Experimental Art Foundation Conference proceedings. The National Library of Australia holds a collection of the papers presented and can be found at https://catalogue.nla.gov.au/Record/850118. 5611
Flinders University Art Museum 600,000 hours of mortality: Dr Gary King, Richard Grayson: end day 1, Richard Grayson: start day 2, Thomas Sokolowski, Jyanni Steffensen and Prof Griselda Pollock 1995 1995 created 1 October 1995 02:37:35 VHS video Richard GRAYSON, Gary KING, Griselda POLLOCK, Thomas SOKOLOWSKI, Jyanni STEFFENSEN 5643.004
Flinders University Art Museum 600,000 hours of mortality: Dr Gary King, Richard Grayson: end day 1, Rochard Grayson: start day 2, Thomas Sokolowski, Jyanni Steffensen and Prof Griselda Pollock 1995 1995 created 1 October 1995 02:37:35 VHS video Richard GRAYSON, Gary KING, Griselda POLLOCK, Thomas SOKOLOWSKI, Jyanni STEFFENSEN 5643.002
Flinders University Art Museum 600,000 hours of mortality: Richard Grayson, Prof Elisabeth Bronfen, Dr Anna Gibbs, Felicity Fenner and Anne Lockley, Dr Jane Goodall and Richard Grayson 1995 1995 created 1 October 1995 02:53:21 VHS video Elisabeth BRONFEN, Felicity FENNER, Anna GIBBS, Jane GOODALL, Richard GRAYSON, Anne LOXLEY 5643.003
Flinders University Art Museum 600,000 hours of mortality: Richard Grayson, Prof Elisabeth Bronfen, Dr Anna Gibbs, Felicity Fenner and Anne Loxley, Dr Jane Goodall and Richard Grayson 1995 1995 created 1 October 1995 02:53:21 VHS video Elisabeth BRONFEN, Felicity FENNER, Anna GIBBS, Jane GOODALL, Richard GRAYSON, Anne LOXLEY 5643.001
Flinders University Art Museum A decade at the E.A.F 1984 1984 created 3 December 1984 unknown VHS video Australian Art VARIOUS ARTISTS 5596
Flinders University Art Museum A decade at the E.A.F 1984 1984 created 1 December 1984 unknown VHS video Australian Art VARIOUS ARTISTS 5598
Flinders University Art Museum A grind had stones to meal 1989 1989 00:06 VHS video © the artist International Art Agnes HEGEDUS Gift of the Australian Experimental Art Foundation 5626f
Flinders University Art Museum A work for Fluoro tube, wool and open door 1976 1976 created July 1976 unknown VHS video © the artist Australian Art Ian HAMILTON, Stephen JONES Gift of the Australian Experimental Art Foundation Original video on Super 8mm film, filmed by Stephen Jones. Transferred to the VHS 'EAF video documentation 1975-78' by Leigh Hobba in the mid-1990s. 5617
Flinders University Art Museum AGM 1993 1993 00:03 VHS video UNKNOWN 5661c
Flinders University Art Museum AGM 1993 1993 00:03 VHS video UNKNOWN 5662c
Flinders University Art Museum Act 1: discussion 1979 1979 The exhibition was held in 1978 and audio tape made February-March 1979. audio, 90 mins Image : 59.9 cm h x 84.7 cm w Dimensions : 10.9 cm h x 6.9 cm w x 1.7 cm d International Art. Post-Object And Documentation Art Ingo KLEINERT, Sylvia KLINERT 1209
Flinders University Art Museum Alignment of the stars 1976 1976 unknown Super 8mm film © the artist Australian Art Paul HAY Gift of the Australian Experimental Art Foundation 5590a
Flinders University Art Museum Alignment of the stars / Invitation to a beheading 1976 1976 unknown Super 8mm film © the artist Australian Art Paul HAY Gift of the Australian Experimental Art Foundation Filmed immediately prior to a solar eclipse at an area near Mount Gambier, South Australia. 5590
Flinders University Art Museum All new generation 1993 1993 00:12 VHS video © the artists Australian Art VNS MATRIX Gift of the Australian Experimental Art Foundation 5661j
Flinders University Art Museum All new generation 1993 1993 00:12 VHS video © the artists Australian Art VNS MATRIX Gift of the Australian Experimental Art Foundation 5662j
Flinders University Art Museum All our working lives 1985 1985 created 5 March 1985 00:20 VHS video COMMUNITY MEDIA 5647
Flinders University Art Museum Ambiguous window 1996 1996 00:14 VHS video © the artist International Art Janos SUGAR Gift of the Australian Experimental Art Foundation 5636
Flinders University Art Museum Ania Walwicz poems: Night, Horse, Heat, Waves, Elephant, Dawn 1986 1986 unknown audio © the artist Australian Art Ania WALWICZ Gift of the Australian Experimental Art Foundation 5614
Flinders University Art Museum Approaching installation 1991 1991 00:17 VHS video © the artist Australian Art Hany ARMANIOUS Gift of the Australian Experimental Art Foundation 5631
Flinders University Art Museum Arbeit Macht Frei 1973 1973 16mm colour film (800ft), 22 minutes International Art. Post-Object And Documentation Art Stuart BRISLEY 737
Flinders University Art Museum Arborotum 1978 1978 created December 1978 unknown Super 8mm film UNKNOWN 5576
Flinders University Art Museum Arborotum 1978 1978 circa 1978 date not recorded on work or related documents; previous work in this collection with same name dates to 1978 unknown VHS video UNKNOWN Arts Council written on spine of case. 5593
Flinders University Art Museum Ariadne unemployed 1996 1996 00:14 VHS video © the artist International Art Janos SUGAR Gift of the Australian Experimental Art Foundation 5639
Flinders University Art Museum Art / Being, Notebook I (1 and 2) 1972 1975 typescript on paper with 35mm colour slides and audio cassette, duration 43 mins Good International Art. Post-Object And Documentation Art John FISHER 1637
Flinders University Art Museum Attitude undated unknown VHS video GEORGIE 5648
Flinders University Art Museum Audio documentary of the 1979 Sydney Biennale 1979 1979 audio, duration variable Dimensions : 10.9 cm h x 7 cm w x 1.7 cm d International Art. Post-Object And Documentation Art VARIOUS ARTISTS 1398
Flinders University Art Museum BBC omnibus: Judy Chicago's Dinner Party 1981 1981 1981 is the year that this documentary was shown on BBC1. A: U-matic videotape; B: VHS videotape International Art. Post-Object And Documentation Art Judy CHICAGO 1644
Flinders University Art Museum Bio music & bio dance at 1974 1974 created July 1974 unknown Super 8mm film BIO DANCE, BIO MUSIC 5589
Flinders University Art Museum Bob Ramsay speaks to Noel Sheridan 1977 1977 created June 1977 00:20 Super 8mm film D STEINER, SOUTH AUSTRALIAN COLLEGE OF ADVANCED EDUCATION 5558
Flinders University Art Museum Bow Gamelan Orchestra 1984 1984 unknown VHS video © the artists International Art BOW GAMELAN ENSEMBLE Gift of the Australian Experimental Art Foundation 5653
Flinders University Art Museum Budgie Events and Dialectic Smerble 1976 1978 1978 and 1976 U-matic video, 3/4" International Art. Post-Object And Documentation Art Dorothy THOMPSON 1677
Flinders University Art Museum But the fierce blackman 1971 1971 March 1971 gelatin silver prints on paper, audio International Art. Post-Object And Documentation Art Peter KENNEDY 665.001
Flinders University Art Museum But the fierce blackman 1971 1971 March 1971 gelatin silver prints on paper, audio, duration 45 mins Good International Art. Post-Object And Documentation Art Peter KENNEDY 665.002
Flinders University Art Museum But the fierce blackman 1971 1971 March 1971 gelatin silver prints on paper, audio, duration 23 mins International Art. Post-Object And Documentation Art Peter KENNEDY 665.003
Flinders University Art Museum Campfire Agency: Michael Eather and Laurie Nilsen 1995 1995 created 3 October 1995 00:21:28 VHS video © the artists International Art CAMPFIRE AGENCY, Michael EATHER, Laurie NILSEN Gift of the Australian Experimental Art Foundation 5627c
Flinders University Art Museum Celebration dancers 1976 1976 aired 21 June 1976 unknown Super 8mm film © the artists Australian Art Nick LYONS Gift of the Australian Experimental Art Foundation Performance at the Experimental Art Foundation, with music by Nick Lyons. 5563b
Flinders University Art Museum Chance Ballet 1974 1974 created July 1974 unknown Super 8mm film CHANCE BALLET Performed at Central Street Studios. 5575
Flinders University Art Museum Chemicals 1993 1993 00:01 VHS video Adam BOYD 5661d
Flinders University Art Museum Chemicals 1993 1993 00:01 VHS video Adam BOYD 5662d
Flinders University Art Museum Continuous work 1981 1983 First part of work completed in 1981. International Art. Post-Object And Documentation Art John FISHER 1672
Flinders University Art Museum Continuous work 4: teaching and learning 1981 1981 audio cassette Dimensions : 7 cm h x 10.9 cm w x 1.6 cm d International Art. Post-Object And Documentation Art John FISHER 1711
Flinders University Art Museum Dada and the politics of frustration 1985 1985 created 8 May 1985 unknown audio © the estate of the artist Australian Art Jenny BOULT Gift of the Australian Experimental Art Foundation 5602a
Flinders University Art Museum Dawn 1986 1986 unknown audio © the artist Australian Art Ania WALWICZ Gift of the Australian Experimental Art Foundation 5614f
Flinders University Art Museum Deadly tales 1994 1994 unknown VHS video © the artist International Art Griselda POLLOCK Gift of the Australian Experimental Art Foundation 5652
Flinders University Art Museum Decade at the E.A.F 1984 1984 created 2 December 1984 unknown VHS video Australian Art VARIOUS ARTISTS 5597
Flinders University Art Museum Delabole variations 1974 1974 16 mm black and white film, duration 8 minutes 48 seconds International Art. Post-Object And Documentation Art Bob RAMSAY 1722
Flinders University Art Museum Delabole variations 1974 1974 16mm film, black and white, duration 8 mins 48 secs Dimensions : 18.5 cm h x 18.5 cm w x 2.5 cm d International Art. Post-Object And Documentation Art Bob RAMSAY 1723
Flinders University Art Museum Details of Short Sharp Shock exhibitions 1995 1995 Super 8mm film SHORT SHARP SHOCK 5663c
Flinders University Art Museum Direct life studies and media documentation 1974 1974 5 -13 September 1974 1/2" reel to reel tape, 26 minutes and gelatin silver prints on paper International Art. Post-Object And Documentation Art Philip GERNER 1716
Flinders University Art Museum Dr Anna Gibbs 1995 1995 created 1 October 1995 00:45:09 VHS video Anna GIBBS 5643.001c
Flinders University Art Museum Dr Anna Gibbs 1995 1995 created 1 October 1995 00:44:09 VHS video Anna GIBBS 5643.003c
Flinders University Art Museum Dr Colin Pardoe 1995 1995 created 3 October 1995 00:34:31 VHS video Colin PARDOE 5627b
Flinders University Art Museum Dr Gary King 1995 1995 created 1 October 1995 00:00:20 VHS video Gary KING 5643.002a
Flinders University Art Museum Dr Gary King 1995 1995 created 1 October 1995 00:00:20 VHS video Gary KING 5643.004a
Flinders University Art Museum Dr Jane Goodall 1995 1995 created 1 October 1995 00:34:09 VHS video © the artist International Art Jane GOODALL 5643.001e
Flinders University Art Museum Dr Jane Goodall 1995 1995 created 1 October 1995 00:24:09 VHS video © the artist International Art Jane GOODALL Gift of the Australian Experimental Art Foundation 5643.003e
Flinders University Art Museum Dupe 05 1976 1976 audio, duration 60 mins Dimensions : 11 cm h x 7 cm w x 11.7 cm d International Art. Post-Object And Documentation Art Michael NICHOLSON 734
Flinders University Art Museum EAF archive, copy 1: Object a, Geoff Weary and Alan Cruikshank, AGM, Chemicals, Joyce Hinterding, Short Sharp Shock I, Short Sharp Shock II, Short Sharp Shock IV, Short Sharp Shock VI, All new generation and High cost of living 1993 1993 00:50 VHS video Adam BOYD, Alan CRUIKSHANK, Susan FEREDAY, Joyce HINTERDING, Dereck KREDELER, VNS MATRIX, Geoffrey WEARY 5661
Flinders University Art Museum EAF archive, copy 2: Object a, Geoff Weary and Alan Cruikshank, AGM, Chemicals, Joyce Hinterding, Short Sharp Shock I, Short Sharp Shock II, Short Sharp Shock IV, Short Sharp Shock VI, All new generation and High cost of living 1993 1993 00:50 VHS video Adam BOYD, Alan CRUIKSHANK, Susan FEREDAY, Joyce HINTERDING, Dereck KREDELER, VNS MATRIX, Geoffrey WEARY 5662
Flinders University Art Museum EAF forum 1996 1996 created 22 August 1996 unknown audio © the artists Australian Art Paul GREENAWAY, Bronwyn PLATTEN, Daniel THOMAS Gift of the Australian Experimental Art Foundation 5642
Flinders University Art Museum EAF organisational study 1992 1992 unknown VHS video Thom CORCORAN, UNKNOWN Includes nuclear criticism video essay compiled by Thom Corcoran for the Experimental Art Foundation. 5660
Flinders University Art Museum EAF projects 1975-93 1995 1995 unknown Super 8mm film Steven ROUTOULAS 5663a
Flinders University Art Museum Elephant 1986 1986 unknown audio © the artist Australian Art Ania WALWICZ Gift of the Australian Experimental Art Foundation 5614e
Flinders University Art Museum English numbers 1990 1990 00:10 VHS video © the artist International Art Lazslo Lazslo REVESZ Gift of the Australian Experimental Art Foundation 5626b
Flinders University Art Museum Expansion in Space and Hell/dunkel 1977 1977 Expansion in Space dated June 1977, Hell/dunkel dated October 19.77 U-matic video, black and white Dimensions : 22 cm h x 13.9 cm w x 3 cm d International Art. Post-Object And Documentation Art Marina ABRAMOVIC, ULAY 1253
Flinders University Art Museum FA Cup finals, John Arlott undated unknown Super 8mm film UNKNOWN 5546
Flinders University Art Museum Felicity Fenner and Anne Loxley 1995 1995 created 1 October 1995 00:49:58 VHS video Felicity FENNER, Anne LOXLEY 5643.001d
Flinders University Art Museum Felicity Fenner and Anne Loxley 1995 1995 created 1 October 1995 00:39:58 VHS video Felicity FENNER, Anne LOXLEY 5643.003d
Flinders University Art Museum Field 1990 1990 00:10 VHS video © the artist International Art Marta FEHER Gift of the Australian Experimental Art Foundation 5626e
Flinders University Art Museum Film of the 1979 Sydney Biennale 1979 1979 super 8mm film, colour, duration 3.75 mins Dimensions : 17.8 cm h x 17.8 cm w International Art. Post-Object And Documentation Art Genevieve O'LOUGHLIN, Lindsay PARKHILL 1347
Flinders University Art Museum First Australian Expo of Panaceas (audio cassette) 1984 1984 unknown audio © the artist Australian Art Christine GOODWIN Gift of the artist 5191
Flinders University Art Museum First Australian Expo of Panaceas (reel-to-reel tape) 1984 1984 unknown reel-to-reel tape © the artist Australian Art Christine GOODWIN Gift of the artist 5192
Flinders University Art Museum First part: life of John Fisher 1982 1982 audio cassette, duration 90 minutes Dimensions : 6.3 cm h x 10 cm w x 1.1 cm d International Art. Post-Object And Documentation Art John FISHER 1717
Flinders University Art Museum Flight flight flight undated unknown VHS video Alex RIZKALLA 5623
Flinders University Art Museum Forest of repeated action 1991 1991 created June 1991 00:08:30 VHS video © the artist Australian Art Filomena RENZI Gift of the Australian Experimental Art Foundation 5666
Flinders University Art Museum Four seasons 1981 1981 U-matic video, 3/4", duration 20 mins Dimensions : 25.5 cm h x 17.2 cm w x 3.7 cm d Good International Art. Post-Object And Documentation Art Arthur WICKS 1705
Flinders University Art Museum Geoff Weary and Alan Cruikshank 1993 1993 00:06 VHS video Geoffrey WEARY 5661b
Flinders University Art Museum Geoff Weary and Alan Cruikshank 1993 1993 00:06 VHS video Geoffrey WEARY 5662b
Flinders University Art Museum Git down: a depression in three parts undated unknown U-matic video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5549a
Flinders University Art Museum Heads 1992 1992 unknown VHS video © the artist Australian Art Hany ARMANIOUS Gift of the Australian Experimental Art Foundation 5632
Flinders University Art Museum Heat 1986 1986 unknown audio © the artist Australian Art Ania WALWICZ Gift of the Australian Experimental Art Foundation 5614c
Flinders University Art Museum High cost of living 1993 1993 00:07 VHS video Dereck KREDELER 5661k
Flinders University Art Museum High cost of living 1993 1993 00:07 VHS video Dereck KREDELER 5662k
Flinders University Art Museum Hold your breath for as long as possible. Hold your finger in a candle flame for as long as possible. 1972 1972 16mm film, black and white, duration 5 mins International Art. Post-Object And Documentation Art Mike PARR 718
Flinders University Art Museum Horse 1986 1986 unknown audio © the artist Australian Art Ania WALWICZ Gift of the Australian Experimental Art Foundation 5614b
Flinders University Art Museum Housewatch 1985 1990 multiple works, dating from 1985-1990 unknown VHS video George E SAXON 5654a
Flinders University Art Museum Hungarian video program: Seven seasons, English numbers, Two half-pictures, Secondary mirror, Field, A grind had stones to meal, Image to Paul Klee, Video diary, Videoplus and The immortal culprits 1988 1990 various works from 1988 to 1990 displayed on this tape 01:56 VHS video © the artists International Art HUNGARIAN VIDEO PROGRAM, SOROS FOUNDATION Gift of the Australian Experimental Art Foundation 5626
Flinders University Art Museum Image to Paul Klee 1988 1988 00:04 VHS video © the artist International Art Agnes HEGEDUS Gift of the Australian Experimental Art Foundation 5626g
Flinders University Art Museum Imponderabilia 1977 1977 00:50 U-matic video, black and white, mono sound © the artists International Art Marina ABRAMOVIC, ULAY Gift of the Australian Experimental Art Foundation 5553
Flinders University Art Museum In solidarity: September 1984 and March 1985 1985 1985 created 8 May 1985 unknown audio © the estate of the artist Australian Art Jenny BOULT Gift of the Australian Experimental Art Foundation 5602c
Flinders University Art Museum Interview with Noel Sheridan 1976 1976 aired Wednesday 19 May 1976 unknown Super 8mm film © the artists Australian Art Noel SHERIDAN Gift of the Australian Experimental Art Foundation Interview conducted by the ABC during the segment 'Today at One'. 5563a
Flinders University Art Museum Invitation to a beheading 1976 1976 unknown Super 8mm film © the artist Australian Art Paul HAY Gift of the Australian Experimental Art Foundation 5590b
Flinders University Art Museum Jam 1976 1976 created May-June 1976 01:05 U-matic video, black and white, mono sound © the artist Australian Art Philip GERNER Gift of the Australian Experimental Art Foundation 5592
Flinders University Art Museum Jam documentation 1976 1976 black and white video, 60 minutes with DVD and slides Dimensions : 25.5 cm h x 17.5 cm w x 4 cm d International Art. Post-Object And Documentation Art Philip GERNER 759
Flinders University Art Museum Jean Dunaz 1995 1995 25 October 1995 unknown audio Jean DUNAZ 5605
Flinders University Art Museum Jenny Boult, poet: Dada and the politics of frustration, 3 poems for Mary Kathleen, In solidarity: September 1984 and March 1985 and Twenty questions 1985 1985 created 8 May 1985 unknown audio © the estate of the artist Australian Art Jenny BOULT Gift of the Australian Experimental Art Foundation 5602
Flinders University Art Museum Jim Allen Leigh Hobba 1976 1976 created 22 April 1976 unknown Super 8mm film Jim ALLEN, Leigh HOBBA Possible collaboration with Richard Tipping. Information on this performance originally obtained from the book 'A decade at the EAF:a history of the Experimental Art Foundation 1974-1984'. 5587
Flinders University Art Museum John Reid, Channel 9 1997 1997 created 17 June 1997 unknown VHS video © the artist Australian Art John REID Gift of the Australian Experimental Art Foundation Footage recorded from a television broadcast on Channel 9. 5599
Flinders University Art Museum John's pool 1976 1976 unknown Super 8mm film Dirk LARSON, Tom PUCKEY 5568a
Flinders University Art Museum Joyce Hinterding 1993 1993 00:05 VHS video Joyce HINTERDING 5661e
Flinders University Art Museum Joyce Hinterding 1993 1993 00;05 VHS video Joyce HINTERDING 5662e
Flinders University Art Museum Jyanni Steffensen 1995 1995 created 1 October 1995 00:54:33 VHS video Jyanni STEFFENSEN 5643.002e
Flinders University Art Museum Jyanni Steffensen 1995 1995 created 1 October 1995 00:48:35 VHS video Jyanni STEFFENSEN 5643.004e
Flinders University Art Museum Krid at John's pool 1976 1976 unknown Super 8mm film Dirk LARSON, Tom PUCKEY 5568e
Flinders University Art Museum Krid's garden 1976 1976 unknown Super 8mm film Dirk LARSON, Tom PUCKEY 5568b
Flinders University Art Museum Krug undated unknown audio Gary KRUG 5612
Flinders University Art Museum Laurie Anderson: collected works 1990 1990 date not recorded on work or related documents; research indicates production date of 1990 00:55 VHS video © the artist International Art Laurie ANDERSON Gift of the Australian Experimental Art Foundation 5621
Flinders University Art Museum Leon Marvell 1995 1995 created 3 October 1995 00:58:46 VHS video © the artist Australian Art Leon MARVELL Gift of the Australian Experimental Art Foundation 5627d
Flinders University Art Museum Looking beyond art, book 5 and 6 1970 1979 c 1970s 35mm slides, 8mm reel-to-reel tape Image : 85 cm h x 56.5 cm w International Art. Post-Object And Documentation Art John FISHER 1640
Flinders University Art Museum Mondo carn undated unknown VHS video Shane CARN 5650
Flinders University Art Museum Moshe Kadem Games 1976 1976 created 18 June 1976 unknown Super 8mm film MOSHE KADEM GAMES Supporting documentation indicates this video includes the 'final jam tasting' [possibly relates to Philip Gerner's Jam of Your Life]. 'Mick Johnson' is written on the label. 5559
Flinders University Art Museum Night 1986 1986 unknown audio © the artist Australian Art Ania WALWICZ Gift of the Australian Experimental Art Foundation 5614a
Flinders University Art Museum Noel Sheridan talks to Bob Ramsay 1977 1977 According to supporting documentation, other relevant data suggests this work was created June 1977 00:20 U-matic video, black and white, mono sound Australian Art UNKNOWN 5545
Flinders University Art Museum Nose 1995 1995 created 11 November 1995 unknown audio © the artist Australian Art Bronwyn PLATTEN Gift of the Australian Experimental Art Foundation 5603
Flinders University Art Museum Not waiting 1974 1974 created June 1974 00:26:40 VHS video © the estate of the artist Australian Art Noel SHERIDAN Gift of the Australian Experimental Art Foundation Original tape in U-matic format, transferred to VHS tape 'EAF video documentation 1975-78' by Leigh Hobba in the mid-1990s. Location of original tape is unknown. 5615
Flinders University Art Museum Notebook II: lectures and discussions 1975 1976 35mm slides, audio cassette, Super 150 8mm tape, duration 120 minutes Good International Art. Post-Object And Documentation Art John FISHER 1638
Flinders University Art Museum Number 1 objects 1992 1992 unknown VHS video UNKNOWN 5657
Flinders University Art Museum Object a 1993 1993 00:00:20 VHS video Alan CRUIKSHANK, Susan FEREDAY 5661a
Flinders University Art Museum Object a 1993 1993 00:00:20 VHS video Alan CRUIKSHANK, Susan FEREDAY 5662a
Flinders University Art Museum Objects 1992 1992 unknown VHS video UNKNOWN 5656
Flinders University Art Museum Objects number 2 1992 1992 unknown VHS video UNKNOWN 5658
Flinders University Art Museum Of voice, to sand 1979 1979 February 1979 U-matic video, duration 40 mins Dimensions : 25.5 cm h x 17.3 cm w x 3.7 cm d Good International Art. Post-Object And Documentation Art Bob RAMSAY 1664
Flinders University Art Museum Of voice, to sand 1979 1979 February 1979 U-matic video, 3/4", duration 40 mins Dimensions : 25.4 cm h x 17.4 cm w x 3.7 cm d International Art. Post-Object And Documentation Art Bob RAMSAY 1742
Flinders University Art Museum On planting a native 1976 1976 created June 1976 unknown Super 8mm film Jim ALLEN 5562
Flinders University Art Museum Other than art's sake 1974 1975 16 mm film, black and white, duration 35 mins International Art. Post-Object And Documentation Art Judy CHICAGO, Peter KENNEDY, Adrian PIPER, Stephen WILLATS, Hans HAAKE, Charles SIMMONDS, David MEDALLA 701
Flinders University Art Museum Our story of 'bi-cultural women', European descent undated 00:29 VHS video UNKNOWN 5651
Flinders University Art Museum Peanuts 1978 1978 May 1978 U-matic video, black and white, duration 52 mins Dimensions : 17.3 cm h x 25.5 cm w x 3.7 cm d International Art. Post-Object And Documentation Art Bob RAMSAY 1666
Flinders University Art Museum Peanuts 1978 1978 U-matic video, 3/4", black and white, duration 52 mins Dimensions : 25.4 cm h x 17.4 cm w x 3.7 cm d Good International Art. Post-Object And Documentation Art Bob RAMSAY 1740
Flinders University Art Museum Performance 12: 'AAA.......AAA' undated unknown U-matic video, colour, stereo sound © the artists International Art Marina ABRAMOVIC, ULAY Gift of the Australian Experimental Art Foundation 5551
Flinders University Art Museum Performances 1990 1990 circa 1990 date not recorded on work or related documents; label suggests tape was edited 1994 however artist passed away in 1993 unknown VHS video © the estate of the artist Australian Art Pamela HARRIS Gift of the Australian Experimental Art Foundation 5630
Flinders University Art Museum Person to person undated unknown U-matic video B TOLLEY 5547
Flinders University Art Museum Peter Kennedy 1976 1976 created 11 November 1976 unknown VHS video © the artist Australian Art Peter KENNEDY Gift of the Australian Experimental Art Foundation 5591
Flinders University Art Museum Plasticology 1997 1997 00:05 VHS video, stereo sound © the artist Australian Art Patricia PICCININI Gift of the Australian Experimental Art Foundation 5624.001
Flinders University Art Museum Portrait 1975 1976 Super 8 mm film, silent, colour, duration 29.7 mins Dimensions : 21.8 cm h x 23.1 cm w x 2.5 cm d International Art. Post-Object And Documentation Art Richard LARTER 847
Flinders University Art Museum Post object survey: Interview with Noel Sheridan and Celebration dancers 1976 1976 two segments, one created 19 May 1976 and the other 21 June 1976 unknown Super 8mm film Australian Art UNKNOWN 5563
Flinders University Art Museum Post-object artists 1976 1976 unknown VHS video Noel SHERIDAN Original video on Super 8mm film, transferred to the VHS 'EAF video documentation 1975-78' by Leigh Hobba in the mid-1990s. 5616
Flinders University Art Museum Prof Elisabeth Bronfen 1995 1995 created 1 October 1995 00:42 VHS video © the artist International Art Elisabeth BRONFEN Gift of the Australian Experimental Art Foundation 5643.001b
Flinders University Art Museum Prof Elisabeth Bronfen 1995 1995 created 1 October 1995 00:42:00 VHS video © the artist International Art Elisabeth BRONFEN Gift of the Australian Experimental Art Foundation 5643.003b
Flinders University Art Museum Prof Griselda Pollock 1995 1995 created 1 October 1995 unknown VHS video Griselda POLLOCK 5643.002f
Flinders University Art Museum Prof Griselda Pollock 1995 1995 created 1 October 1995 00:53:37 VHS video © the artist International Art Griselda POLLOCK Gift of the Australian Experimental Art Foundation 5643.004f
Flinders University Art Museum Project Stelarc 1980 circa 1980 U-matic video, colour, duration 29 mins Dimensions : 13.8 cm h x 22 cm w x 3 cm d International Art. Post-Object And Documentation Art STELARC 1667
Flinders University Art Museum Protein lattice 1997 1997 00:04 VHS video, stereo sound © the artist Australian Art Patricia PICCININI Gift of the Australian Experimental Art Foundation 5624.002
Flinders University Art Museum Public fitting 1972 1973 1972 or 1973 Super 8 mm film (50 ft, colour, silent) International Art. Post-Object And Documentation Art Tim JOHNSON 692
Flinders University Art Museum Quotations undated unknown U-matic video, colour BURNING HOOP PRODUCTIONS 5554
Flinders University Art Museum Quotations 1990 1990 unknown VHS video © the artists Australian Art BURNING HOOP PRODUCTIONS, Michelle LUKE, Jyanni STEFFENSEN, Tish BANKS, John JENKINS, Charlie REES, Jennifer ROBERTSON, Mark THOMSON, Craig TIDSWELL, Curtis WEISS Gift of the Australian Experimental Art Foundation According to label, this work is a project by the Experimental Art Foundation. Sender label from John Jenkins. 5600
Flinders University Art Museum Rational hyphen absurd burnt-sienna live-in film 1974 1974 16mm film, colour International Art. Post-Object And Documentation Art Michael NICHOLSON 677
Flinders University Art Museum Read 1977 1977 December 1977 U-matic video, colour, duration 38 mins Dimensions : 25.5 cm h x 17.3 cm w x 3.7 cm d Good International Art. Post-Object And Documentation Art Bob RAMSAY 1665
Flinders University Art Museum Read 1977 1977 Recorded at the EAF, 16 December 1977, and edited April - June at Griffith University. U-matic video, 3/4", colour, duration 38 mins Dimensions : 25.7 cm h x 17.3 cm w x 3.5 cm d International Art. Post-Object And Documentation Art Bob RAMSAY 1738
Flinders University Art Museum Reindeer Werk 1976 1976 1976 unknown Super 8mm film Dirk LARSON, Tom PUCKEY 5568f
Flinders University Art Museum Reindeer werk behavioural actions: John's pool, Krid's garden, Yeck's garden, Yeck's and John's pool, Krid at John's pool and Reindeer Werk 1976 1976 1976 unknown Super 8mm film Dirk LARSON, Tom PUCKEY 5568
Flinders University Art Museum Revisions III undated unknown U-matic video UNKNOWN 5555
Flinders University Art Museum Richard Grayson 1995 1995 created 3 October 1995 00:02:04 VHS video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5627a
Flinders University Art Museum Richard Grayson 1995 1995 created 1 October 1995 00:03:05 VHS video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5643.003a
Flinders University Art Museum Richard Grayson 1995 1995 created 1 October 1995 00:03:04 VHS video © the artist International Art Richard GRAYSON, EXPERIMENTAL ART FOUNDATION Gift of the Australian Experimental Art Foundation 5643.001a
Flinders University Art Museum Richard Grayson 1995 1995 created 1 October 1995 unknown VHS video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5643.001f
Flinders University Art Museum Richard Grayson 1995 1995 created 1 October 1995 unknown VHS video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5643.003f
Flinders University Art Museum Richard Grayson compilation tape: Git down: a depression in three parts, Three real things and Three thousand famous men undated unknown U-matic video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5549
Flinders University Art Museum Richard Grayson: end day 1 1995 1995 created 1 October 1995 00:43:27 VHS video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5643.002b
Flinders University Art Museum Richard Grayson: end day 1 1995 1995 created 1 October 1995 00:43:27 VHS video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5643.004b
Flinders University Art Museum Richard Grayson: start day 2 1995 1995 created 1 October 1995 00:01:04 VHS video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5643.002c
Flinders University Art Museum Richard Grayson: start day 2 1995 1995 created 1 October 1995 00:01:04 VHS video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5643.004c
Flinders University Art Museum Rules and displacement activities, part 2 1973 1974 16mm film, colour release print, magnetic sound, duration 55 mins International Art. Post-Object And Documentation Art Mike PARR 732
Flinders University Art Museum Rules and displacement activities, part 3 1982 1983 16mm film, colour International Art. Post-Object And Documentation Art Mike PARR 1971
Flinders University Art Museum Saturno suite 1977 1977 created 1 April 1977 unknown Super 8mm film Jan HUBRECHSON Sound is sourced from a separate audio cassette whose location is unknown. Partial performance only, according to supporting documentation. 5561
Flinders University Art Museum Search 1993 1993 created 17 May 1993 00:07:54 VHS video © the artists Australian Art Wendy KIRKUP, Pat NALDI Gift of the Australian Experimental Art Foundation At 1pm on Monday 17 May 1996 both artists took a synchronised walk in two separate locations within the Newcastle-upon-Tyne city centre. These walks were filmed simultaneously by the recently-installed surveillance camera system belonging to the Northumbr 5625.001
Flinders University Art Museum Search 1993 1993 created 17 May 1993 00:07:54 VHS video © the artists Australian Art Wendy KIRKUP, Pat NALDI Gift of the Australian Experimental Art Foundation At 1pm on Monday 17 May 1996 both artists took a synchronised walk in two separate locations within the Newcastle-upon-Tyne city centre. These walks were filmed simultaneously by the recently-installed surveillance camera system belonging to the Northumbr 5625.002
Flinders University Art Museum Search 1993 1993 created 17 May 1993 00:07:54 VHS video © the artists Australian Art Wendy KIRKUP, Pat NALDI Gift of the Australian Experimental Art Foundation At 1pm on Monday 17 May 1996 both artists took a synchronised walk in two separate locations within the Newcastle-upon-Tyne city centre. These walks were filmed simultaneously by the recently-installed surveillance camera system belonging to the Northumbr 5625.003
Flinders University Art Museum Search 1993 1993 created 17 May 1993 00:07:54 VHS video © the artists Australian Art Wendy KIRKUP, Pat NALDI Gift of the Australian Experimental Art Foundation At 1pm on Monday 17 May 1996 both artists took a synchronised walk in two separate locations within the Newcastle-upon-Tyne city centre. These walks were filmed simultaneously by the recently-installed surveillance camera system belonging to the Northumbr 5625.004
Flinders University Art Museum Search 1993 1993 created 17 May 1993 00:07:54 VHS video © the artists Australian Art Wendy KIRKUP, Pat NALDI Gift of the Australian Experimental Art Foundation At 1pm on Monday 17 May 1996 both artists took a synchronised walk in two separate locations within the Newcastle-upon-Tyne city centre. These walks were filmed simultaneously by the recently-installed surveillance camera system belonging to the Northumbr 5625.005
Flinders University Art Museum Search 1993 1993 created 17 May 1993 00:07:54 VHS video © the artists Australian Art Wendy KIRKUP, Pat NALDI Gift of the Australian Experimental Art Foundation At 1pm on Monday 17 May 1996 both artists took a synchronised walk in two separate locations within the Newcastle-upon-Tyne city centre. These walks were filmed simultaneously by the recently-installed surveillance camera system belonging to the Northumbr 5625.006
Flinders University Art Museum Search 1993 1993 created 17 May 1993 00:07:54 VHS video © the artists Australian Art Wendy KIRKUP, Pat NALDI Gift of the Australian Experimental Art Foundation At 1pm on Monday 17 May 1996 both artists took a synchronised walk in two separate locations within the Newcastle-upon-Tyne city centre. These walks were filmed simultaneously by the recently-installed surveillance camera system belonging to the Northumbr 5625.007
Flinders University Art Museum Search 1993 1993 created 17 May 1993 00:07:54 VHS video © the artists Australian Art Wendy KIRKUP, Pat NALDI Gift of the Australian Experimental Art Foundation At 1pm on Monday 17 May 1996 both artists took a synchronised walk in two separate locations within the Newcastle-upon-Tyne city centre. These walks were filmed simultaneously by the recently-installed surveillance camera system belonging to the Northumbr 5625.008
Flinders University Art Museum Search 1993 1993 created 17 May 1993 00:07:54 VHS video © the artists Australian Art Wendy KIRKUP, Pat NALDI Gift of the Australian Experimental Art Foundation At 1pm on Monday 17 May 1996 both artists took a synchronised walk in two separate locations within the Newcastle-upon-Tyne city centre. These walks were filmed simultaneously by the recently-installed surveillance camera system belonging to the Northumbr 5625.009
Flinders University Art Museum Search 1993 1993 created 17 May 1993 00:07:54 VHS video © the artists Australian Art Wendy KIRKUP, Pat NALDI Gift of the Australian Experimental Art Foundation At 1pm on Monday 17 May 1996 both artists took a synchronised walk in two separate locations within the Newcastle-upon-Tyne city centre. These walks were filmed simultaneously by the recently-installed surveillance camera system belonging to the Northumbr 5625.01
Flinders University Art Museum Search 1996 1996 created February-March 1996 unknown VHS video Wendy KIRKUP, Pat NALDI Artists-in-residence at the Experimental Art Foundation from February-March 1996 as part of the Telstra Adelaide Festival. This video contains the segments of Search broadcasted on Channel 7 as part of 'Festival TV'. 5633
Flinders University Art Museum Secondary mirror 1991 1991 00:10 VHS video © the artist International Art Marta FEHER Gift of the Australian Experimental Art Foundation 5626d
Flinders University Art Museum Seven seasons 1990 1990 00:03 VHS video © the artist International Art Lazslo Lazslo REVESZ Gift of the Australian Experimental Art Foundation 5626a
Flinders University Art Museum Short Sharp Shock I 1993 1993 00:05 VHS video SHORT SHARP SHOCK 5661f
Flinders University Art Museum Short Sharp Shock I 1993 1993 00:05 VHS video SHORT SHARP SHOCK 5662f
Flinders University Art Museum Short Sharp Shock II 1993 1993 00:02:30 VHS video SHORT SHARP SHOCK 5661g
Flinders University Art Museum Short Sharp Shock II 1993 1993 00:02:30 VHS video SHORT SHARP SHOCK 5662g
Flinders University Art Museum Short Sharp Shock IV 1993 1993 00:02 VHS video SHORT SHARP SHOCK 5661h
Flinders University Art Museum Short Sharp Shock IV 1993 1993 00:02 VHS video SHORT SHARP SHOCK 5662h
Flinders University Art Museum Short Sharp Shock VI 1993 1993 00:04 VHS video SHORT SHARP SHOCK 5661i
Flinders University Art Museum Short Sharp Shock VI 1993 1993 00:04 VHS video SHORT SHARP SHOCK 5662i
Flinders University Art Museum Short Sharp Shock and Steve Routoulas (three works): EAf projects 1975-93, Summary of Short Sharp Shock exhibits and Details of Short Sharp Shock exhibitions 1995 1995 video compiled by Steve Routoulas in 1995, but features works from 1975 to 1993 02:25 VHS video Steven ROUTOULAS, SHORT SHARP SHOCK 5663
Flinders University Art Museum Silver surfer undated unknown VHS video UNKNOWN Label information reads: - photo: Igor Mischiyev - video: Kaiser - Augusta - Allee 48 - animation: D-10589 Berlin 5640
Flinders University Art Museum Smoke on location at University of New South Wales 1970 1970 8mm film International Art. Post-Object And Documentation Art Clive MURRAY-WHITE 667
Flinders University Art Museum Snapshots of EAF #2 1992 1992 unknown VHS video Thom CORCORAN, UNKNOWN 5659
Flinders University Art Museum So-ever: I've got no idea watt... 1977 1977 8pm, 22 June 1977 16mm film, silent, duration 4 mins with audio cassette and 160 slides Good International Art. Post-Object And Documentation Art Bob RAMSAY 1737
Flinders University Art Museum Songs of Neptune 1994 1994 00:30 VHS video © the artist Australian Art Filomena RENZI Gift of the Australian Experimental Art Foundation 5667
Flinders University Art Museum Stations 1982 1982 01:00 VHS video Robert WILSON, Nicolas ECONOMOU Written, directed and designed by Robert Wilson. Produced by Lois Bianchi. Music by Nicolas Economou. Produced in association with Institut National de l'Audiovisuel in France and Zweites Deutsches Fernesehen in Germany. 5622
Flinders University Art Museum Stelarc 1 undated unknown VHS video © the artist Australian Art STELARC Gift of the Australian Experimental Art Foundation 5646
Flinders University Art Museum Stelarc rehearsal 1975 1975 00:07:36 Super 8mm film © the artist International Art STELARC Gift of the Australian Experimental Art Foundation Rehearsal for the event 'Stretched Skin - Sustend/Extend'. Transferred to the VHS 'EAF video documentation 1975-78' by Leigh Hobba in the mid-1990s. 5588
Flinders University Art Museum Stuart Brisley performance 1975 1975 unknown VHS video Stuart BRISLEY Original video on Super 8mm film, transferred to the VHS 'EAF video documentation 1975-78' by Leigh Hobba in the mid-1990s. 5618
Flinders University Art Museum Summary of Short Sharp Shock exhibits 1995 1995 unknown Super 8mm film SHORT SHARP SHOCK 5663b
Flinders University Art Museum Survey 12: on paper 1980 1980 Exhibition held in 1980. Works executed by artists between 1973 and 1980. U-matic video, 3/4" with 24 colour slides Good International Art. Post-Object And Documentation Art Micky ALLAN, Mandy MARTIN, Sally ROBINSON, Jenny WATSON 1645
Flinders University Art Museum Survey 2 1978 1978 video, 16 minutes and 24 slides Good International Art. Post-Object And Documentation Art Rosalie GASCOIGNE 1641
Flinders University Art Museum Survey 4 1978 1978 video, duration 17 mins 30 sec with 24 slides Good International Art. Post-Object And Documentation Art John LETHBRIDGE 1642
Flinders University Art Museum Susan Hiller AGSA 1998 1998 created 17 February 1998 unknown audio © the artist International Art Susan HILLER Gift of the Australian Experimental Art Foundation 5609
Flinders University Art Museum Sustend/extend 1975 1975 00:07:36 VHS video © the artist Australian Art STELARC Gift of the Australian Experimental Art Foundation Rehearsal for Stretched Skin event. Transferred to the VHS 'EAF video documentation 1975-78' by Leigh Hobba in the mid-1990s. 5619
Flinders University Art Museum Symposium of Theatre Design tape #13 1974 1974 created 28 November 1974 unknown Super 8mm film Warrick MCHAFFEY, Peter ROEHLEN, Wally RUSSELL Series contains tapes with numbers 4, 5, 7, 8, 13, 14, 16 and 17. 5570
Flinders University Art Museum Symposium of Theatre Design tape #14 1974 1974 created 28 November 1974 unknown Super 8mm film Helmut GROSSER, Warrick MCHAFFEY Series contains tapes with numbers 4, 5, 7, 8, 13, 14, 16 and 17. 5567
Flinders University Art Museum Symposium of Theatre Design tape #16 1974 1974 created 29 November 1974 unknown Super 8mm film UNKNOWN Series contains tapes with numbers 4, 5, 7, 8, 13, 14, 16 and 17. 5566
Flinders University Art Museum Symposium of Theatre Design tape #17 1974 1974 created 29 November 1974 unknown Super 8mm film Frederick BENTHAM, Anthony STEELE Series contains tapes with numbers 4, 5, 7, 8, 13, 14, 16 and 17. 5571
Flinders University Art Museum Symposium of Theatre Design tape #4 1974 1974 created 11 November 1974 unknown Super 8mm film © the estates of the artists Australian Art Jean BATTERSBY, Eric WESTBROOK Gift of the Australian Experimental Art Foundation Series contains tapes with numbers 4, 5, 7, 8, 13, 14, 16 and 17. 5569
Flinders University Art Museum Symposium of Theatre Design tape #5 1974 1974 created 11 November 1974 unknown Super 8mm film UNKNOWN Series contains tapes with numbers 4, 5, 7, 8, 13, 14, 16 and 17. 5565
Flinders University Art Museum Symposium of Theatre Design tape #7 1974 1974 created 27 November 1974 unknown Super 8mm film © the estate of the artist International Art Fritz BORNEMANN Gift of the Australian Experimental Art Foundation Series contains tapes with numbers 4, 5, 7, 8, 13, 14, 16 and 17. 5573
Flinders University Art Museum Symposium of Theatre Design tape #8 1974 1974 created 27 November 1974 unknown Super 8mm film © the estates of the artists International Art Onno GREINER, Victor PRUS Gift of the Australian Experimental Art Foundation Series contains tapes with numbers 4, 5, 7, 8, 13, 14, 16 and 17. 5572
Flinders University Art Museum Talking about similarity 1976 1976 created 30 November 1976 00:45 U-matic video, black and white, mono sound © the artists International Art Marina ABRAMOVIC, ULAY Gift of the Australian Experimental Art Foundation Private performance at Singel 64, Amsterdam. 5550
Flinders University Art Museum The Jack series 1985 1990 multiple works, dating from 1986-87 unknown VHS video George E SAXON 5654b
Flinders University Art Museum The jam of your life, Part A (copy) 1976 1976 created May-June 1976 01:00 Super 8mm film © the artist Australian Art Philip GERNER Gift of the Australian Experimental Art Foundation This work was part of 'A Survey of Australian and New Zealand Post Object Art'. 5557
Flinders University Art Museum The jam of your life, part A 1976 1976 created May-June 1976 unknown Super 8mm film © the artist Australian Art Philip GERNER Gift of the Australian Experimental Art Foundation This work was part of 'A Survey of Australian and New Zealand Post Object Art'. 5548
Flinders University Art Museum The jam of your life, part B 1976 1976 created May-June 1976 01:00 Super 8mm film © the artist Australian Art Philip GERNER Gift of the Australian Experimental Art Foundation This work was part of 'A Survey of Australian and New Zealand Post Object Art'. 5556
Flinders University Art Museum This type of intention 1989 1989 00:06 VHS video © the artist International Art Janos SUGAR Gift of the Australian Experimental Art Foundation 5637
Flinders University Art Museum Thomas Sokolowski 1995 1995 created 1 October 1995 00:00:32 VHS video Thomas SOKOLOWSKI 5643.002d
Flinders University Art Museum Thomas Sokolowski 1995 1995 created 1 October 1995 00:00:12 VHS video Thomas SOKOLOWSKI 5643.004d
Flinders University Art Museum Three performances: White, These are the days and 24 shows in 24 hours undated 00:15 VHS video UNKNOWN 5664
Flinders University Art Museum Three performances: White, These are the days and 24 shows in 24 hours undated 03:00 VHS video UNKNOWN 5665
Flinders University Art Museum Three real things undated unknown U-matic video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5549b
Flinders University Art Museum Three thousand famous men undated unknown U-matic video © the artist International Art Richard GRAYSON Gift of the Australian Experimental Art Foundation 5549c
Flinders University Art Museum Tweedle 1987 1987 00:16 VHS video © the artist International Art Janos SUGAR Gift of the Australian Experimental Art Foundation 5638
Flinders University Art Museum Twenty questions 1985 1985 created 8 May 1985 unknown audio © the estate of the artist Australian Art Jenny BOULT Gift of the Australian Experimental Art Foundation 5602d
Flinders University Art Museum Two half-pictures 1990 1990 00:04 VHS video © the artist International Art Lazslo Lazslo REVESZ Gift of the Australian Experimental Art Foundation 5626c
Flinders University Art Museum Two moon July 1986 1986 01:00 VHS video © the artists International Art Vito ACCONCI, Laurie ANDERSON, Michel AUDER, Dara BIRNBAUM, Jonathan BOROFSKY, David BYRNE, Bruce CONNER, Brian ENO, Kit FITZGERALD, Bill T JONES, George LEWIS, Arto LINDSAY, Robert LONGO, Evan LURIE, Gregory MILLER, Eric MITCHELL, Tony NOGUERIA, Cindy SHERMAN, John STANBORN, THE KITCHEN, Bill VIOLA, Molissa FENLEY, Philip GLASS, John LURIE Gift of the Australian Experimental Art Foundation Variety of performances by various artists. 5635
Flinders University Art Museum Two performances: Everybody must get stones and A work for Fluoro tube, wool and open door 1976 1976 created July 1976 unknown Super 8mm film Ian HAMILTON, Noel SHERIDAN Transferred to the VHS 'EAF video documentation 1975-78' by Leigh Hobba in the mid-1990s. 5574
Flinders University Art Museum Two performances: Housewatch and The Jack series 1985 1990 multiple works on tape, dating from 1985 to 1990 unknown VHS video George E SAXON Label states "Not for public viewing or transmission". 5654
Flinders University Art Museum Untitled Date not recorded on work or related documents 16mm colour film International Art. Post-Object And Documentation Art Bob RAMSAY 4800
Flinders University Art Museum Untitled Date not recorded on work or related documents Post-object art, Conceptual art International Art. Post-Object And Documentation Art Bob RAMSAY 4801
Flinders University Art Museum Untitled undated unknown Super 8mm film UNKNOWN 5564
Flinders University Art Museum Untitled undated unknown VHS video © the artist Australian Art Steven ROUTOULAS Gift of the Australian Experimental Art Foundation Tape has attached note from Steve Routoulas addressed to a Cecelia. 5649
Flinders University Art Museum Untitled 1991 1991 created 17 September 1991 00:35 VHS video Thom CORCORAN, John FORBES, Jyanni STEFFENSEN Filmed by Thom Corcoran; the venue was Club Foote. 5655
Flinders University Art Museum Venice Biennale 1976 1976 created 16 July 1976 01:00 U-matic video, black and white, mono sound © the artists International Art Marina ABRAMOVIC, ULAY Gift of the Australian Experimental Art Foundation 5552
Flinders University Art Museum Video diary 1989 1989 00:13 VHS video © the artist International Art Erika PASZTOR Gift of the Australian Experimental Art Foundation 5626h
Flinders University Art Museum Videoplus 1988 1988 00:18 VHS video © the artist International Art Zoltan BONTA Gift of the Australian Experimental Art Foundation 5626i
Flinders University Art Museum Voyeur 1987 1987 created 31 May 1987 unknown VHS video Michelle LUKE 5595
Flinders University Art Museum Waves 1986 1986 unknown audio © the artist Australian Art Ania WALWICZ Gift of the Australian Experimental Art Foundation 5614d
Flinders University Art Museum We should call it a living room undated 16mm film, colour, duration 9 mins International Art. Post-Object And Documentation Art Aleks DANKO, Roger FRAMPTON, David LOURIE, David STEWART 702
Flinders University Art Museum What follows...Guerilla Girls undated unknown VHS video © the artists International Art GUERILLA GIRLS Gift of the Australian Experimental Art Foundation 5645
Flinders University Art Museum Wigg & Watt 1992 1992 created October 1992 unknown VHS video Thom CORCORAN, WIGG AND WATT 5628
Flinders University Art Museum William Yang 1995 1995 created 3 October 1995 unknown VHS video William YANG 5627e
Flinders University Art Museum Yeck's and John's pool 1976 1976 unknown Super 8mm film Dirk LARSON, Tom PUCKEY 5568d
Flinders University Art Museum Yeck's garden 1976 1976 unknown Super 8mm film Dirk LARSON, Tom PUCKEY 5568c
Flinders University Art Museum Zen and Lacan 1995 1995 created 26 July 1995 unknown audio Peter BISHOP Talk given by Peter Bishop as part of the 'Working with Theory' series. 5604
Griffith University Art Museum "Silence is the only possible means of communication" K. Marx 1843 from Artrage: artworks for television 1996 1.00 Tape, video Leigh HOBBA 000798.29
Griffith University Art Museum 19:45pm January 7 from Artrage: artworks for television 1996 1.36 Tape, video Tony TWIGG 000798.25
Griffith University Art Museum 64 from Artrage: artworks for television 1997 3.11 Tape, video Jon MCCORMACK 000798.21
Griffith University Art Museum A Passion Play 1991 8.00 Tape, video, digital betacam master Tony TWIGG 000800A
Griffith University Art Museum A digital rhizome 1994 Disc, CD ROM (MacOS), Kodak CD-R, archive copy Brad MILLER Minimum requirements: Mac OS, 20 Mb of RAM, 24bit colour, HyperCard, Palatino font, Harddrive to be renamed "Rhizome" if all material is copied to the computer 000793A
Griffith University Art Museum A digital rhizome 1994 Disc, CD ROM (MacOS), Kodak CD-R, curatorial reference copy Brad MILLER 000793B
Griffith University Art Museum A digital rhizome 1994 Disc, CD ROM (MacOS), Kodak CD-R, exhibition copy Brad MILLER 000793C
Griffith University Art Museum A short hygenic video about safety from Artrage: the compilation video 1994 1.58 Tape, video Tobias RICHARDSON 000694.18
Griffith University Art Museum A slice of life or the crumbs of existence 1993 1994 15.00 Tape, 16mm black and white film, digital betacam master Janet MEREWETHER 000762A
Griffith University Art Museum A slice of life or the crumbs of existence 1993 1994 15.00 Tape, 16mm black and white film, betacam SP submaster Janet MEREWETHER 000762B
Griffith University Art Museum A slice of life or the crumbs of existence 1993 1994 15.00 Tape, 16mm black and white film, curatorial reference video Janet MEREWETHER 000762C
Griffith University Art Museum A slice of life or the crumbs of existence 1993 1994 15.00 Tape, 16mm black and white film, exhibition video Janet MEREWETHER 000762D
Griffith University Art Museum A taxi to temptation and Dial T for terror from Sinerama 1985 5.00 Tape, video, digital betacam master RANDELLI 000690A
Griffith University Art Museum A taxi to temptation and Dial T for terror from Sinerama 1985 5.00, 7.30 Tape, video, betacam SP submaster RANDELLI 000690B
Griffith University Art Museum A taxi to temptation and Dial T for terror from Sinerama 1985 5.00, 7.30 Tape, video, curatorial reference video RANDELLI 000690C
Griffith University Art Museum A taxi to temptation and Dial T for terror from Sinerama 1985 5.00, 7.30 Tape, video, exhibition video RANDELLI 000690D
Griffith University Art Museum Against the tide 1979 30.00 Tape, VHS, digital betacam master Arthur WICKS 000682A
Griffith University Art Museum Against the tide 1979 30.00 Tape, VHS, betacam SP submaster Arthur WICKS 000682B
Griffith University Art Museum Against the tide 1979 30.00 Tape, VHS, curatorial reference video Arthur WICKS 000682C
Griffith University Art Museum Against the tide 1979 30.00 Tape, VHS, exhibition video Arthur WICKS 000682D
Griffith University Art Museum Album 1970 5.35 Tape, 16mm film, digital betacam master David PERRY 000667A
Griffith University Art Museum Album 1970 5.35 Tape, 16mm film, betacam SP submaster David PERRY 000667B
Griffith University Art Museum Album 1970 5.35 Tape, 16mm film, curatorial reference video David PERRY 000667C
Griffith University Art Museum Album 1970 5.35 Tape, 16mm film, exhibition video David PERRY 000667D
Griffith University Art Museum Antipodean Epic 2016 18.53 R Drive, HD video, 1080p, colour, sound, no dialogue, 18min 53sec Jill ORR Photographer: Christina Simons Video Production: Jason Heller Cinematographer: Dave Mckinnar Costume: Alison Kelly 002979
Griffith University Art Museum Any kind of advance from Artrage: artworks for television 1996 1.55 Tape, video BERNT PORRIDGE 000798.12
Griffith University Art Museum Appropriation 2003 Vinyl, 45 rpm 7in vinyl single, Rock song recorded on a 45 rpm 7in vinyl single in music recording studio. Danius KESMINAS 001992g
Griffith University Art Museum Armada 1994 9.00 Tape, video, digital betacam master John GILLIES 000790A
Griffith University Art Museum Armada 1994 9.00 Tape, video, betacam SP submaster John GILLIES 000790B
Griffith University Art Museum Armada 1994 9.00 Tape, video, curatorial reference video John GILLIES 000790C
Griffith University Art Museum Armada 1994 9.00 Tape, video, exhibition video John GILLIES 000790D
Griffith University Art Museum Art rage from Artrage: the compilation video 1994 0.43 Tape, video Linda DEMENT 000694.03
Griffith University Art Museum Artrage from Artrage: artworks for television 1998 50.17 Tape, video, digital betacam master VARIOUS ARTISTS 000891A
Griffith University Art Museum Artrage from Artrage: artworks for television 1998 50.17 Tape, video, betacam SP submaster VARIOUS ARTISTS 000891B
Griffith University Art Museum Artrage from Artrage: artworks for television 1998 50.17 Tape, video, curatorial reference video VARIOUS ARTISTS 000891C
Griffith University Art Museum Artrage from Artrage: artworks for television 1998 50.17 Tape, video, exhibition video VARIOUS ARTISTS 000891D
Griffith University Art Museum Artrage: the compilation video 1994 35.00 Tape, Betacam SP video, digital betacam master VARIOUS ARTISTS 000694A
Griffith University Art Museum Artrage: the compilation video 1994 35.00 Tape, video, betacam SP submaster VARIOUS ARTISTS 000694B
Griffith University Art Museum Artrage: the compilation video 1994 35.00 Tape, video, curatorial reference video VARIOUS ARTISTS 000694C
Griffith University Art Museum Artrage: the compilation video 1994 35.00 Tape, video, exhibition video VARIOUS ARTISTS 000694D
Griffith University Art Museum Artrage: artworks for television 1996 Tape, video VARIOUS ARTISTS 000798A
Griffith University Art Museum Artrage: artworks for television 1996 Tape, video VARIOUS ARTISTS 000798B
Griffith University Art Museum Artrage: artworks for television 1996 Tape, video VARIOUS ARTISTS 000798C
Griffith University Art Museum Artrage: artworks for television 1996 Tape, video VARIOUS ARTISTS 000798D
Griffith University Art Museum Autumn song 1996 23.0 Tape, video, digital betacam master John CONOMOS 000844A
Griffith University Art Museum Autumn song 1996 23.0 Tape, video, betacam SP submaster John CONOMOS 000844B
Griffith University Art Museum Autumn song 1996 23.0 Tape, video, curatorial reference video John CONOMOS 000844C
Griffith University Art Museum Autumn song 1996 23.0 Tape, video, exhibition video John CONOMOS 000844D
Griffith University Art Museum B.I.T. 1992 6.00 Tape, video, Curatorial reference video David COX 000903A
Griffith University Art Museum B.I.T. 1992 6.00 Tape, video, Exhibition video David COX 000903B
Griffith University Art Museum Baby from Artrage: artworks for television 1996 1.12 Tape, video Patricia PICCININI 000798.08
Griffith University Art Museum Back to the Happy Ever After 1993 18.00 Tape, video, digital betacam master Shane CARNE, Michael CARNE, Philip 'Sunday' HOPKINS 000761A
Griffith University Art Museum Back to the Happy Ever After 1993 18.00 Tape, video, betacam SP submaster Shane CARNE, Michael CARNE, Philip 'Sunday' HOPKINS 000761B
Griffith University Art Museum Back to the Happy Ever After 1993 18.00 Tape, video, curatorial reference video Shane CARNE, Michael CARNE, Philip 'Sunday' HOPKINS 000761C
Griffith University Art Museum Back to the Happy Ever After 1993 18.00 Tape, video, exhibition video Shane CARNE, Michael CARNE, Philip 'Sunday' HOPKINS 000761D
Griffith University Art Museum Basilisk and a universe of dirt 1999 Disc, CD ROM (MAC), Unknown, archive copy Panos COUROS, Lloyd SHARP, Komninos ZERVOS Minimum requirements : MacOS PowerPC, System 8 and later, Quicktime 3, 12Mb free RAM 000907A
Griffith University Art Museum Basilisk and a universe of dirt 1999 Disc, CD ROM (MAC), Unknown, curatorial reference copy Panos COUROS, Lloyd SHARP, Wayne STAMP 000907B
Griffith University Art Museum Basilisk and a universe of dirt 1999 Disc, CD ROM (MAC), Unknown, exhibition copy Panos COUROS, Lloyd SHARP, Wayne STAMP 000907C
Griffith University Art Museum Beg and Gen in the Bonding Booth 1993 5.00 Tape, VHS, digital betacam master VNS MATRIX 000930.07A
Griffith University Art Museum Beg and Gen in the Bonding Booth 1993 5.00 Tape, VHS, Betacam SP sub master VNS MATRIX 000930.07B
Griffith University Art Museum Beg and Gen in the Bonding Booth 1993 5.00 Tape, VHS, curatorial reference copy VNS MATRIX 000930.07C
Griffith University Art Museum Beg and Gen in the Bonding Booth 1993 5.00 Tape, VHS, exhibtion copy VNS MATRIX 000930.07D
Griffith University Art Museum Benny and the dreamers 1993 53.00 Tape, VHS, curatorial reference video Phillip BATTY, Ivo BURUM 000656A
Griffith University Art Museum Benny and the dreamers 1993 53.00 Tape, VHS, exhibition video Phillip BATTY, Ivo BURUM 000656B
Griffith University Art Museum Bet On It! from Artrage: artworks for television 1998 2.06 Tape, video Amy LEE 000891.17
Griffith University Art Museum Bifurcate 1994 11.30 Tape, feedback video FX image and music, digital betacam master Tim KREGER, Mike NICHOLLS 000719A
Griffith University Art Museum Bifurcate 1994 11.30 Tape, feedback video FX image and music, betacam SP submaster Tim KREGER, Mike NICHOLLS 000719B
Griffith University Art Museum Bifurcate 1994 11.30 Tape, feedback video FX image and music, curatorial reference video Tim KREGER, Mike NICHOLLS 000719C
Griffith University Art Museum Bifurcate 1994 11.30 Tape, feedback video FX image and music, exhibition video Tim KREGER, Mike NICHOLLS 000719D
Griffith University Art Museum Blind Ned 1997 1998 2.24 Device, DVD - digital master Blind_Ned.mov Derek KRECKLER 001858A
Griffith University Art Museum Blind Ned 1997 1998 2.24 Disc, DVD - playable copy of the digital master Blind_Ned.mov Derek KRECKLER 001858B
Griffith University Art Museum Blind Ned 1997 1998 2.24 Drive, DVD - exhibition copy Derek KRECKLER 001858C
Griffith University Art Museum Blind date and Love fever from Love stories 1984 3.42, 7.40 Tape, VHS, digital betacam master RANDELLI 000689A
Griffith University Art Museum Blind date and Love fever from Love stories 1984 3.42, 7.40 Tape, VHS, betacam SP submaster RANDELLI 000689B
Griffith University Art Museum Blind date and Love fever from Love stories 1984 3.42, 7.40 Tape, VHS, curatorial reference video RANDELLI 000689C
Griffith University Art Museum Blind date and Love fever from Love stories 1984 3.42, 7.40 Tape, VHS, exhibition video RANDELLI 000689D
Griffith University Art Museum Bluto 1967 5.00 Tape, 16mm film with optical sound, transferred to video, digital betacam master Albie THOMS 000715A
Griffith University Art Museum Bluto 1967 5.00 Tape, 16mm film with optical sound, transferred to video, betacam SP submaster Albie THOMS 000715B
Griffith University Art Museum Bluto 1967 5.00 Tape, 16mm film with optical sound, transferred to video, curatorial reference video Albie THOMS 000715C
Griffith University Art Museum Bluto 1967 5.00 Tape, 16mm film with optical sound, transferred to video, exhibition video Albie THOMS 000715D
Griffith University Art Museum Brief secrets 1993 7.00 Tape, video, curatorial reference video Diana LEACH 000752A
Griffith University Art Museum Brief secrets 1993 7.00 Tape, video, exhibition video Diana LEACH 000752B
Griffith University Art Museum Broken English from Blood brothers c. 1992 54.41 Tape, video, curatorial reference video Ben LANDERS, Rachel PERKINS 000765.01A
Griffith University Art Museum Broken English from Blood brothers c. 1992 54.41 Tape, video, exhibition video Ben LANDERS, Rachel PERKINS 000765.01B
Griffith University Art Museum Caged 2010 4.47 Disc, HD DVD 4.47 minute loop, HD Filming, DVD loop. According to the artist's questionnaire the work was created in photoshop ( digital image), then the motion in DVD Studio Pro Kelly HUSSEY-SMITH 001917A
Griffith University Art Museum Carnival of broken sleep 1994 10.34 Tape, video, digital betacam master Matt DABROWSKI 000808A
Griffith University Art Museum Carnival of broken sleep 1994 10.34 Tape, video, betacam SP submaster Matt DABROWSKI 000808B
Griffith University Art Museum Carnival of broken sleep 1994 10.34 Tape, video, curatorial reference video Matt DABROWSKI 000808C
Griffith University Art Museum Carnival of broken sleep 1994 10.34 Tape, video, exhibition video Matt DABROWSKI 000808D
Griffith University Art Museum Cat watching II from Artrage: the compilation video 1994 0.30 Tape, video Kathy TEMIN 000694.21
Griffith University Art Museum Cicadas & Cellophane 1998 12.53 Tape, video, digital betacam master Juliana BERGESEN-BEDNARECK, Alexandra BLUNDELL, MONSTERS OF INGRATITUDE 000935A
Griffith University Art Museum Cicadas & Cellophane 1998 12.53 Tape, video, betacam SP submaster Juliana BERGESEN-BEDNARECK, Alexandra BLUNDELL, MONSTERS OF INGRATITUDE 000935B
Griffith University Art Museum Cicadas & Cellophane 1998 12.53 Tape, video, curatorial reference video Juliana BERGESEN-BEDNARECK, Alexandra BLUNDELL, MONSTERS OF INGRATITUDE 000935C
Griffith University Art Museum Cicadas & Cellophane 1998 12.53 Tape, video, exhibition video Juliana BERGESEN-BEDNARECK, Alexandra BLUNDELL, MONSTERS OF INGRATITUDE 000935D
Griffith University Art Museum Colour space, Flat space and Expressive space from Spaces 1981 5.08, 4.11, 4.16 Tape, VHS, digital betacam master RANDELLI 000692A
Griffith University Art Museum Colour space, Flat space and Expressive space from Spaces 1981 5.08, 4.11, 4.16 Tape, VHS, betacam SP submaster RANDELLI 000692B
Griffith University Art Museum Colour space, Flat space and Expressive space from Spaces 1981 5.08, 4.11, 4.16 Tape, VHS, curatorial reference video RANDELLI 000692C
Griffith University Art Museum Colour space, Flat space and Expressive space from Spaces 1981 5.08, 4.11, 4.16 Tape, VHS, exhibition video RANDELLI 000692D
Griffith University Art Museum Compilation: Endless house 1991; The digital garden 1992; The digital garden III 1993; Green machine 1993; Woman in Rm 32 1994 1991 1994 16.40 Tape, video, digital betacam master Ross HARLEY 000763a.eA
Griffith University Art Museum Compilation: Endless house 1991; The digital garden 1992; The digital garden III 1993; Green machine 1993; Woman in Rm 32 1994 1991 1994 16.40 Tape, video, curatorial reference video Ross HARLEY 000763a.eC
Griffith University Art Museum Compilation: Endless house 1991; The digital garden 1992; The digital garden III 1993; Green machine 1993; Woman in Rm 32 1994 1991 1994 16.40 Tape, video, exhibition video Ross HARLEY 000763a.eD
Griffith University Art Museum Compilation: Endless house 1991; The digital garden 1992; The digital garden III 1993; Green machine 1993; Woman in Rm 32 1994. 1991 1994 16.40 Tape, video, betacam SP submaster Ross HARLEY 000763a.eB
Griffith University Art Museum Confide in me from Artrage: the compilation video 1994 1.40 Tape, video Mutlu CERKEZ 000694.06
Griffith University Art Museum Constructing a simple 3 point perspective volume (television) from Artrage: the compilation video 1994 2.02 Tape, video Stephen BRAM 000694.19
Griffith University Art Museum Continuous monument to the Australian film industry 1982 2.40 Tape, video, digital betacam master John GILLIES 000825A
Griffith University Art Museum Continuous monument to the Australian film industry 1982 2.40 Tape, video, betacam SP submaster John GILLIES 000825B
Griffith University Art Museum Continuous monument to the Australian film industry 1982 2.40 Tape, video, curatorial reference video John GILLIES 000825C
Griffith University Art Museum Continuous monument to the Australian film industry 1982 2.40 Tape, video, exhibition video John GILLIES 000825D
Griffith University Art Museum Cut from Artrage: the compilation video 1994 2.04 Tape, video Mikala DWYER 000694.10
Griffith University Art Museum Cyberflesh girlmonster 1996 Disc, CD ROM (MacOS), Unknown (digital audio), archive copy Linda DEMENT Minimum requirements: MacOS running System 7 or later, 8MB RAM, 16bit colour, CD-ROM drive 000776.01A
Griffith University Art Museum Cyberflesh girlmonster 1996 Disc, CD ROM (MacOS), Kodak CD-R, curatorial reference copy Linda DEMENT 000776.01B
Griffith University Art Museum Cyberflesh girlmonster 1996 Disc, CD ROM (MacOS), Kodak CD-R, exhibition copy Linda DEMENT 000776.01C
Griffith University Art Museum D-VOID 1995 3 Tape, shot on SP betacam, Digital betacam master Michelle MAHRER 000784A
Griffith University Art Museum D-VOID 1995 3 Tape, shot on SP betacam, Betacam SP submaster Michelle MAHRER 000784B
Griffith University Art Museum D-VOID 1995 3 Tape, shot on SP betacam, curatorial reference copy Michelle MAHRER 000784C
Griffith University Art Museum D-VOID 1995 3 Tape, shot on SP betacam, exhibition copy Michelle MAHRER 000784D
Griffith University Art Museum DNE (47 songs humans shouldn't sing) 1990 31 Vinyl, record Eugene CARCHESIO 000433
Griffith University Art Museum Dam special from Nganampa Anwernekenhe, series 5, program 13, segment 2 1991 7.30 Tape, VHS, curatorial reference video CAAMA 000657A
Griffith University Art Museum Dam special from Nganampa Anwernekenhe, series 5, program 13, segment 2 1991 7.30 Tape, VHS, exhibition video CAAMA 000657B
Griffith University Art Museum Dark 1973 1974 19.00 Tape, video, digital betacam master Paul WINKLER 000829A
Griffith University Art Museum Dark 1973 1974 19.00 Tape, video, betacam SP submaster Paul WINKLER 000829B
Griffith University Art Museum Dark 1973 1974 19.00 Tape, video, curatorial reference video Paul WINKLER 000829C
Griffith University Art Museum Dark 1973 1974 19.00 Tape, video, exhibition video Paul WINKLER 000829D
Griffith University Art Museum Dark 1973 1974 19.00 Film, 16mm film, 16mm film print Paul WINKLER 000829E
Griffith University Art Museum Darkside 1992 10.00 Tape, VHS from SP BVU master, digital betacam master FERAL ARTS 000688A
Griffith University Art Museum Darkside 1992 10.00 Tape, VHS from SP BVU master, betacam SP submaster FERAL ARTS 000688B
Griffith University Art Museum Darkside 1992 10.00 Tape, VHS from SP BVU master, curatorial reference video FERAL ARTS 000688C
Griffith University Art Museum Darkside 1992 10.00 Tape, VHS from SP BVU master, exhibition video FERAL ARTS 000688D
Griffith University Art Museum David Perry 1968 4 Tape, 16mm film with optical sound, transferred to video, digital betacam master Albie THOMS 000716A
Griffith University Art Museum David Perry 1968 4 Tape, 16mm film with optical sound, transferred to video, betacam SP submaster Albie THOMS 000716B
Griffith University Art Museum David Perry 1968 4 Tape, 16mm film with optical sound, transferred to video, curatorial reference video Albie THOMS 000716C
Griffith University Art Museum David Perry 1968 4 Tape, 16mm film with optical sound, transferred to video, exhibition video Albie THOMS 000716D
Griffith University Art Museum Dead Board from Artrage: artworks for television 1996 1.16 Tape, video Scott REDFORD 000798.07
Griffith University Art Museum Default from Artrage: artworks for television 1996 1.42 Tape, video Marion HARPER 000798.17
Griffith University Art Museum Dial T for terror from Sinerama 1985 5 Tape, VHS RANDELLI 000710
Griffith University Art Museum Display screen 1 'Kimberley Star Gazing' 1988 Film, Perspex and metal Joan BRASSIL 000836A.i
Griffith University Art Museum Display screen 2 'Kimberley Star Gazing' 1988 Film, Perspex and metal Joan BRASSIL 000836A.ii
Griffith University Art Museum Display screen 3 'Kimberley Star Gazing' 1988 Film, Perspex and metal Joan BRASSIL 000836A.iii
Griffith University Art Museum Double Trouble 1986 5.26 Tape, video, digital betacam master Peter CALLAS 000450A
Griffith University Art Museum Double Trouble 1986 5.26 Tape, video, betacam SP sub master Peter CALLAS 000450B
Griffith University Art Museum Double Trouble 1986 5.26 Tape, video, curatorial reference vhs dub Peter CALLAS 000450C
Griffith University Art Museum Double Trouble 1986 5.26 Tape, video, exhibition vhs dub Peter CALLAS 000450D
Griffith University Art Museum Double Trouble 1986 5.26 Disc, video, laser disc Peter CALLAS 000450E
Griffith University Art Museum Duncan (Jenepher) 2003 Vinyl, 45 rpm 7in vinyl single, Rock song recorded on a 45 rpm 7in vinyl single in music recording studio. Danius KESMINAS 001992j
Griffith University Art Museum Dying Song 1974 6.30 Tape, video, betacam SP submaster Warren BURT 000817B
Griffith University Art Museum Dying song 1974 6.30 Tape, video, digital betacam master Warren BURT 000817A
Griffith University Art Museum Dying song 1974 6.30 Tape, video, curatorial reference video Warren BURT 000817C
Griffith University Art Museum Dying song 1974 6.30 Tape, video, exhibition video Warren BURT 000817D
Griffith University Art Museum E 1994 9.00 Tape, shot on super 8, completed on video, digital betacam master Jennifer LEGGETT 000758A
Griffith University Art Museum E 1994 9.00 Tape, shot on super 8, completed on video, betacam SP submaster Jennifer LEGGETT 000758B
Griffith University Art Museum E 1994 9.00 Tape, shot on super 8, completed on video, curatorial reference video Jennifer LEGGETT 000758C
Griffith University Art Museum E 1994 9.00 Tape, shot on super 8, completed on video, exhibition video Jennifer LEGGETT 000758D
Griffith University Art Museum ENDGAME from Artrage: artworks for television 1998 2.01 Tape, video Ian HOWARD 000891.11
Griffith University Art Museum East Timor Identity, Resistance & Dreams of Return 1999 Disc, CD ROM (PC & MAC), Unknown , archive copy Michael BUCKLEY Minimum requirements: Multimedia 486 PC with Video/Sound card, 64MB RAM, 8 speed CD-ROM drive Will run best with on an 8X speed CD-ROM drive 000912A
Griffith University Art Museum East Timor Identity, Resistance & Dreams of Return 1999 Disc, CD ROM (PC & MAC), Unknown , curatorial reference copy Michael BUCKLEY Minimum requirements: MacOS PowerPC running System 8.5 or later, 64MB RAM, 8 speed CD-ROM drive 000912B
Griffith University Art Museum East Timor Identity, Resistance & Dreams of Return 1999 Disc, CD ROM (PC & MAC), Unknown , exhibition copy Michael BUCKLEY 000912C
Griffith University Art Museum Either / Orr 1997 10.00 Tape, video, shot on SP Betacam, Digital betacam master Jill ORR 000899A
Griffith University Art Museum Either / Orr 1997 10.00 Tape, video, shot on SP Betacam, Betacam SP sub-master Jill ORR 000899B
Griffith University Art Museum Either / Orr 1997 10.00 Tape, video, shot on SP Betacam, Curatorial reference video Jill ORR 000899C
Griffith University Art Museum Either / Orr 1997 10.00 Tape, video, shot on SP Betacam, Exhibition video Jill ORR 000899D
Griffith University Art Museum End from Artrage: artworks for television 1996 1.18 Tape, video Maria KOZIC 000798.20
Griffith University Art Museum Engaged 1994 9.00 Tape, video, digital betacam master Paul ANDREW 000759A
Griffith University Art Museum Engaged 1994 9.00 Tape, video, betacam SP submaster Paul ANDREW 000759B
Griffith University Art Museum Engaged 1994 9.00 Tape, video, curatorial reference video Paul ANDREW 000759C
Griffith University Art Museum Engaged 1994 9.00 Tape, video, exhibition video Paul ANDREW 000759D
Griffith University Art Museum Everyday I am a Day Older, Special Feature 2006 R Drive, digital video David M. THOMAS 002423a
Griffith University Art Museum Everyday I am a Day Older, Special Feature 2006 R Drive, digital video David M. THOMAS 002423b
Griffith University Art Museum Everyday I am a Day Older, Special Feature 2006 R Drive, digital video David M. THOMAS 002423c
Griffith University Art Museum Everyday I am a Day Older, Special Feature 2006 R Drive, digital video David M. THOMAS 002423d
Griffith University Art Museum Expo Schmexpo 1986 8.00 exhibition copy - to be created Debra BEATTIE 002934d
Griffith University Art Museum Expo Schmexpo 1986 8 curatorial reference video - to be created Debra BEATTIE 002934c
Griffith University Art Museum Expo Schmexpo 1986 8 Digital DVD submaster - to be created Debra BEATTIE 002934b
Griffith University Art Museum Expo Schmexpo 1986 8.00 Tape, VHS, 8mins, sound, VHS, 8mins, sound Debra BEATTIE Voice: Gerry Connolly Camera: Chris Strewe Music: Danny Fine and David Rae 002934a
Griffith University Art Museum Eye Hunger from Artrage: artworks for television 1998 0.48 Tape, VHS, colour, sound Robyn STACEY 000891.24
Griffith University Art Museum Faggots are for burning 1996 9.45 Tape, video, digital betacam master Barry MCKAY 000809A
Griffith University Art Museum Faggots are for burning 1996 9.45 Tape, video, betacam SP submaster Barry MCKAY 000809B
Griffith University Art Museum Faggots are for burning 1996 9.45 Tape, video, curatorial reference video Barry MCKAY 000809C
Griffith University Art Museum Faggots are for burning 1996 9.45 Tape, video, exhibition video Barry MCKAY 000809D
Griffith University Art Museum Failure to materialise 1988 12.00 Tape, video, digital betacam master Geoffrey WEARY 000755A
Griffith University Art Museum Failure to materialise 1988 12.00 Tape, video, betacam SP submaster Geoffrey WEARY 000755B
Griffith University Art Museum Failure to materialise 1988 12.00 Tape, video, curatorial reference video Geoffrey WEARY 000755C
Griffith University Art Museum Failure to materialise 1988 12.00 Tape, video, exhibition video Geoffrey WEARY 000755D
Griffith University Art Museum Faint echoes 1988 17.00 Tape, video, digital betacam master Paul WINKLER 000830A
Griffith University Art Museum Faint echoes 1988 17.00 Tape, video, betacam SP submaster Paul WINKLER 000830B
Griffith University Art Museum Faint echoes 1988 17.00 Tape, video, curatorial reference video Paul WINKLER 000830C
Griffith University Art Museum Faint echoes 1988 17.00 Tape, video, exhibition video Paul WINKLER 000830D
Griffith University Art Museum Faint echoes 1988 17.00 Film, 16mm film, 16mm film print Paul WINKLER 000830E
Griffith University Art Museum Feeling Sexy 1999 47 Disc, DVD - main stream production Davida ALLEN 001859A
Griffith University Art Museum Feeling Sexy 1999 47 Disc, DVD - main stream production Davida ALLEN 001859B
Griffith University Art Museum Feeling Sexy 1999 47 Disc, DVD - main stream production Davida ALLEN 001859C
Griffith University Art Museum Freedom ride from Blood brothers 1992 53.25 Tape, video, curatorial reference video Ben LANDERS, Rachel PERKINS 000765.02A
Griffith University Art Museum Freedom ride from Blood brothers 1992 53.25 Tape, video, exhibition video Ben LANDERS, Rachel PERKINS 000765.02B
Griffith University Art Museum From little things, big things grow. Kev Carmody from Blood brothers c. 1992 52.37 Tape, video, curatorial reference video Ben LANDERS, Rachel PERKINS 000765.03A
Griffith University Art Museum From little things, big things grow. Kev Carmody from Blood brothers c. 1992 52.37 Tape, video, exhibition video Ben LANDERS, Rachel PERKINS 000765.03B
Griffith University Art Museum Front I (stories for video) 1994 1.40 Tape, installation, two videos, Digital Betacam master Linda Marie WALKER 000902.01A
Griffith University Art Museum Front I (stories for video) 1994 1.40 Tape, installation, two videos, Digital Betacam SP submaster Linda Marie WALKER 000902.01B
Griffith University Art Museum Front I (stories for video) 1994 1.40 Tape, installation, two videos, VHS Linda Marie WALKER 000902.01C
Griffith University Art Museum Front I (stories for video) 1994 1.40 Tape, installation, two videos, VHS Linda Marie WALKER 000902.01D
Griffith University Art Museum Front II (stories for video) 1994 1.40 Tape, installation, two videos, Digital Betacam master Linda Marie WALKER 000902.02A
Griffith University Art Museum Front II (stories for video) 1994 1.40 Tape, installation, two videos, Digital Betacam SP submaster Linda Marie WALKER 000902.02B
Griffith University Art Museum Front II (stories for video) 1994 1.40 Tape, installation, two videos, VHS Linda Marie WALKER 000902.02D
Griffith University Art Museum Front II(stories for video) 1994 1.40 Tape, installation, two videos, VHS Linda Marie WALKER 000902.02C
Griffith University Art Museum Goat Odyssey 2006 15.10 Disc, digital video (Infinite Loop) Hayden FOWLER 001801A
Griffith University Art Museum Goat Odyssey 2006 Disc, Digital video. Hayden FOWLER 001801B
Griffith University Art Museum Goodbye daddy from Artrage: the compilation video 1994 1.32 Tape, video Nike SAVVAS 000694.04
Griffith University Art Museum Goori Goori dreaming 1993 7.00 Tape, video, curatorial reference video Randall WOOD 000764A
Griffith University Art Museum Goori Goori dreaming 1993 7.00 Tape, video, exhibition video Randall WOOD 000764B
Griffith University Art Museum Haiku dada 1996 Disc, CD ROM (MacOS), Unknown (digital audio), archive copy Felix HUDE Power Macintosh - System 7.0 or greater, 5 Meg of free RAM, Display (640 x 480 pixels), 256 colours (8 bit) 000775A
Griffith University Art Museum Haiku dada 1996 Disc, CD ROM (MacOS), Mitsui CD-R, curatorial reference copy Felix HUDE 000775B
Griffith University Art Museum Haiku dada 1996 Disc, CD ROM (MacOS), Unknown (digital audio), exhibition copy Felix HUDE 000775C
Griffith University Art Museum Hip to be Square 2003 Vinyl, 45 rpm 7in vinyl single, Rock song recorded on a 45 rpm 7in vinyl single in music recording studio. Danius KESMINAS 001992d
Griffith University Art Museum Homage to John Cage 1992 7.00 Tape, SVHS, digital betacam master Frank OSVATH 000693A
Griffith University Art Museum Homage to John Cage 1992 7.00 Tape, SVHS, betacam SP submaster Frank OSVATH 000693B
Griffith University Art Museum Homage to John Cage 1992 7.00 Tape, SVHS, curatorial reference video Frank OSVATH 000693C
Griffith University Art Museum Homage to John Cage 1992 7.00 Tape, SVHS, exhibition video Frank OSVATH 000693D
Griffith University Art Museum How Sweet it is (to be Loved by You) 2003 Vinyl, 45 rpm 7in vinyl single, Rock song recorded on a 45 rpm 7in vinyl single in music recording studio. Danius KESMINAS 001992h
Griffith University Art Museum How to skoal with style from Artrage: the compilation video 1994 0.34 Tape, video Stieg PERSSON 000694.02
Griffith University Art Museum Hypnotism 1996 23.0 Tape, video, digital betacam master Luke ROBERTS 000770A
Griffith University Art Museum Hypnotism 1996 23.0 Tape, video, betacam SP submaster Luke ROBERTS 000770B
Griffith University Art Museum Hypnotism 1996 23.0 Tape, video, curatorial reference video Luke ROBERTS 000770C
Griffith University Art Museum Hypnotism 1996 23.0 Tape, video, exhibition video Luke ROBERTS 000770D
Griffith University Art Museum Hypnotism 1996 23.0 Tape, video, betacam SP master from artist Luke ROBERTS 000770E
Griffith University Art Museum I am a singer 1997 Disc, CD ROM (MacOS), Unknown (unopened CD), archive copy Megan HEYWARD Minimum requirements: Power Macintosh System 7 operating system or higher, 16MB RAM. 640x480 Display ,16 bit graphics, 4 x CD-ROM drive. Optimised to run directly from the CD-ROM drive. 000882A
Griffith University Art Museum I am a singer 1997 Disc, CD ROM (MacOS), Unknown, curatorial reference copy Megan HEYWARD 000882B
Griffith University Art Museum I am a singer 1997 Disc, CD ROM (MacOS), Unknown, exhibition copy Megan HEYWARD 000882C
Griffith University Art Museum I am hungry 1984 3.50 Tape, video Juan DAVILA, Martin MUNZ 000352
Griffith University Art Museum I'm quite sure I don't understand the question 2008 5 Disc, DVD - pal digital video 5 mins David M. THOMAS 001861A
Griffith University Art Museum I'm too drunk to tell you 2011 10.00, 12.4 Disc, High Definition Single Channel DVD Video, High Definition Single Channel DVD Video, recorded with an aspect ratio of 16:1, authored and looped. 16:1 Liam O'BRIEN 002358a
Griffith University Art Museum I'm too drunk to tell you 2011 10 Drive, High Definition Single Channel Video, High Definition Single Channel Video, recorded with an aspect ratio of 16:1. 16:1 Liam O'BRIEN 002358b
Griffith University Art Museum Interior with views 1976 4.52 Tape, U-matic video, digital betacam master David PERRY 000666A
Griffith University Art Museum Interior with views 1976 4.52 Tape, U-matic video, betacam SP submaster David PERRY 000666B
Griffith University Art Museum Interior with views 1976 4.52 Tape, U-matic video-VHS dub, curatorial reference copy David PERRY 000666C
Griffith University Art Museum Interior with views 1976 4.52 Tape, U-matic video-VHS dub, exhibition video David PERRY 000666D
Griffith University Art Museum Interpreter from Artrage: the compilation video 1994 0.37 Tape, video Eugene CARCHESIO 000694.01
Griffith University Art Museum Jack High from Artrage: artworks for television 1998 1.51 Tape, video Laurens TAN 000891.15
Griffith University Art Museum Janek the Cloud 2007 3.58 Disc, digital animation, software used: 3D Studio Max 09, Vue xStream, Premiere Pro (for Editing) Peter ALWAST 001630A
Griffith University Art Museum Janek the Cloud 2007 3.58 Disc, Digital animation., software used: 3D Studio Max 09, Vue xStream, Premier Pro (for Editing) Peter ALWAST 001630B
Griffith University Art Museum Jardiwarnpa - a Warlpiri fire ceremony from Blood brothers c. 1992 56.33 Tape, video, curatorial reference video Ben LANDERS, Rachel PERKINS 000765.04A
Griffith University Art Museum Jardiwarnpa - a Warlpiri fire ceremony from Blood brothers c. 1992 56.33 Tape, video, exhibitions video Ben LANDERS, Rachel PERKINS 000765.04B
Griffith University Art Museum K-RAD MAN 1991 11.00 Tape, video, digital betacam master Ian HAIG 000909A
Griffith University Art Museum K-RAD MAN 1991 11.00 Tape, video, digital betacam submaster Ian HAIG 000909B
Griffith University Art Museum K-RAD MAN 1991 11.00 Tape, video, curatorial reference copy Ian HAIG 000909C
Griffith University Art Museum K-RAD MAN 1991 11.00 Tape, video, exhibition copy Ian HAIG 000909D
Griffith University Art Museum Kafka's sister's castle 1991 12.00 Tape, video, 16mm film transferred to digital betacam master Alex CHOMICZ 000718A
Griffith University Art Museum Kafka's sister's castle 1991 12.00 Tape, video, betacam SP submaster Alex CHOMICZ 000718B
Griffith University Art Museum Kafka's sister's castle 1991 12.00 Tape, video, curatorial reference video Alex CHOMICZ 000718C
Griffith University Art Museum Kafka's sister's castle 1991 12.00 Tape, video, exhibition video Alex CHOMICZ 000718D
Griffith University Art Museum Kimberley Stranger Gazing 1988 11.45 Tape, video, digital betacam master Joan BRASSIL 000836A
Griffith University Art Museum Kimberley Stranger Gazing 1988 11.45 Tape, video, betacam sp submaster Joan BRASSIL 000836B
Griffith University Art Museum Kimberley Stranger Gazing 1988 11.45 Tape, video, curatorial reference copy Joan BRASSIL 000836C
Griffith University Art Museum Kimberley Stranger Gazing 1988 11.45 Tape, video, exhibition dub Joan BRASSIL 000836D
Griffith University Art Museum Korper 1995 6.00 Tape, video, digital betacam master Robyn WEBSTER 000792A
Griffith University Art Museum Korper 1995 6.00 Tape, video, betacam SP submaster Robyn WEBSTER 000792B
Griffith University Art Museum Korper 1995 6.00 Tape, video, curatorial reference video Robyn WEBSTER 000792C
Griffith University Art Museum Korper 1995 6.00 Tape, video, exhibition video Robyn WEBSTER 000792D
Griffith University Art Museum Lacrimosa (A mournful day) 1993 5.00 Tape, computer animation, U-matic video, digital betacam master Csaba SZAMOSY 000684A
Griffith University Art Museum Lacrimosa (A mournful day) 1993 5.00 Tape, computer animation, U-matic video, betacam SP submaster Csaba SZAMOSY 000684B
Griffith University Art Museum Lacrimosa (A mournful day) 1993 5.00 Tape, computer animation, U-matic video, curatorial reference video Csaba SZAMOSY 000684C
Griffith University Art Museum Lacrimosa (A mournful day) 1993 5.00 Tape, computer animation, U-matic video, exhibition video Csaba SZAMOSY 000684D
Griffith University Art Museum Leash control from Video as art 1980 Tape, VHS, digital betacam master RANDELLI 000691.1
Griffith University Art Museum Leg Spiral from Artrage: artworks for television 1975 0.31 Tape, video Mike PARR 000891.07
Griffith University Art Museum Level two - Tom 1999 3.0 Tape, video, digital betacam master Brook ANDREW 000934A
Griffith University Art Museum Level two - Tom 1999 3.0 Tape, video, digital betacam SP submaster Brook ANDREW 000934B
Griffith University Art Museum Level two - Tom 1999 3.0 Tape, video, cuatorial reference video Brook ANDREW 000934C
Griffith University Art Museum Level two - Tom 1999 3.0 Tape, video, exhibition video Brook ANDREW 000934D
Griffith University Art Museum Level two - Tom 1999 3.0 Tape, video, Betacam SP supplied by artist. Brook ANDREW 000934E
Griffith University Art Museum Li Ji: Warrior Girl 2000 14.00 Tape, computer animated video, digital betacam master Kate BEYNON 000954A
Griffith University Art Museum Li Ji: Warrior Girl 2000 14.00 Tape, computer animated video, betacam submaster Kate BEYNON 000954B
Griffith University Art Museum Li Ji: Warrior Girl 2000 14.00 Tape, computer animated video, curatorial reference dub Kate BEYNON 000954C
Griffith University Art Museum Li Ji: Warrior Girl 2000 14.00 Tape, computer animated video, Exhibition dub Kate BEYNON 000954D
Griffith University Art Museum Link 1994 8.45 Tape, video, curatorial reference video Penny MCDOWELL, Tim SLADE 000760A
Griffith University Art Museum Link 1994 8.45 Tape, video, exhibition video Penny MCDOWELL, Tim SLADE 000760B
Griffith University Art Museum London 1986 6.00 Tape, video, digital betacam master John GILLIES 000823A
Griffith University Art Museum London 1986 6.00 Tape, video, betacam SP submaster John GILLIES 000823B
Griffith University Art Museum London 1986 6.00 Tape, video, curatorial reference video John GILLIES 000823C
Griffith University Art Museum London 1986 6.00 Tape, video, exhibition video John GILLIES 000823D
Griffith University Art Museum Lost in translation 1994 1999 6.00 Tape, video, digital betacam master Peter CALLAS 000936A
Griffith University Art Museum Lost in translation 1994 1999 6.00 Tape, video, betacam SP submaster Peter CALLAS 000936B
Griffith University Art Museum Lost in translation 1994 1999 6.00 Tape, video, curatorial reference video Peter CALLAS 000936C
Griffith University Art Museum Lost in translation 1994 1999 6.00 Tape, video, exhibition video Peter CALLAS 000936D
Griffith University Art Museum Love Hotel 2000 6.45 Tape, VHS, Digital betacam master Linda WALLACE 000942A
Griffith University Art Museum Love Hotel 2000 6.45 Tape, VHS, Betacam SP sub-master Linda WALLACE 000942B
Griffith University Art Museum Love Hotel 2000 6.45 Tape, VHS, Curatorial reference dub Linda WALLACE 000942C
Griffith University Art Museum Love Hotel 2000 6.45 Tape, VHS, Exhibition dub Linda WALLACE 000942D
Griffith University Art Museum Love fever from Love stories 1984 7.40 Tape, VHS RANDELLI 000711
Griffith University Art Museum Love me, buy me, envy me and Leash control from Video as art 1980 Tape, VHS, digital betacam master RANDELLI 000691A
Griffith University Art Museum Love me, buy me, envy me and Leash control from Video as art 1980 Tape, VHS, betacam SP submaster RANDELLI 000691B
Griffith University Art Museum Love me, buy me, envy me and Leash control from Video as art 1980 Tape, VHS, curatorial reference video RANDELLI 000691C
Griffith University Art Museum Love me, buy me, envy me and Leash control from Video as art 1980 Tape, VHS, exhibition video RANDELLI 000691D
Griffith University Art Museum Maidens 1978 33.00 Tape, 16mm film transferred to VHS, curatorial reference video Jeni THORNLEY 000741A
Griffith University Art Museum Maidens 1978 33.00 Tape, 16mm film transferred to VHS, exhibition video Jeni THORNLEY 000741B
Griffith University Art Museum Man ascending from Artrage: artworks for television 1996 1.23 Tape, video John TONKIN 000798.06
Griffith University Art Museum Man seeing stars; side head; the sacred drunken bat of heaven; death on a pale surfboard. from Artrage: artworks for television 1995 1.35 Tape, video Michael STRUM 000798.01
Griffith University Art Museum Marriage of the bride to art 1994 21.00 Tape, video, digital betacam master Jill ORR 000665A
Griffith University Art Museum Marriage of the bride to art 1994 21.00 Tape, video, betacam SP submaster Jill ORR 000665B
Griffith University Art Museum Marriage of the bride to art 1994 21.00 Tape, video, curatorial reference video Jill ORR 000665C
Griffith University Art Museum Marriage of the bride to art 1994 21.00 Tape, video, exhibition video Jill ORR 000665D
Griffith University Art Museum Me and my Third Hand 2003 Vinyl, 45 rpm 7in vinyl single, Rock song recorded on a 45 rpm 7in vinyl single in music recording studio. Danius KESMINAS 001992c
Griffith University Art Museum Measuring stick 1980 30.00 Tape, VHS, digital betacam master Arthur WICKS 000683A
Griffith University Art Museum Measuring stick 1980 30.00 Tape, VHS, betacam SP submaster Arthur WICKS 000683B
Griffith University Art Museum Measuring stick 1980 30.00 Tape, VHS, curatorial reference video Arthur WICKS 000683C
Griffith University Art Museum Measuring stick 1980 30.00 Tape, VHS, exhibition video Arthur WICKS 000683D
Griffith University Art Museum Meditation 14 1986 5.00 Tape, video, digital betacam master Warren BURT 000818A
Griffith University Art Museum Meditation 14 1986 5.00 Tape, video, betacam SP submaster Warren BURT 000818B
Griffith University Art Museum Meditation 14 1986 5.00 Tape, video, curatorial reference video Warren BURT 000818C
Griffith University Art Museum Meditation 14 1986 5.00 Tape, video, exhibition video Warren BURT 000818D
Griffith University Art Museum Men's work Unknown Disc, CD ROM (MAC), Verbatim Data Life Plus, archive copy Peter CHARUK Minimum requirements: Macintosh with at least 4mb of free RAM. System 7 or later,640 x 480screen resolution 13inMonitor with at least 256 colours. Quicktime compatible. 2X speed CD-ROM drive. 000834A
Griffith University Art Museum Men's work Unknown Disc, CD ROM (MAC), Kodak CD-R, curatorial reference copy Peter CHARUK 000834B
Griffith University Art Museum Men's work Unknown Disc, CD ROM (MAC), Kodak CD-R, exhibition copy Peter CHARUK 000834C
Griffith University Art Museum Metabody: from cyborg to symborg 1997 Disc, CD ROM (MacOS), Unknown (digital audio), archive copy Jeffrey COOK, Sam DE SILVA, MERLIN INTEGRATED MEDIA, Gary ZEBINGTON Macintosh 8500 PowerMac - 132 processor or better, System 7.5.3 or later, Minimum 16-bit colour depth, 32 megs of RAM minimum, Speech Manager, Macintalk 3, Voices preferably set to 'Ralph', all in extensions folder, QuickTime 2.1 or greater in extensions folder in system folder, QuickTime Power Plugin in extensions folder, Netscape Navigator 3.0 or 3.1, Macromedia Shockwave installed in Netscape plug-ins folder, 'Winsock Netmanage Lib'-on CD-ROM:appendages in extensions folder, 'RealVR Traveller plug-in' - on CD-ROM:appendages in Netscape plug-ins folder, 'RealVR Playback Xtra' - on CD-ROM:appendages in Netscape plug-ins in Shockwave folder, Thread Manager in extensions folder, The AppleScript Extension in extensions folder 000883A
Griffith University Art Museum Metabody: from cyborg to symborg 1997 Disc, CD ROM (MacOS), Unknown (digital audio), curatorial reference copy Jeffrey COOK, Sam DE SILVA, MERLIN INTEGRATED MEDIA, Gary ZEBINGTON 000883B
Griffith University Art Museum Metabody: from cyborg to symborg 1997 Disc, CD ROM (MacOS), Unknown (digital audio), exhibition copy Jeffrey COOK, Sam DE SILVA, MERLIN INTEGRATED MEDIA, Gary ZEBINGTON 000883C
Griffith University Art Museum Mild bear from Artrage: the compilation video 1994 2.01 Tape, video Adam CULLEN 000694.16
Griffith University Art Museum Mined Feel-ds from Artrage: artworks for television 1997 0.46 Tape, video Naomi HERZOG 000891.03
Griffith University Art Museum Moodeitj yorgas 1988 22.00 Tape, 16mm film, curatorial reference video Tracey MOFFATT 000650A
Griffith University Art Museum Moodeitj yorgas 1988 22.00 Tape, 16mm film, exhibition video Tracey MOFFATT 000650B
Griffith University Art Museum Mountains of East and West 1991 8.27 Tape, video, digital betacam master Andrew FROST 000845A
Griffith University Art Museum Mountains of East and West 1991 8.27 Tape, video, betacam SP submaster Andrew FROST 000845B
Griffith University Art Museum Mountains of East and West 1991 8.27 Tape, video, curatorial reference video Andrew FROST 000845C
Griffith University Art Museum Mountains of East and West 1991 8.27 Tape, video, exhibition video Andrew FROST 000845D
Griffith University Art Museum Museum 1996 9.55 Tape, video, digital betacam master; from video with stereo sound. Geoffrey WEARY 000799A
Griffith University Art Museum Museum 1996 9.55 Tape, video, betacam SP submaster Geoffrey WEARY 000799B
Griffith University Art Museum Museum 1996 9.55 Tape, video, curatorial reference video Geoffrey WEARY 000799C
Griffith University Art Museum Museum 1996 9.55 Tape, video, exhibition video Geoffrey WEARY 000799D
Griffith University Art Museum Nail clippings from Artrage: the compilation video 1994 2.51 Tape, video Jacky REDGATE 000694.11
Griffith University Art Museum Nam June Paik 2003 Vinyl, 45 rpm 7in vinyl single, Rock song recorded on a 45 rpm 7in vinyl single in music recording studio. Danius KESMINAS 001992e
Griffith University Art Museum Neo Geo: An American Purchase 1989 9.17 Tape, video, digital betacam master Peter CALLAS 000448A
Griffith University Art Museum Neo Geo: An American Purchase 1989 9.17 Tape, video, betacam sp submaster Peter CALLAS 000448B
Griffith University Art Museum Neo Geo: An American Purchase 1989 9.17 Tape, vdieo, curatorial reference vhs dub Peter CALLAS 000448C
Griffith University Art Museum Neo Geo: An American Purchase 1989 9.17 Tape, video, exhibition vhs dub Peter CALLAS 000448D
Griffith University Art Museum Neo Geo: An American Purchase 1989 9.17 Disc, video, laser disc Peter CALLAS 000448E
Griffith University Art Museum Neurosis 1970 9.00 Tape, video, digital betacam master Paul WINKLER 000828A
Griffith University Art Museum Neurosis 1970 9.00 Tape, video, betacam SP submaster Paul WINKLER 000828B
Griffith University Art Museum Neurosis 1970 9.00 Tape, video, curatorial reference video Paul WINKLER 000828C
Griffith University Art Museum Neurosis 1970 9.00 Tape, video, exhibition video Paul WINKLER 000828D
Griffith University Art Museum Neurosis 1970 9.00 Film, 16mm film, 16mm film print Paul WINKLER 000828E
Griffith University Art Museum Never Mind the Pollocks here's the Histrionics 2003 Disc, CD Album, 10 Cover Rock Songs recorded on a Compact Disk in recording studio. Danius KESMINAS, THE HISTRIONICS 001993
Griffith University Art Museum Night Cries: A Rural Tragedy 1990 17.00 Disc, DVD 17 minutes Tracey MOFFATT 000651C
Griffith University Art Museum Night cries: a rural tragedy 1990 17.00 Tape, VHS from 35mm film, curatorial reference video Tracey MOFFATT 000651A
Griffith University Art Museum Night cries: a rural tragedy 1990 17.00 Tape, VHS from 35mm film, exhibition video Tracey MOFFATT 000651B
Griffith University Art Museum Night's High Noon; An Anti-Terrain 1988 7.26 Tape, video, digital betacam master Peter CALLAS 000449A
Griffith University Art Museum Night's High Noon; An Anti-Terrain 1988 7.26 Tape, video, betacam SP sub-master Peter CALLAS 000449B
Griffith University Art Museum Night's High Noon; An Anti-Terrain 1988 7.26 Tape, video, curatorial reference vhs copy Peter CALLAS 000449C
Griffith University Art Museum Night's High Noon; An Anti-Terrain 1988 7.26 Tape, video, exhibition vhs copy Peter CALLAS 000449D
Griffith University Art Museum Night's High Noon; An Anti-Terrain 1988 7.26 Disc, video, laser disc Peter CALLAS 000449E
Griffith University Art Museum November eleven 1979 1981 19.33 Tape, VHS, digital betacam master Peter KENNEDY, John HUGHES 000663A
Griffith University Art Museum November eleven 1979 1981 19.33 Tape, VHS, betacam SP submaster Peter KENNEDY, John HUGHES 000663B
Griffith University Art Museum November eleven 1979 1981 19.33 Tape, VHS, curatorial reference video Peter KENNEDY, John HUGHES 000663C
Griffith University Art Museum November eleven 1979 1981 19.33 Tape, VHS, exhibition video Peter KENNEDY, John HUGHES 000663D
Griffith University Art Museum Objects for the Blind 1994 6.00 Tape, 16mm colour and black & white film, digital betacam master Geoffrey WEARY 000754A
Griffith University Art Museum Objects for the Blind 1994 6.00 Tape, video, betacam SP submaster Geoffrey WEARY 000754B
Griffith University Art Museum Objects for the Blind 1994 6.00 Tape, video, curatorial reference video Geoffrey WEARY 000754C
Griffith University Art Museum Objects for the Blind 1994 6.00 Tape, video, exhibition video Geoffrey WEARY 000754D
Griffith University Art Museum Olympic City from Artrage: artworks for television 1998 2.29 Tape, video Julianne PIERCE 000891.20
Griffith University Art Museum OmTipi 1996 Disc, CD ROM (MacOS), Kodak CD-R, archive copy Dorian DOWSE Minimum requirements: MacOS running System 7.5 or later, 32 MB RAM, 16bit colour, CD-ROM drive 000774A
Griffith University Art Museum OmTipi 1996 Disc, CD ROM (MacOS), Kodak CD-R, curatorial reference copy Dorian DOWSE 000774B
Griffith University Art Museum OmTipi 1996 Disc, CD ROM (MacOS), Kodak CD-R, exhibition copy Dorian DOWSE 000774C
Griffith University Art Museum On sacred land 1983 1984 13.56 Tape, video, digital betacam master Peter KENNEDY, John HUGHES 000664A
Griffith University Art Museum On sacred land 1983 1984 13.56 Tape, video, betacam SP submaster Peter KENNEDY, John HUGHES 000664B
Griffith University Art Museum On sacred land 1983 1984 13.56 Tape, video, curatorial reference video Peter KENNEDY, John HUGHES 000664C
Griffith University Art Museum On sacred land 1983 1984 13.56 Tape, video, exhibition video Peter KENNEDY, John HUGHES 000664D
Griffith University Art Museum Opinionated from Artrage: the compilation video 1994 1.08 Tape, video Derek KRECKLER 000694.20
Griffith University Art Museum Other 2010 7 Disc, DVD (continuous loop), Montage Tracey MOFFATT 001903A
Griffith University Art Museum Other 2010 7 Disc, DVD Play Copy 7 minute continuous loop Tracey MOFFATT 001903C
Griffith University Art Museum Other 2010 7 Tape, Betacam Master 7 minutes Tracey MOFFATT 001903B
Griffith University Art Museum Other 2009 Disc, DVD transferred to Digital Betacam: 7 minutes, colour, sound Tracey MOFFATT 002947
Griffith University Art Museum Out of order 1992 3.04 Tape, video, curatorial reference video Joy SAUNDERS 000812A
Griffith University Art Museum Out of order 1992 3.04 Tape, video, exhibition video Joy SAUNDERS 000812B
Griffith University Art Museum PAL9000 from Artrage: artworks for television 1998 0.21 Tape, video MEDIALIGHT PRODUCTIONS 000891.02
Griffith University Art Museum Passion Play 1991 8.00 Tape, video, betacam SP submaster Tony TWIGG 000800B
Griffith University Art Museum Passion Play 1991 8.00 Tape, video, curatorial reference video Tony TWIGG 000800C
Griffith University Art Museum Passion Play 1991 8.00 Tape, video, exhibition video Tony TWIGG 000800D
Griffith University Art Museum PathL from Artrage: artworks for television 1996 1.56 Tape, video Peter HENNESSEY 000798.28
Griffith University Art Museum Payback 1996 10.00 Tape, video, curatorial reference video Warwick THORNTON 000791A
Griffith University Art Museum Payback 1996 10.00 Tape, video, exhibition video Warwick THORNTON 000791B
Griffith University Art Museum Pearls of wisdom: a postmodern journey through one person's mind 1996 Disc, CD ROM (PC), mouse pad, track ball, Unknown (digital audio), archive copy Di BALL SystemPC: Minimum requirements: Multimedia 486 PC with Video/Sound card, 8MB RAM, CD-ROM drive. Set monitor to 800x600 or if it is to be projected, 640x480. There are 2 versions on this cd. pearl640.exe and pearl800.exe. This cd also contains a screen saver bitmap (pearls.bmp), and a large cursor for projection mode. These are found in the EXTRA folder. It is recommended that the cursor is set with trails showing when projected. 000796.03A
Griffith University Art Museum Pearls of wisdom: a postmodern journey through one person's mind 1996 Disc, CD ROM (PC), mouse pad, track ball, Laser CD-R, archive copy Di BALL 000796.03B
Griffith University Art Museum Pearls of wisdom: a postmodern journey through one person's mind 1996 Disc, CD ROM (PC), mouse pad, track ball, Laser CD-R, archive copy Di BALL 000796.03C
Griffith University Art Museum Pet Shop from Artrage: artworks for television 1998 1.43 Tape, video Martine COROMPT 000891.12
Griffith University Art Museum Photography 2003 Vinyl, 45 rpm 7in vinyl single, Rock song recorded on a 45 rpm 7in vinyl single in music recording studio. Danius KESMINAS 001992f
Griffith University Art Museum Pink poos from Artrage: artworks for television 1996 1.06 Tape, video Jay YOUNGER 000798.05
Griffith University Art Museum Planet of noise 1997 Disc, CD ROM (MacOS), Unknown (digital audio), archive copy Brad MILLER, McKenzie WARK Minimum Requirements: Macintosh PowerMac, 8 X CD-ROM or greater, 16Mb RAM, 832 x 624 pixel Screen resolution, Quicktime 2.1 and Sound Manager or greater 000880A
Griffith University Art Museum Planet of noise 1997 Disc, CD ROM (MacOS), Unknown (digital audio), curatorial reference copy Brad MILLER, McKenzie WARK 000880B
Griffith University Art Museum Planet of noise 1997 Disc, CD ROM (MacOS), Kodak CD-R, exhibition copy Brad MILLER, McKenzie WARK 000880C
Griffith University Art Museum Point of view: An anthology of the moving image 2003 Disc, Digital video VARIOUS ARTISTS 000136R
Griffith University Art Museum Poison box from Artrage: the compilation video 1994 1.09 Tape, video John BARBOUR 000694.14
Griffith University Art Museum Pop Video from Artrage: artworks for television 1998 2.55 Tape, video: shot on mini DV, edited on Adobe Premier Christopher LANGTON 000891.04
Griffith University Art Museum Pop-o-matic dream home from Artrage: artworks for television 1996 1.30 Tape, video Ian HAIG 000798.15
Griffith University Art Museum Portrait #2 from Artrage: artworks for television 1996 2.00 Tape, video, Shot on Hi-8, finished on SP Betacam. Carol RUDYARD 000798.16
Griffith University Art Museum Power cuts from Artrage: the compilation video 1994 2.25 Tape, video Jeff GIBSON 000694.12
Griffith University Art Museum Programme 1995 2.15 Tape, video, digital betacam master Ian ANDREWS 000783A
Griffith University Art Museum Programme 1995 2.15 Tape, video, betacam SP submaster Ian ANDREWS 000783B
Griffith University Art Museum Programme 1995 2.15 Tape, video, curatorial reference video Ian ANDREWS 000783C
Griffith University Art Museum Programme 1995 2.15 Tape, video, exhibition video Ian ANDREWS 000783D
Griffith University Art Museum Projection 1993 5.00 Tape, video, digital betacam master Martina PALOMBI 000757A
Griffith University Art Museum Projection 1993 5.00 Tape, video, betacam SP submaster Martina PALOMBI 000757B
Griffith University Art Museum Projection 1993 5.00 Tape, video, curatorial reference video Martina PALOMBI 000757C
Griffith University Art Museum Projection 1993 5.00 Tape, video, exhibition video Martina PALOMBI 000757D
Griffith University Art Museum Proposition for Identity (Receiver) 2014 62 Device, Palsonic TV and bracket Liam O'BRIEN 003376b
Griffith University Art Museum Psycho/cyber: virtual and robot events 1993 1992 1993 18.00 Tape, VHS, curatorial reference video STELARC 000649A
Griffith University Art Museum Psycho/cyber: virtual and robot events 1993 1992 1993 18.00 Tape, VHS, exhibition video STELARC 000649B
Griffith University Art Museum Pucker up 1991 10.00 Tape, shot on super 8m, completed on video, digital betacam master Amree HEWITT, Deb VERHOEVEN 000695A
Griffith University Art Museum Pucker up 1991 10.00 Tape, shot on super 8, completed on video, betacam SP submaster Amree HEWITT, Deb VERHOEVEN 000695B
Griffith University Art Museum Pucker up 1991 10.00 Tape, shot on super 8, completed on video, curatorial reference video Amree HEWITT, Deb VERHOEVEN 000695C
Griffith University Art Museum Pucker up 1991 10.00 Tape, shot on super 8, completed on video, exhibition video Amree HEWITT, Deb VERHOEVEN 000695D
Griffith University Art Museum Purge from Artrage: artworks for television 1998 1.40 Tape, video Tina GONSALVES 000891.08
Griffith University Art Museum Raising the spirits 1995 37.49 Tape, video, digital betacam master Jill ORR 000720A
Griffith University Art Museum Raising the spirits 1995 37.49 Tape, video, betacam SP submaster Jill ORR 000720B
Griffith University Art Museum Raising the spirits 1995 37.49 Tape, video, curatorial reference video Jill ORR 000720C
Griffith University Art Museum Raising the spirits 1995 37.49 Tape, video, exhibition video Jill ORR 000720D
Griffith University Art Museum Rapt 1998 5.06 Tape, video, digital betacam master Justine COOPER 000923A
Griffith University Art Museum Rapt 1998 5.06 Tape, video, detacam SP submaster Justine COOPER 000923B
Griffith University Art Museum Rapt 1998 5.06 Tape, video, curatorial reference video Justine COOPER 000923C
Griffith University Art Museum Rapt 1998 5.06 Tape, video, exhibition video Justine COOPER 000923D
Griffith University Art Museum Rapt #1 from Artrage: artworks for television 1998 2.31 Tape, video Justine COOPER 000891.21
Griffith University Art Museum Relics 2007 2.29 Disc, digital animation, software used: 3D Studio Max 09, Vue xStream, Premiere Pro (for editing) Peter ALWAST 001631A
Griffith University Art Museum Relics 2007 2.29 Disc, Digital animation., software used: 3D Studio Max 09, Vue xStream, Premiere Pro (for editing) Peter ALWAST 001631B
Griffith University Art Museum Rip from Artrage: the compilation video 1994 2.00 Tape, video Kerrie POLINESS 000694.17
Griffith University Art Museum Rosalind Brodsky's Time Travelling Cookery Show from Artrage: artworks for television 1998 2.03 Tape, video Suzanne TREISTER 000891.16
Griffith University Art Museum Rosie's secret 1994 11.00 Tape, 35mm film, curatorial reference video; colour and black and white video. Lisa MATTHEWS 000756A
Griffith University Art Museum Rosie's secret 1994 11.00 Tape, 35mm film, exhibition video; colour and black and white video. Lisa MATTHEWS 000756B
Griffith University Art Museum Sand Lines from Artrage: artworks for television 1998 1.46 Tape, video Paul BROWN 000891.25
Griffith University Art Museum Sand lines 1997 Disc, CD ROM (MAC), Kodak CD-R, archive copy Paul BROWN Minimum requirements: MacOS PowerPC running System 8.5 or later, 64MB RAM, CD-ROM drive 000887A
Griffith University Art Museum Sand lines 1997 Disc, CD ROM (MAC), Kodak CD-R, curatorial reference copy Paul BROWN 000887B
Griffith University Art Museum Sand lines 1997 Disc, CD ROM (MAC), Kodak CD-R, exhibition copy Paul BROWN 000887C
Griffith University Art Museum Secretions 1997 29.18 Tape, video, digital betacam master Maree CUNNINGTON 000885A
Griffith University Art Museum Secretions 1997 29.18 Tape, video, betacam SP submaster Maree CUNNINGTON 000885B
Griffith University Art Museum Secretions 1997 29.18 Tape, video, curatorial reference video Maree CUNNINGTON 000885C
Griffith University Art Museum Secretions 1997 29.18 Tape, video, exhibition video Maree CUNNINGTON 000885D
Griffith University Art Museum Section heads meeting "Angel of youth" from Artrage: the compilation video [NOT TO BE SCREENED UNDER ANY CIRCUMSTANCES - BY ARTIST REQUEST] 1994 3.27 Tape, video Dale FRANK 000694.08
Griffith University Art Museum She says 'the grooves speak' 1987 3 Tape, video, digital betacam master John GILLIES 000824A
Griffith University Art Museum She says 'the grooves speak' 1987 3 Tape, video, betacam SP submaster John GILLIES 000824B
Griffith University Art Museum She says 'the grooves speak' 1987 3 Tape, video, curatorial reference video John GILLIES 000824C
Griffith University Art Museum She says 'the grooves speak' 1987 3 Tape, video, exhibition video John GILLIES 000824D
Griffith University Art Museum Shhh! from Artrage: artworks for television 1998 1.21 Tape, video CAMPFIRE, Robert MERCER 000891.05
Griffith University Art Museum Sightseeing tours 1993 3.30 Tape, video, digital betacam master Lisa ANDREW, Lauren BERKOWITZ 000822A
Griffith University Art Museum Sightseeing tours 1993 3.30 Tape, video, betacam SP submaster Lisa ANDREW, Lauren BERKOWITZ 000822B
Griffith University Art Museum Sightseeing tours 1993 3.30 Tape, video, curatorial reference video Lisa ANDREW, Lauren BERKOWITZ 000822C
Griffith University Art Museum Sightseeing tours 1993 3.30 Tape, video, exhibition video Lisa ANDREW, Lauren BERKOWITZ 000822D
Griffith University Art Museum Signed from Artrage: artworks for television 1998 2.00 Tape, video Richard TIPPING 000891.14
Griffith University Art Museum Skin of memory 1997 6.00 Tape, video, digital betacam master Judith WRIGHT 000820A
Griffith University Art Museum Skin of memory 1997 6.00 Tape, video, betacam SP submaster Judith WRIGHT 000820B
Griffith University Art Museum Skin of memory 1997 6.00 Tape, video, curatorial reference video Judith WRIGHT 000820C
Griffith University Art Museum Skin of memory 1997 6.00 Tape, video, exhibition copy Judith WRIGHT 000820D
Griffith University Art Museum Slow burn from Artrage: artworks for television 1996 2.19 Tape, video John CONOMOS 000798.23
Griffith University Art Museum Smile from Artrage: artworks for television 1996 0.33 Tape, video Linda DEMENT 000798.26
Griffith University Art Museum Sniff movie from Artrage: artworks for television 1996 1.06 Tape, video Julie RRAP 000798.04
Griffith University Art Museum Snow White 1996 20.00 Tape, video, digital betacam master Robyn WEBSTER 000835A
Griffith University Art Museum Snow White 1996 20.00 Tape, video, betacam SP submaster Robyn WEBSTER 000835B
Griffith University Art Museum Snow White 1996 20.00 Tape, video, curatorial reference video Robyn WEBSTER 000835C
Griffith University Art Museum Snow White 1996 20.00 Tape, video, exhibition video Robyn WEBSTER 000835D
Griffith University Art Museum Softcore from Artrage: artworks for television 1996 0.50 Tape, video Anthony BABICCI, Panos COUROS 000798.27
Griffith University Art Museum Soul flight 1997 10.00 Tape, video, digital betacam master Lin LI 000821A
Griffith University Art Museum Soul flight 1997 10.00 Tape, video, betacam SP submaster Lin LI 000821B
Griffith University Art Museum Soul flight 1997 10.00 Tape, video, curatorial reference video Lin LI 000821C
Griffith University Art Museum Soul flight 1997 10.00 Tape, video, exhibition video Lin LI 000821D
Griffith University Art Museum Soul road poem 1993 7.00 Tape, video, digital betacam master Stephen DUKE 000717A
Griffith University Art Museum Soul road poem 1993 7.00 Tape, video, betacam SP submaster Stephen DUKE 000717B
Griffith University Art Museum Soul road poem 1993 7.00 Tape, video, curatorial reference video Stephen DUKE 000717C
Griffith University Art Museum Soul road poem 1993 7.00 Tape, video, exhibition video Stephen DUKE 000717D
Griffith University Art Museum Sound, silence and light 1996 18.00 Tape, video, digital betacam master Jill ORR 000815A
Griffith University Art Museum Sound, silence and light 1996 18.00 Tape, video, betacam SP submaster Jill ORR 000815B
Griffith University Art Museum Sound, silence and light 1996 18.00 Tape, video, curatorial reference video Jill ORR 000815C
Griffith University Art Museum Sound, silence and light 1996 18.00 Tape, video, exhibition video Jill ORR 000815D
Griffith University Art Museum Soundform 1998 Disc, CD ROM (MacOS), Unknown (digital audio), archive copy Troy INNOCENT Minimum Requirements: Power Macintosh with System 7.5 (or later), Quicktime 2.5, 48MB of RAM. This work will only run with Quicktime 2.5. All other versions of Quicktime must be disabled for optimum functionality. 000910A
Griffith University Art Museum Soundform 1998 Disc, CD ROM (MacOS), Verbatim CD-RW, curatorial reference copy Troy INNOCENT 000910B
Griffith University Art Museum Soundform 1998 Disc, CD ROM (MacOS), Unknown (digital audio), exhibition copy Troy INNOCENT 000910C
Griffith University Art Museum Special go-man (excerpt from PsyVision) from Artrage: artworks for television 1996 1.52 Tape, computer animated video Troy INNOCENT 000798.24
Griffith University Art Museum Star from Artrage: artworks for television 1996 1.30 Tape, video Geoffrey WEARY 000798.22
Griffith University Art Museum Surfacing 1995 10.30 Tape, video, digital betacam master Kelli DIPPLE, Jan-Nell WEAVER 000884A
Griffith University Art Museum Surfacing 1995 10.30 Tape, video, betacam SP submaster Kelli DIPPLE, Jan-Nell WEAVER 000884B
Griffith University Art Museum Surfacing 1995 10.30 Tape, video, curatorial reference video Kelli DIPPLE, Jan-Nell WEAVER 000884C
Griffith University Art Museum Surfacing 1995 10.30 Tape, video, exhibition video Kelli DIPPLE, Jan-Nell WEAVER 000884D
Griffith University Art Museum Synthing from Artrage: artworks for television 1996 1.29 Tape, video Tim GRUCHY 000798.09
Griffith University Art Museum Tales of typhoid Mary 1996 Disc, CD ROM (MAC), Unknown (digital audio), archive copy Linda DEMENT Minimum requirements: MacOS running System 7 or later, 8MB RAM, 16bit colour, CD-ROM drive 000776.02 A
Griffith University Art Museum Tales of typhoid Mary 1996 Disc, CD ROM (MAC), Kodak CD-R, curatorial reference copy Linda DEMENT 000776.02 B
Griffith University Art Museum Tales of typhoid Mary 1996 Disc, CD ROM (MAC), Kodak CD-R, exhibition copy Linda DEMENT 000776.02 C
Griffith University Art Museum Talk Show 1994 3 Tape, video, U-matic transferred to digital betacam master Niamh LINES 000721A
Griffith University Art Museum Talk Show 1994 3 Tape, video, betacam SP submaster Niamh LINES 000721B
Griffith University Art Museum Talk Show 1994 3 Tape, video, curatorial reference video Niamh LINES 000721C
Griffith University Art Museum Talk show 1994 3 Tape, video, exhibition video Niamh LINES 000721D
Griffith University Art Museum Techno/Dumb/Show 1991 20.00 Tape, video, digital betaca