CV

Martyn Jolly

QUALIFICATIONS

2003           PhD, University of Sydney, Sydney College of the Arts. Topic: Fake Photographs: Making Truths in Photography.

1995           Master of Arts by research, Humanities and Social Sciences, University of Technology, Sydney. Topic: The Perpendicular and the Oblique.

1991           Graduate Diploma in Communications (Writing and the Philosophy of Culture), University of Technology, Sydney.

1981           Bachelor of Arts (Visual Arts), Sydney College of the Arts.

 

SELECTED PROFESSIONAL SERVICE

2018           Honorary Associate Professor

2017           Head, Photography and Media Arts, Australian National University School of Art.

Artists’ Representative, Art Association of Australia and New Zealand.

Interviewed on 2UE radio, Sydney, about Vivid Sydney, 3 June.

Interviewed on ‘Counterpoint’, Radio National, about Heritage in the Limelight, 10 July.

2016           Interviewed on ‘Richard Glover’, ABC Radio, Sydney.

2015           Expert assessor, Key Arts Organisation Funding, ArtsACT, Canberra.

2013           Guest Judge, National Portrait Prize, National Portrait Gallery.

Consultant, Art Gallery of New South Wales Photography Department.

2012           Judge, Muswellbrook Photographic $10,000 Acquisitive Award, Musewellbrook Regional Arts Centre.

Interviewed on ‘The Conversation with Richard Fidler’ on ABC Radio 16 March.

2008           Appointed Head, Photography and Media Arts, Australian National University School of Art.

Board member Vivid Photography Festival.

1993-2007 Head, Photomedia, Australian National University School of Art.

2007           Judged the Josephine Ulrich and Win Schubert photography award, Gold Coast City Gallery.

2005-2008 Member ACT Cultural Council.

Chair of the ArtsACT Visual Arts Peer Committee.

Coordinating committee of the Vivid National Photography Festival.

1990-92      Lecturer, Photography Studio, Sydney College of the Arts, Sydney University. (Fractional)

Lecturer, Art History and Theory, College of Fine Art, University of NSW. (Casual)

1988           Lecturer, Department of Visual Arts and Media Studies, Hunter Institute of Higher Education.

1985-87      Curator, Australian Centre for Photography.

1982-85      Curatorial Assistant, Department of Photography, Australian National Gallery, Canberra

 

ACADEMIC SERVICE

2017           University Academic Board, College Education Committee, various School committees.

2010-13      Expert academic advisor Singapore Polytechnic.

2010           Guest masters assessor, Elam School of Fine Arts, Auckland, New Zealand.

2008           Convener of College of Arts and Social Sciences Practice-Led Research Theme.

 

EDITORIAL ADVISORY BOARDS

Photography and Culture, UK

Early Popular Visual Culture, UK

 

ONLINE

Australian National University:

http://soad.cass.anu.edu.au/people/associate-professor-martyn-jolly

Blog:

https://martynjolly.com/

Curating Photography (with Daniel Palmer):

http://photocurating.net/

Heritage in the Limelight: The Magic Lantern in Australia and the World:

https://soad.cass.anu.edu.au/research/heritage-limelight

Facebook, Instagram, Twitter:

Martyn_Jolly

 

SELECTED EXHIBITIONS

2015           The Alchemists: Rediscovering Photography in the Age of the jpeg, Australian Centre for Photography, 257 Oxford Street, Sydney, co-curator, with Cherine Fahd and Suzanne Buljan, 30 October – 7 December. Curated artists were Joyce Campbell, Ben Cauchi, Danica Chappell, Lisa Clunie, Lucinda Eva-May, Ashleigh Garwood, Mike Gray, David Haines, Joyce Hinterding, Matt Higgins, Benjamin Lichtenstein, Todd McMillan, Dane Mitchell, Laura Moore, Sarah Mosca, Anne Noble, Sawit Prasertphan, Kate Robertson, Catherine Rogers, Aaron Seeto, Benjamin Stone-Herbert, CJ Taylor, Craig Tuffin, James Tylor, and Daisuke Yokota.

2013           Lens Love: the Tender Gaze of Six Canberra Region Photographers, curated by Shane Breynard, Canberra Museum and Gallery, 30 November to 23 February 2014

Hopeless Romantics, Foyer Gallery, ANU School of Art, 30 October – 9 November

                   Shaping Canberra, ANU School of Art Gallery, 17 September – 19 October

Undertone, Front Gallery, 1 May – 12 May

2012           Assisted Reproduction: Out in the Light, group exhibition, ANU School of Art Gallery, 12 October to 3 November

2011           Ten Ways to Look at the Past, National Gallery of Victoria, Ian Potter Centre, curated by Jane Dovey, with Brook Andrew, Emily Floyd, Narelle Jubelin, Peter Kennedy, Richard Lewer, Tracey Moffatt, Tom Nicholson, David Noonan, Ricky Swallow, 23 July to 5 February 2012,

                   Imitation of Life, group exhibition curated by Deborah Clark, Canberra Museum and Gallery, 22 June to 16 October. 48 pp catalogue, Canberra Museum and Gallery, ISBN 978 0 9807840 2 2.

2008           Parade: Manufacturing Selves in Photography, curator of group exhibition of seventeen artists, ANU School of Art Gallery, 12 July to 2 August, part of the Vivid: National Photography Festival. Catalogue, 24 pp, ISBN 0 7315 3056X

                   From the Prosaic to the Sublime, group exhibition, ANCA Gallery, Canberra, August 15 to August 24, curated by Ann MacMahon.

2006           Social Capital, group exhibition at Canberra Contemporary Art Space, curated by Lisa Byrne. , 9 March to 15 April. Catalogue, 32 pp, ISBN 1 921 157 02X.

2005           Les Revenants, group exhibition of four artists at Montreal Arts Interculturels, as part of Le Mois de la Photo a Montreal, September, curated by Marth Langford as part of Le Mois de la Photo a Montreal, 8 September to 5 November. Catalogue: Image &: Imagination: le Mois de la Photo a Montreal 2005, McGill-Queen’s University Press, Montreal, edited by Martha Langford, pp 185-190, ISBN 0-7735-2969-1

                   Good Looking: Narrative Photographs Past and Present, group exhibition curated by Kate Rhodes, Curator of Photography, National Gallery of Victoria. National Gallery of Victoria, 2 March to 16 May; McClelland Gallery 
6 March to 25 May 2005; Shepparton Art Gallery 
26 May to 3 July 2005; National Library of Australia 
3 September to 30 October 2005. Catalogue: Good Looking: Narrative Photographs Past and Present Kate Rhodes, National Gallery of Victoria, 28pp.

  • Martyn Jolly, Olin Gallery, Roanoke College, VA, USA, 23 January to 19 February.

MakeBelieve: Photographic Fictions, group exhibition of 11 artists, Stills Gallery, Sydney, 31 January to 13 March.

2003           MakeBelieve: Photographic Fictions, group exhibition of 11 artists, Sir Herman Black Gallery, University of Sydney, 29 September to 1 November.

2002           Faces of the Living Dead, solo exhibition, Northern Territory University Gallery; Junk Writing Conference, University College Worcester, UK, 7 to 9 August; Unauthorised Knowledges: Non-Conformist Thought and its Influences in Australia and Beyond conference, Centre for Cross Cultural Research, ANU.

2001           Faces of the Living Dead, solo exhibition, Canberra Contemporary Art Space, 17 November to 16 December; Scott Donovan Gallery, Sydney, 6 – 22 December.

2000           Sporting Life, international group exhibition of 16 artists, curated by Rachel Kent, Museum of Contemporary Art, Sydney, 16 August to 5 November

1998           Nineteen Sixty-Three: News and Information, solo exhibition, RMIT Gallery, Melbourne, February; Australian Centre for Photography, Sydney, August.

1997           National Gallery of Australia, Australian art galleries hang, October.

Nineteen Sixty-Three: News and Information, Australian Archives Gallery, Old Parliament House, Canberra; part of Archives and the Everyday project, Canberra Contemporary Art Space, October.

1996           Archival Permanence: time and timelessness in 100 years of Australian Photography, group exhibition, Geelong Art Gallery, Albury Regional Arts Centre, Horsham Art Gallery, Waverly City Gallery.

Palimpsest, group exhibition, Artspace Sydney, CSA Gallery Canberra, RMIT Gallery Melbourne.

1995           Capital Works, group exhibition, Drill Hall Gallery, Canberra; Takashimaya Gallery Singapore; University Museum and Art Gallery, The University of Hong Kong.

1994           Sydney Photographed, group exhibition, Museum of Contemporary Art, Sydney, December.

                   Wonderful Pictures, one-person exhibition, Centre for Contemporary Photography, Melbourne, February.

1988           Museum, one-person exhibition, Australian Centre for Photography, April.

1987           Borderlines, Recent Sydney Photographs, Regional touring exhibition curated by Geoffrey Batchen.

1985           Killing Time, group exhibition, Mori Gallery, January.

 

SELECTED PERFORMANCES

2019           Magic lantern performance, The Australian Object: Material Culture in Context, National Art School and Power Institute Museum, Sydney, 4 October.

2018           ‘Five scenes for a Modern Prometheus’, The Magic Lantern in Australia and the World, School of Art and Design, 6 September, and Frankenstein: 200 Years of Monsters, Humanities Research Centre, 13 September, Australian National University.

‘A magic lantern show demonstrating scientific truths’, Imagineers in Circus and Science: Scientific Knowledge and Creative Imagination, Australian National University, 3 – 5 April and Mount Stromlo Open Night, Australian National University, 20 April

‘An astronomical lecture with the magic lantern’, Mount Stromlo Observatory, with Paul McMahon and Ben Keogh, 20 April.

2017           ‘Raeburn’, New South Wales Gothic, ANU School of Art and Design Gallery, with the Canberra experimental Music Studio, 20 April (http://soa.anu.edu.au/heritage-limelight/videos)

Australian National University, Drill Hall Gallery, Heritage in the Limelight, with the Canberra experimental Music Studio, 12 September

‘Magic lantern show,’ Images in Transition Symposium, Centre for Contemporary Photography and Deakin University, 21 October. (With Elisa deCourcy and Alexander Hunter), curated by Patrick Pound.

2016           ‘Double drowning fatality’, Siteworks, Bundanon Trust, curated by John Baylis, 24 September, with Alexander Hunter and the ANU Experimental Music Ensemble (http://soa.anu.edu.au/videos/double-drowning-fatality-magic-lantern-show-bundanon-september-2016)

Magic Lantern Horror Show, National Portrait Gallery, Canberra, with Charles Martin and Dr Alexander Hunter from ANU School of Music, and Angus Trumble, Director of the National Portrait Gallery, and Karen Vickery from National Portrait Gallery, 26 February (http://soa.anu.edu.au/videos/magic-lantern-horror-show)

Ainslie Art Centre, Canberra Obscura, with Charles Martin and Alexander Hunter from ANU School of Music, 28 May

2014           Practice-led Research lantern slide re-enactment, with Professor Peter Tregear and Dr Kate Bowan, History, Cinema and Digital Archives Conference, Humanities Research Centre, ANU, 24 July

 

COLLECTIONS

2014           Canberra Museum and Gallery acquired documentation of the ACT Bushfire Memorial

2012           Canberra Museum and Gallery acquired the complete set of one hundred photographs from the 1963: News and Information installation of 1997

1998           National Gallery of Victoria, acquired a selection from the series 1963: News and Information

1996           National Gallery of Australia, acquired a selection from the series Wonderful Pictures

 

RESIDENCIES

2016           Bundanon Trust, Artist in Residence program, 6 – 25 June

2011           National Library of Australia, Harold White Research Fellowship

National Film and Sound Archive, Scholar and Artist in Residence Fellowship

 

COMMISSIONS

2015           Digital projection on National Library of Australia façade as part of Enlighten Canberra, 28 February.

2004           Commissioned to design the ACT Bushfire Memorial along with Tess Horwitz and Tony Steel.

 

GRANTS

2017           RSHA Visitor Fund Award for Associate Professor Jennifer Tucker

CASS Conference Grant, the Magic Lantern in Australia and the World

2015           Australian Research Council Discovery Grant, Heritage in the limelight: the magic lantern in Australia and the world, $268,000 over three years to lead an international team of six academics, (Professors Paul Pickering, Nicolas Peterson and Jane Lydon, and Associate Professors Martin Thomas and Joe Kember), from three universities to discover and analyse the large number of glass magic lantern slides that remain under-used in our public collections.

RSHA visitor award for Stephen Dupont

2014           Australian Research Council Discovery Grant (along with Dr Daniel Palmer) $177,425 over three years. Developing new curatorial models to enable Australian art galleries to respond effectively to changes in the medium of photography wrought by digital technologies.

ANU Major Equipment Committee grant for Inkjet Research Facility, $175,000

RSHA Visitor Fund Award for Professor Geoffrey Batchen masterclass with National gallery of Australia and the Australian Centre for Photography

RSHA Visitor Fund Award for Hung Keung with Canberra Museum and Gallery

2013           Australia Council Project Grant (with Daniel Palmer), curating photography in Australia, $20,000

Applicant, along with Dr Daniel Palmer, for ARC Discovery Grant

2012           ANU College of Arts and Social Sciences research scoping grant for ‘The Projected Image Heritage of Australia and New Zealand’

RSHA Visitor Fund Award for Stephen Jones visit

2011           RSHA Visitor Fund Award for Shilo Maclean visit

2010           National Library of Australia, Harold White Research Fellowship

National Film and Sound Archive, Scholar and Artist in Residence Fellowship

2009           Australian National University conference funding grant to deliver a paper, ‘A Spiritualist’s carte-de-visite album’, at Spiritualism and Technology in Historical and Contemporary Contexts, a AHRC funded conference at the University of Westminster, London, September 26

2007           Canberra Critics Circle award for ACT Bushfire Memorial (along with Tess Horwitz and Tony Steel).

2005           Canadian High Commission, Faculty Enrichment Program.

2003           ANU Major Equipment Committee Grant, Materializing the Digital Image, $100,000

2002           University of Sydney post-graduate student research grant, $2000.

Australia Council ‘Out of time’ grant, $1500.

Arts ACT ‘Quick responses grant’, $1500.

2000           ArtsACT, project grant, $5600.

1999           Australia Council Fellowship, London Studio Residency, $10,000.

Australian National University, FRGS, research in London, $6800.

1995           Visual Arts and Crafts Board, Project Grant.

1986           Visual Arts Board Curatorial Grant for a study tour of the U.S.A. and the U.K., visiting photographic galleries and research centres.

 

BOOKS

2020           Empire, Early Photography and Spectacle: the global career of showman daguerreotypist, J.W. Newland, (co-authored with Elisa deCourcy), Bloomsbury (forthcoming).

                   The magic lantern at work: witnessing, persuading, experiencing and connecting, (co-edited with Elisa deCourcy), Routledge Studies in Cultural History, 2020, 9780367322564.

                   Australian Photography Exhibitions (co-authored with Daniel Palmer) Perimeter (forthcoming).

 

2006           Faces of the Living Dead: The Belief in Spirit Photography, monograph first published by the British Library,160pp.

The British Library, London, ISBN 0 7123 4899 9

Miegunyah Press, Melbourne University Publishing, Melbourne, ISBN 0 522 85288 2

Mark Batty Publisher, New York, ISBN-10: 0977282732; ISBN-13: 978-0977282739

 

BOOK CHAPTERS FROM 2000

2020           ‘The magic lantern at the edge of empire: The experience of dissolving views and phantasmagoria in colonial Australia’, A Million Pictures: Magic lantern slides in the History of Learning, KINtop studies in early cinema, Indiana University Press, Frank Kessler, Sarah Dellman, (eds) (forthcoming)

‘The Circus and the magic lantern’ (co-authored with Elisa deCourcy), Circus Science and Technology: Dramatising Innnovation, edited by Anna-Sophie Jürgens, Palgrave Macmillan (forthcoming)

‘The magic lantern at work: witnessing, persuading, experiencing and connecting’, in The magic lantern at work: witnessing, persuading, experiencing and connecting, New York: Routledge, edited by Martyn Jolly and Elisa deCourcy.

2015           ‘Delicious Moments: The carte de visite album in Australia’, The Photograph and Australia, edited by Judy Annear, Art Gallery of New South Wales, ISBN 9781741741162, pp234-235.

‘A Nineteenth Century Melbourne Spiritualist’s carte de visite album’, chapter in the book Shifting Focus: Colonial Australian Photography, edited by Anne Maxwell, and Josephine Croci, Australian Scholarly Publishing, Melbourne, 2015, ISBN 978-1-925003-72-7, pp71-87.

‘The Face in Digital Space’ in The Culture of Photography in Public Space, edited by Anne Marsh, Melissa Miles and Daniel Palmer, Intellect, ISBN 9781783204595, pp144 – 157.

2014           ‘Fictive Facts: Digital Post-Production in contemporary Photojournalism and Documentary Practice’, in Photography and Fictions: locating dynamics in practice, QUT/QCP, pp52-57, ISBN 978-0-9923225-3-3

2007           ‘The Face of Australia’, chapter in Australian Studies Now: An Introductory reader in Australian Studies, edited by Andrew Hassam with Amit Sarwal, Indialog Publications. Pp134-14I, ISBN 91-11-29830504

‘International Documentary Photography’, chapter in Photography: Art Gallery of New South Wales Guide to the Photography Collection, edited by Judy Annear, pp151-168, Art Gallery of New South Wales, ISBN 1-74174-006-1-978-1-74174-006-6

2005           ‘’Don’t You See Their Faces?’: The Belief in Spirit Photography’, chapter in Photogenic:Essays/Photography/CCP 2000-2004 , Centre for Contemporary Photography, edited by Daniel Palmer, pp9 – 17. ISBN 0 9751371 1 5

‘Spectres from the Archive’, chapter in Image and Imagination: Le Mois de la Photo, edited by Martha Langford, McGill-Queens University Press, Montreal, pp 173 -184. ISBN 0-7735-2969-1

 

REFEREED JOURNAL ARTICLES FROM 2000

2019           ‘The Light of the World: Transport and Transmission in Colonial Modernity,’ Journal of Early Popular Visual Culture, Vol. 17, No. 2. DOI: 10.1080/17460654.2019.1665249

‘Practice-led research by creative re-use in the Australian Research Council Project Heritage in the Limelight: The Magic Lantern in Australia and the World’, Journal of Early Popular Visual Culture, Vol. 17, No. 1, 119-125.

2018           ‘Heritage in the Limelight, a collection in progress: uncovering, connecting, researching and animating Australia’s magic lantern past’, Open Library of Humanities. (Co-authored with Elisa deCourcy. https://olh.openlibhums.org/articles/10.16995/olh.275/

2014           ‘Art from Archives’, Public History Review, Vol 21, pp60-80

‘Exposing the Australians: Australiana Photobooks of the 1960s’, History of Photography, 38:3, pp276-295.

2013           ‘Soldiers of the Cross: Time, Narrative and Affect’, Early Popular Visual Culture, Vol 11, Issue 4, November 2013, pp293-311. ISSN 1746-0654

2011           ‘Generating a new sense of place in the age of the metaview’, Journal of Australian Studies, Volume 35, Issue 4. With James Steele

2003           ‘Composite Propaganda Photographs during the First World War’, History of Photography, Vol 27, No 2, Summer, pp 154-165

 

ESSAYS FROM 2000

2017           ‘Frank Hurley: Composite Photography in the Great War’, RAW VIEW #8, Soul Creations Oy, Finland. pp58-63. ISSN 2342-5091(With Kate Morschel, Curator, Australian War Memorial)

Closer: Portraits of Survival, Sydney Jewish Museum, 2017, pp6-7. ISBN978-0-9946368-2-9

‘Sunbaker’, Under the sun: Reimagining Max Dupain’s Sunbaker, Australian Centre for Photography, pp22-24, ISBN 978-0-6480417-0-2

‘Cyanotype’, essay for Out of the Blue exhibition, Photospace Gallery, ANU.

2016           ‘Octavio Garcia’, PhotoAccess Art Centre, May

2015           ‘Braddon’, You Are Here festival program, 18-22 November, np

‘The Truth about Digital Photography’, ANU Reporter, Vol. 46, No 2.

‘Of Strange Glasses: Camera Obscuras, Brisbane and Robyn Stacey’, catalogue essay for Robyn Stacey: Cloudland, Museum of Brisbane, ISBN: 978-0-9923682-6-5, pp12-19.

‘The Alchemists’, catalogue essay for The Alchemists: Rediscovering Photography in the Age of the jpeg, (with Suzanne Buljan and Cherine Fahd), Australian Centre for Photography, ISBN 978-1-921558-08-5, pp 4-10.

2014           Networking the Tradition: Curating Photography in Australia’, (with Daniel Palmer) Photofile, Vol. 95, Spring/Summer, pp48-55.

‘Anne Zahalka at Parliament House’, exhibition catalogue, Australian Parliament House, June

2013           ‘Utopia within, across & beyond the University’, Real Time 116, Arts Education: Utopias and Horrors, August-September

‘Soldiers of the Cross’, the Quo Vadis connection, blog entry, National Film and Sound Archive

‘Mark Strizic: Experimenter and Collaborator’, National Library of Australia Magazine, September, pp14-19. ISSN 1836-6147

2013           ‘Decisive Moments‘, SL, State Library of New South Wales Magazine, Winter, 2013, pp12-15. ISSN 1835-9787

The Australian National University’s Inkjet Research Facility’, Imprint Magazine, March, pp28-29

2012           ‘Handmade Media’, Return to Sender, exhibition catalogue, University of Queensland Art Museum, edited by Michelle Helmrich, pp 61-80, ISBN 978-1-74727-050-0

‘Belco Pride’, introductory essay for Lee Grant Belco Pride, pp6-9, ISBN 978-0-98734-950-7

2011           ‘Facial Velocities’, Time Machine Magazine, Issue 2, on-line from 28 October, http://timemachinemag.com/current-issue/facial-velocities-by-martyn-jolly/

  • ‘Embodymeant’, catalogue essay, Flinders Gallery, South Australia, September
  • ‘Photographs of Time and History’, book foreword in The Twilight of Mr Kemp: Landscapes 1797-1897, by Alexander James, unpaginated two pages. ISBN 0-9532458-4-5

2010           ‘Downturn’, book foreword to Downturn, edited by Lee Grant, unpaginated one page ISBN 978-0-646-51556-4.

  • ‘Haunted Australia’, catalogue essay in Trace Elements: Spirit and Memory in Japanese and Australian Photomedia, Tokyo Opera City Art Gallery and Performance space edited by Bec Dean. English version, pp 52 – 57 of 142 page catalogue, ISBN 978-4-925204-22-4 C 0070

‘Parade: Manufacturing Selves in Photography’, catalogue essay in exhibition catalogue, pp2 —6 of 24pp catalogue Parade: Manufacturing Selves in Photography, ISBN: 073153056 X

‘Peace after war and memories’, catalogue essay in Harold Cazneaux: Artist in Photography, edited by Natasha Bulluck, Art Gallery of New South Wales. PP136-137 ISBN 978-1-74174-022-6

‘Collateral Damage’ (with Denise Ferris), Art Monthly Australia, July, pp3—5

‘Prizes, Prizes, Prizes’, Photofile 83, Australian Centre for Photography, pp 56 — 59

2007           ‘Panic and Paranoia: Photography and the Law’, (with Katherine Giles), Photofile 80, pp22—25.

‘Wolfgang Sievers’ Photographs: From the Future to the Past’, catalogue essay for Wolfgang Sievers 1913 — 2007: Work, curated by Stuart Bailey, pp 5 — 14, Glen Eira City Gallery.

2006           Encyclopedia entry on William Mumler in Encyclopedia of Nineteenth Century Photography, edited by John Hannavy, Routledge, ISBN-10: 0415972353

2005           ‘The darkroom in the age of post-film photography’, Artlink, Vol 25, No 1, pp 28 — 30.

‘Spectres from the Archive’, MESH 18, Experimenta Media Arts, Melbourne.

‘Laurie le Guay’s Untitled Fashion Illustration’, Photofile 71, p39.

                   ‘Pools’, catalogue essay for Marcia Lochhead, Canberra Contemporary Arts Space, May.

2002           ‘Faces of the Living Dead’, Photofile, #66, pp 35—39.

2001           Faces of the Living Dead: The Spirit Photography of Mrs Ada Deane, artist’s book, 48pp, ISBN 1 875526 71 40.

‘Motels’, exhibition catalogue essay in Motel, edited by Paul McInnes, Canberra Contemporary Art Space, pp3 – 5. ISBN 1 875526 67 6

‘Marta Penner’s Pinhole Photographs of Brasilia’, Canberra/Brasilia, Shane Breynard and Marta Penner exhibition catalogue, edited by Jane Barney, Canberra Contemporary Art Space, pp23-26. ISBN 1875526 70

 

CONFERENCE PAPERS FROM 2000

2019           ‘Heritage in the Limelight: The Magic Lantern in Australia and the World’, Whole Histories: Keeping the Stories Alive, Yass Historical Society, 10 May.

‘Magic lanterns and magic lantern slides as objects in Australian heritage collections’ (with Elisa deCourcy), The Australian Object: Material Culture in Context, National Art School and Power Institute, Sydney, 4 October.

2018           ‘‘Two Thirds of the Globe’: J W Newland, Magic Lanternist at the Dawn of the Age of Modern Vision’, The Magic Lantern in Australia and the World, School of Art and Design, Australian national university, 5 September.

‘The apparatuses of science, entertainment and belief in colonial Australia’, Imagineers in Circus and Science: Scientific Knowledge and Creative Imagination, Australian National University, 3 – 5 April.

‘Transmission and transport at the edge of Empire’, B-Magic Workshop, Centre for Visual Poetics, University of Antwerp, Belgium. 18 May.

‘J.W. Newland: a globally mobile daguerreotypist and magic lanternist at the dawn of the age of modern vision’, Mobility and Exploration Symposium, Australian National University, 8 June (With Elisa deCourcy)

2017           ‘What can the magic lantern teach us about today’s ‘right-click culture’Art Association of Australia and New Zealand Annual Conference, December, University of Western Australia

‘Two-Thirds of the Globe’: The spectacular career of J W Newland, a showman photographer at the dawn of the age of modern vision’, Images in Transition Symposium, Centre for Contemporary Photography and Deakin University, 21 October. (With Elisa deCourcy)

‘Australia at the Edge of Empire: The Formation of a Colonial Audience through lantern shows’, A Million Pictures: History, Archiving and Creative Re-use of Educational Magic Lantern Slides, Utrecht, Netherlands, 29 August- 1 September

Working with Slides at the Intersection of Archive and Performance Roundtable, A Million Pictures: History, Archiving and Creative Re-use of Educational Magic Lantern Slides, Utrecht, Netherlands, 29 August- 1 September

2016           Co-convened, with Louise Curham, Canberra University, two-panel session on reenactment, AAANZ Conference, ANU, December

2015           Co-convened, with Daniel Palmer, Monash University, three sessions, Photography: Archiving, Collecting, Curating, and Exhibiting, at the AAANZ conference, Queensland, 24 -25 November.

‘Who or what is a colonial Australian photographer’, Rethinking Early Photography, University of Lincoln, 16-17 June.

‘Jozef Stanislaus Ostoja-Kotkowski, an Australian artist between Art, Industry’, Science and the Academy’, Media Art History, Re-Create: Theories, Methods and Practices of Research-Creation in the Histories of Media Art, Science and Technology, Concordia University, UQAM, Montreal, 5-8 November. (With Anthony Oates, Drill Hall Gallery, and Stephen Jones)

2014           Practice-led Research lantern slide re-enactment, with Professor Peter Tregear and Dr Kate Bowan, History, Cinema and Digital Archives Conference, Humanities Research Centre, ANU, 24 July

‘Robert Goodman in Australia and the Pacific’, Broken Images: A Symposium on Early American Photography in the Asia Pacific 1850-1950, Griffith University and Queensland Art Gallery, 3 July

‘Fictive facts: digital post-production in contemporary photojournalism and documentary practice’, Queensland Festival of Photography Conference, Photography and Fictions, QUT and Griffith University, 23 – 25 April.

‘Life model magic lantern slides: the forgotten Australian photographs’, Queensland Festival of Photography Conference, Photography and Fictions, QUT and Griffith University, 23 – 25 April.

2013           ‘Curating Photography in Australia” (with Daniel Palmer), AAANZ conference, Melbourne University, 7 -9 December

‘Art from Archives’, Shaping Canberra, Humanities Research Centre, ANU, 17-20 September

Reality Effects: 2.5D and contemporary documentaries, The Power of Images, Sir Peter Herbst seminars, ANU, 4 September

‘Sorely Tried Men: The male body in Australian photography’, Art Gallery of New South Wales photography symposium, 27 July

‘Children and Urban Space’, Robert Rooney: A Night of Talks, curated by Patrick Pound, Centre for Contemporary Photography, Melbourne, 24 April

‘Herbert Booth and Joseph Perry’s Soldiers of the Cross of 1900’, National Film and Sound Archive, Arc Cinema, Canberra, 1 March

2012           ‘Mechanical motion versus manual dexterity in pre-cinematic Australian animation’, The Animation Machine, Society for Animation Studies Conference, RMIT University, 25-27 June.

‘The Disinfected City in Australia’, Eugene Atget Symposium, Art Gallery of New South Wales, 25 August .

‘Before Carol, Australian photography of the 1960s’, Carol Jerrems symposium, National Gallery of Australia, 8 September.

‘A Melbourne Spiritualist’s carte-de-visite album’, Migration and Exchange Symposium, Potter Gallery, Melbourne University, 29- 30 November.

‘Herbert Booth and Joseph Perry’s Soldiers of the Cross of 1900’, Magic Lantern Convention, Australasian Magic Lantern Society, Melbourne, 27-28 October.

‘2.5D and the Photographic Document’, Visible Evidence Conference, Australian National University, 19-21 December.

2011           ‘Australiana photobooks of the 1960s: new artistic collaborators in contact with new audiences and in exchange with each other’. Art Association of Australia and New Zealand, Victoria University, Wellington, New Zealand.

‘Facial Velocities’, Photography and Crime forum, Centre for Contemporary Photography, Melbourne, 15 October.

‘Exposing the Australians in Focus’, Harold White Fellowship public lecture, National Library of Australia, 26 July.

‘The significance of the NFSA lantern slide collection’, NFSA Scholar and Artist in Residence lecture, 2 June.

‘Cardinal Points: The significance of visual vectors in Australian Landscape Photography’, Art Gallery of New South Wales photography symposium, 9 April.

‘Australian tableau photography in the 1980s’, National Gallery of Australia photography symposium, 21 May.

2010           ‘Equivalent to What? Alfred Stieglitz’s Clouds in Context’, Art Gallery of New South Wales Alfred Stieglitz Symposium, June 19.

‘Facial Velocities’, Imaging Identities Conference, National Portrait Gallery and RSHA symposium, July 15

  • A Spiritualist’s carte-de-visite album’, paper delivered at Spiritualism and Technology in Historical and Contemporary Contexts, a AHRC funded conference at the University of Westminster, London, September 26.

2008           The Face of Australia’, lecture at the Art Gallery of New South Wales, with accompanying exhibition floor talk, January 16.

‘Full-Body Spirit Materializations: Mediums, Spirits, Séances and Believers in the Nineteenth Century’, paper at Passing Symposium, Research School of Humanities, ANU, February 29.

2007           ‘Photographic Spectres in Contemporary Art’, paper delivered at the Society for Photographic Education National Conference, Miami, Florida, USA, 15 to 18 March.

2006           ‘The Photographic Seances of Mrs Annie Mellon’, paper at AAANZ conference Reinventing the Medium, Monash University, Faculty of Art and Design, 7 — 9 December.

‘Digital and Analogue photography’, panel at Queensland Photography Festival Conference, Queensland University of Technology, 8 October.

2005           ‘Ectoplasm’, paper delivered at the Body Modification 11 conference, Department of Critical and Cultural Studies, Macquarie University, 21 — 23 April.

‘Photographic Spectres in Contemporary Art’, paper delivered at Le Mois de la Photo conference, University of Quebec at Montreal, Canadian centre for Architecture, Montreal, 22-23 September.

‘Spectres from the Archive’, lecture at Art Gallery of New South Wales contemporary art lecture series.

  • ‘Contemporary Australian Indigenous Photography’, lecture at the Kluge-Ruhe Collection, University of Virginia, USA.

‘The History of Spirit Photography’, lecture at the University of Washington, Washington State, and Roanoke College, Virginia.

  • ‘Shock Photographs, Monumental Photographs and Haptic Photographs’, The ANU National Institutes Public Lecture Series, National Museum of Australia
  • ‘Faces of the Living Dead’, paper, Junk Writing Conference, University College Worcester, UK 7 — 9 August.

2001           ‘Faces of the Living Dead’, lecture, Centre for Contemporary Photography, Melbourne, November.

‘Photography’s false memory syndrome’, World Without End, international symposium, Art Gallery of New South Wales, 10 February.

 

REVIEWS FROM 2000

2020           ‘Coral Empire: Underwater Oceans, Colonial Tropics, Visual Modernity, Ann Elias, Durham and London: Duke University Press, 2019’ in Journal Of Australian Historical Studies, University of Melbourne (forthcoming).

2015           ‘The Photograph and Australia, Art Gallery of New South Wales’, Art Association of Australia and New Zealand Journal, Vol 15, Issue 2

2013           ‘Art School Anecdote’, review of Zoe Walker and Neil Bromwich performance, Art Monthly Australia, May, pp60-61

2011           ‘Martyn Jolly: Commentary’, Anne Marsh, Look: Contemporary Australian Photography since 1980, Macmillan Art Publishing, Melbourne, ISBN 978-1-92-1394-10-2, p385.

2010           ‘Present Tense’, National Portrait Gallery, Real Time Media Arts, August

  • ‘When in Venice…’, review of Venice Biennale, Art Monthly Australia, July, pp24-26

2007           ‘Eyes, Lies and Illusions’, review in Art Monthly Australia, May, pp10 — 14.

Mathew Sleeth, ‘Ten Series/106 Photographs’, review in Photofile 82, p76

2007           ‘Out of Time: essays between photography and art’ by Blair French, review in Photofile 81, p7k6.

2006           ‘Rennie Ellis: Aussies All’, review in Photofile 78, pp71-72

‘National Portrait Gallery, Glossy 2’, review in Photofile 77, p67.

2005           ‘The Face of Australia’, review article, Meanjin: Portraits of the artist, Vol 64, numbers 1-2, pp 101 —107.

  • The Darkroom by Anne Marsh’, review in Photofile 71, p79.
  • Review of At Home in Australia, National Gallery of Australia publication by Peter Conrad, and In a New Light, National Library of Australia exhibition, Art Monthly Australia, December, pp 5 — 10.

 

TALKS, SEMINARS AND FORUMS FROM 2000

2017           ‘Curating Round Table’, with ten institutional and independent photography curators from New Zealand and Australia, National Gallery of Victoria, Melbourne, 19 May.

‘Celebrating Wesley Stacey and Rennie Ellis’s book Kings Cross Sydney: A Personal look at the Cross’, ‘Kings Bloody Cross, Surface Glitter and Underground Guts’, Vivid Ideas, Vivid Festival, Sydney, at The World Bar, Saturday 3 June, 2017

2016           ‘Curating Round Table’, with Susan Bright and twelve institutional and independent curators, Centre for Contemporary Photography, Melbourne, 26 August.

‘Spirit Photography’, Chiang Mai University, Thailand, 20 April

“Media Archaeology and the Magic Lantern’, Chiang Mai University, Thailand, 21 April

Convened a plenary session for the Australian Government and Cultural Institutions Digital Specialist group, Canberra, 18 May

2015           ‘Thinking the Photobook’, forum at Photobook Melbourne, 15 February

‘Should art museums think of themselves as ‘collections’ or ‘archives’?’, lecture series on The Photograph and Australia, Art Gallery of New South Wales, 29 March.

‘A Melbourne Spiritualists carte de visite album’, Monash University Museum of Art, 13 June.

‘Soldiers of the Cross, 1900’, University of Exeter, UK, 19 June.

‘Soldiers of the Cross, 1900’, University of Utrecht, Netherlands, 2 July.

2014           ‘Anne Zahalka at Parliament House’, forum at Australian Parliament House, 20 June

                   Calling the Shots, Aboriginal Photographies, forum at Research School of Humanities and the Arts, ANU, 3 April

2012           Ectoplasm, Extras, Séances and Mediums: Spirit Photography, Institute of Modern Art, Brisbane, 15 March

Interviewed on ‘The Conversation with Richard Fidler’ on ABC Radio 16 March.

‘Australia’s Projected Image Heritage’, research scoping symposium, ANU School of Art, 14 December.

2011           ‘Facial Fascination’, National Portrait Gallery, 13 April

2010           Alfred Stieglitz, Art Gallery of New South Wales, ‘Art After Hours’ panel, June 23.

2009           ‘Practice-Led Research’, forum panel as part of Beginning, Middle and End, new media festival, Australian National University, September 18.

2007           Chair of panel discussion ‘Panic and Paranoia: Photography and the Law’ at the Australian Centre for Photography.

Floor talk for National Gallery of Australia, VIP Photographs exhibition.

Floor talk at ‘Wolfgang Sievers’ Photographs’, Glen Eira City Gallery.

2006           ‘The End of Street Photography?’, seminar at Monash University.

2005           Appearance in the TV documentary Frank Hurley: The Man Who Made History.

2004           ‘Writing the Archive’, National Gallery of Victoria artist’s talk, May.

2003           ‘David Moore and the international market for Australian icons’, floor talk, National Gallery of Australia.

‘Faces of the Living Dead’, artist’s talk, National Portrait Gallery professional development program for teachers.

‘London battle scenes’, Art History and Theory seminar, ANU.

 

SELECTED CITATIONS

2017           ‘Reviving the magic lantern’, ANU Reporter, Vol 48, No 2 Winter 2017, pp34-37.

2014           Isobel Parker Phillip, ‘The Photograph as Place: Lens Love Review’, Real Time 120, April-May 2014

2013           ‘The Founding Ferment of Debate: Tamara Winikoff in Conversation’, Michael Fitzgerald, Photofile, Vol 93 Spring/Summer 2013/2014, pp24-32.

‘Beyond place: Is Australian Photography Global?’, Daniel Palmer, Photofile Vol 92, pp35-44.

2011           Deborah Clark, ‘Curator’s Essay’, Imitation of Life catalogue, Canberra Museum and Gallery, ISBN 978 0 9807840 2 2, pp18-21.

Anne Marsh, Look: Contemporary Australian Photography since 1980, Macmillan Art Publishing, Melbourne, ISBN 978-1-92-1394-10-2, pp, 173, 280-281, 339, 379.

2010           Rosemary Neill, ‘Not a Good Look’, Weekend Australian Review, p1, October 2.

2007           Sarah E. Webb, review of ‘Faces of the Living Dead: The Belief in Spirit Photography’, Afterimage, Vol. 34 No. 34, Jan/Feb 2007.

2006           John Thompson, review of ‘Faces of the Living Dead: The Belief in Spirit Photography’, Art Monthly Australia, November, 2006.

Isobel Crombie, review of ‘Faces of the Living Dead: the Belief in Spirit Photography’, Australian Book Review, November, 2006, No.286.

Timothy Morrell, review of ‘Faces of the Living Dead: the Belief in Spirit Photography’, Photofile 79, Summer 2007, p78.

Sasha Grishin, ‘Curious look at faces of ‘living dead’ and spirit of photography’, review of ‘Faces of the Living Dead’, Canberra Times, 9 September.

Louis Nowra, ‘Unseen Forces: The curious power of Spirit Photography’, Art and Australia, Summer 2006, Vol. 44, No. 2.

2003           Peter Conrad, At Home in Australia, National Gallery of Australia and Thames & Hudson, pp15, 235-236.

2001           Myra McIntyre, ‘Details of Images from ’the spiritual realm’’, Canberra Times, 7 December.

Kerry-Anne Cousins, ‘Faces of the Living Dead’, Muse, December.

                   Amruta Slee, ‘I see dead people’, Sydney Morning Herald, Good Weekend Magazine, 8 December.

Lenny Ann Low, ‘Spirits in the Sky’, Sydney Morning Herald, 15-16 December.

2000           Courtney Kidd, ‘Sporting Life’, Sydney Morning Herald, ‘Spectrum section’, August 26, p10.

Rachel Kent, catalogue essay, Sporting Life, Museum of Contemporary Art, Sydney.

1998           Sebastian Smee, Sydney Morning Herald, ‘Metro section’, August 28.

1994           Scott McQuire, ‘Wonderful Pictures’, Agenda, May.

1988           Carole Hampshire ‘Exhibition makes display of display’, Sydney Morning Herald, Eastern Herald Supplement, April 14.

 

SELECTED ARTICLES, PAPERS AND REVIEWS TO 1999

1999           ‘Australian First World War Photography’, History of Photography, Vol. 23, No. 2, Summer.

‘Dioramas: Classic Australian Photographs’, in Photo Files, ed. Blair French, Australian Centre for Photography and Power Publications.

‘Sunbaker: The making of an icon’, in the catalogue to Signature Works, Australian Centre for Photography, May.

‘Warming up the cold hard evidence: Place and identity, memory and history—and all those old photographs’, Exploring Culture and community for the 21st Century, Global Arts Link opening publication, Ipswich.

‘What has the Australian Centre for Photography ever done for me?’, Art Monthly, September.

‘Contemporary Aboriginal Photography’, paper at Power Institute of Fine Arts post graduate conference, Sydney University, November.

‘Past Projections: multimedia in the new Australian War Memorial galleries’ Real Time 33, October/November.

1997           ‘Frank Hurley and Charles Bean argue about photography in Flanders Fields’ Visually Crossing Cultures, Art Association of Australia annual conference, Australian National University.

‘The Returned: Memory and History in Classic Australian Photographs’, In A Small History of Photography, ed. Stuart Koop, CCP. Melbourne. pp 38-44 ISBN 0 646 28229 8

‘Nineteen Sixty-Three: News and Information’, Photofile, No. 52.

‘A Brief History of Photofile’, Photofile, No. 50

1996           ‘Frank Hurley’s domesticated sublime’, Australian Centre for Photography forum. October 26

‘Photography’s Afterlife’, Photography Is Dead! Long Live Photography!, exhibition catalogue, Museum of Contemporary Art, 23 July – 10 November 1996. ISBN 1 875632 47 6, pp 22-25

‘Photography’s past and its future’, Like Life or Life Like forum, Art Gallery of New South Wales, May.

‘Anne Zahalka: spurs of the moment’, Art & Text, Number 54, April.

‘Reusing Historic Photographs in Contemporary Australian Photography’, The Power to Move, exhibition forum, Queensland Art Gallery, February.

‘’Sorely Tried Men’: the Male Body in World War Two Australia’, Artlink, Vol 16, No 1, Autumn.

1995           ‘On Kodak Beach’, photographic collaboration with John Macarthur, Transition, December.

‘The Returned: Memory and History in Classic Australian Photographs’, Media International Australia, No. 78, November.

‘Cinematic Distopias’, Ruby Davies review, Art Monthly, November.

‘The Viewer/Observer/User: an archaeology of Multimedia’, paper delivered at the Queensland College of Art, and Queensland University of Technology, September.

‘The Returned: Memory and History in Classic Australian Photographs’, paper delivered at the Centre for Contemporary Photography, Melbourne.

1994           ‘My City of Sydney’, Sydney Photographed catalogue, Museum of Contemporary Art, Sydney.

‘Wonderful Pictures’, self-published exhibition catalogue.

1993           ‘Seven Sydney Distopias’, West 6/7.

1992           ‘Exposed Fictions: Anne Zahalka, Robyn Stacey, Tracey Moffat’, introductory essay for slide kit.

‘Photography and Contemporary Art’, forum at the Australian Centre for Photography, September.

‘Dioramas: Classic Australian Photographs’, Photofile , No. 37, Summer.

1991           ‘Magnum: those Others who live In Our Time’, Photofile, Summer.

‘Appreciating the Scenery’, Manifest Destiny, Ian North, Contemporary Art Centre, Adelaide.

1990           ‘Flocking Australians’, Bondi: Playground of the Pacific, Anne Zahalka, Bondi Pavillion Art Gallery, April.

1989           ‘David Moore: A Life’, Photofile, Autumn.

1988           ‘The Time Machine’, Photofile, Winter.

‘Picturing History’, Artists Week, Adelaide Festival.

1986           ‘Photography’s Critical Stance?’, The Critical Distance, edited by Virginnia Coventry, Hale and Iremonger. ISBN 0 86806 223, pp132-140

1985           ‘Killing Time’, Catalogue essay, Mori Gallery

‘Photodramas’, catalogue essay, Artspace Sydney