PhD, University of Sydney, Sydney College of the Arts. Topic: Fake Photographs: Making Truths in Photography.
Master of Arts by research, Humanities and Social Sciences, University of Technology, Sydney. Topic: The Perpendicular and the Oblique.
Graduate Diploma in Communications (Writing and the Philosophy of Culture), University of Technology, Sydney.
Bachelor of Arts (Visual Arts), Sydney College of the Arts.
Head, Photography and Media Arts, Australian National University School of Art
Guest Judge, National Portrait Prize, National Portrait Gallery
Expert academic advisor Singapore Polytechnic
Consultant, Art Gallery of New South Wales Photography Department
Judge, Muswellbrook Photographic $10,000 Acquisitive Award, Musewellbrook Regional Arts Centre
Interviewed on ‘The Conversation with Richard Fidler’ on ABC Radio 16 March
Guest Masters assessor, Elam School of Fine Arts, Auckland, New Zealand
Appointed expert academic advisor Singapore Polytechnic
Appointed Head, Photography and Media Arts, Australian National University School of Art.
Convener of College of Arts and Social Sciences Practice-Led Research Theme.
Board of Vivid Photography Festival
Head, Photomedia, Australian National University School of Art.
Judged the Josephine Ulrich and Win Schubert photography award, Gold Coast City Gallery.
Member ACT Cultural Council.
Chair of the ArtsACT Visual Arts Peer Committee.
Coordinating committee of the Vivid National Photography Festival.
Lecturer, Photography Studio, Sydney College of the Arts, Sydney University. (Fractional)
Lecturer, Art History and Theory, College of Fine Art, University of NSW. (Casual)
Lecturer, Department of Visual Arts and Media Studies, Hunter Institute of Higher Education.
Curator, Australian Centre for Photography.
Curatorial Assistant, Department of Photography, Australian National Gallery, Canberra
Lens Love: the Tender Gaze of Six Canberra Region Photographers, 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
Assisted Reproduction: Out in the Light, group exhibition, ANU School of Art Gallery, 12 October to 3 November
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.
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.
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.
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.
MakeBelieve: Photographic Fictions, group exhibition of 11 artists, Sir Herman Black Gallery, University of Sydney, 29 September to 1 November.
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.
Faces of the Living Dead, solo exhibition, Canberra Contemporary Art Space, 17 November to 16 December; Scott Donovan Gallery, Sydney, 6 – 22 December.
Sporting Life, international group exhibition of 16 artists, curated by Rachel Kent, Museum of Contemporary Art, Sydney, 16 August to 5 November
Nineteen Sixty-Three: News and Information, solo exhibition, RMIT Gallery, Melbourne, February; Australian Centre for Photography, Sydney, August.
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.
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.
Capital Works, group exhibition, Drill Hall Gallery, Canberra; Takashimaya Gallery Singapore; University Museum and Art Gallery, The University of Hong Kong.
Sydney Photographed, group exhibition, Museum of Contemporary Art, Sydney, December.
Wonderful Pictures, one-person exhibition, Centre for Contemporary Photography, Melbourne, February.
Museum, one-person exhibition, Australian Centre for Photography, April.
Borderlines, Recent Sydney Photographs, Regional touring exhibition curated by Geoffrey Batchen.
Killing Time, group exhibition, Mori Gallery, January.
Canberra Museum and Gallery acquired documentation of the ACT Bushfire Memorial
Canberra Museum and Gallery acquired the complete set of one hundred photographs from the 1963: News and Information installation of 1997
National Gallery of Victoria
National Gallery of Australia
Commissioned to design the ACT Bushfire Memorial along with Tess Horwitz and Tony Steel.
GRANTS AND PRIZES
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
Australia Council Project Grant (with Daniel Palmer), curating photography in Australia, $20,000
Applicant, along with Dr Daniel Palmer, for ARC Discovery Grant
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
RSHA Visitor Fund Award for Shilo Maclean visit
National Library of Australia, Harold White Research Fellowship
National Film and Sound Archive, Scholar and Artist in Residence Fellowship
Australian National University conference funding grant.
Canberra Critics Circle award for ACT Bushfire Memorial (along with Tess Horwitz and Tony Steel).
Canadian High Commission, Faculty Enrichment Program.
ANU Major Equipment Committee Grant, Materializing the Digital Image, $100,000
University of Sydney post-graduate student research grant, $2000.
Australia Council ‘Out of time’ grant, $1500.
Arts ACT ‘Quick responses grant’, $1500.
ArtsACT, project grant, $5600.
Australia Council Fellowship, London Studio Residency, $10,000.
Australian National University, FRGS, research in London, $6800.
Visual Arts and Crafts Board, Project Grant.
Visual Arts Board Curatorial Grant for a study tour of the U.S.A. and the U.K., visiting photographic galleries and research centres.
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
‘Delicious Moments: The carte de visite album in Australia’, chapter for Art Gallery of New South Wales exhibition catalogue, (forthcoming).
‘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
‘The Face in Digital Space’ in The Photographic Threat, edited by Anne Marsh, Intellect (forthcoming)
‘A Nineteenth Century Melbourne Spiritualist’s carte devisite album’, chapter in the book Migration and Exchange, edited by Anne Maxwell, Australian Scholarly Publishing (forthcoming).
‘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
‘’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
‘Art from Archives’, Public History Review, (forthcoming)
‘Exposing the Australians: Australiana Photobooks of the 1960s’, History of Photography, 38:3, pp276-295.
‘Soldiers of the Cross: Time, Narrative and Affect’, Early Popular Visual Culture, Vol 11, Issue 4, November 2013, pp293-311. ISSN 1746-0654
‘Generating a new sense of place in the age of the metaview’, Journal of Australian Studies, Volume 35, Issue 4. With James Steele
‘Composite Propaganda Photographs during the First World War’, History of Photography, Vol 27, No 2, Summer, pp 154-165
ESSAYS FROM 2000
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
‘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
‘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
‘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
‘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
‘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
‘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.
Encyclopedia entry on William Mumler in Encyclopedia of Nineteenth Century Photography, edited by John Hannavy, Routledge, ISBN-10: 0415972353
‘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.
‘Faces of the Living Dead’, Photofile, #66, pp 35—39.
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
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, forthcoming, 23 – 25 April.
‘Life model magic lantern slides: the forgotten Australian photographs’, Queensland Festival of Photography Conference, Photography and Fictions, QUT and Griffith University, forthcoming, 23 – 25 April.
‘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, 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
‘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.
‘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.
‘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.
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.
‘Photographic Spectres in Contemporary Art’, paper delivered at the Society for Photographic Education National Conference, Miami, Florida, USA, 15 to 18 March.
‘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.
‘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.
‘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
‘Art School Anecdote’, review of Zoe Walker and Neil Bromwich performance, Art Monthly Australia, May, pp60-61
‘Martyn Jolly: Commentary’, Anne Marsh, Look: Contemporary Australian Photography since 1980, Macmillan Art Publishing, Melbourne, ISBN 978-1-92-1394-10-2, p385.
‘Present Tense’, National Portrait Gallery, Real Time Media Arts, August
‘When in Venice…’, review of Venice Biennale, Art Monthly Australia, July, pp24-26
‘Eyes, Lies and Illusions’, review in Art Monthly Australia, May, pp10 — 14.
Mathew Sleeth, ‘Ten Series/106 Photographs’, review in Photofile 82, p76
‘Out of Time: essays between photography and art’ by Blair French, review in Photofile 81, p76.
‘Rennie Ellis: Aussies All’, review in Photofile 78, pp71-72
‘National Portrait Gallery, Glossy 2’, review in Photofile 77, p67.
‘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 AND FORUMS FROM 2000
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
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.
‘Facial Fascination’, National Portrait Gallery, 13 April
Alfred Stieglitz, Art Gallery of New South Wales, ‘Art After Hours’ panel, June 23.
‘Practice-Led Research’, forum panel as part of Beginning, Middle and End, new media festival, Australian National University, September 18.
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.
‘The End of Street Photography?’, seminar at Monash University.
Appearance in the TV documentary Frank Hurley: The Man Who Made History.
‘Writing the Archive’, National Gallery of Victoria artist’s talk, May.
‘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.
Isobel Parker Phillip, ‘The Photograph as Place: Lens Love Review’, Real Time 120, April-May 2014
‘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.
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.
Rosemary Neill, ‘Not a Good Look’, Weekend Australian Review, p1, October 2.
Sarah E. Webb, review of ‘Faces of the Living Dead: The Belief in Spirit Photography’, Afterimage, Vol. 34 No. 34, Jan/Feb 2007.
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.
Peter Conrad, At Home in Australia, National Gallery of Australia and Thames & Hudson, pp15, 235-236.
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.
Courtney Kidd, ‘Sporting Life’, Sydney Morning Herald, ‘Spectrum section’, August 26, p10.
Rachel Kent, catalogue essay, Sporting Life, Museum of Contemporary Art, Sydney.
Sebastian Smee, Sydney Morning Herald, ‘Metro section’, August 28.
Scott McQuire, ‘Wonderful Pictures’, Agenda, May.
Carole Hampshire ‘Exhibition makes display of display’, Sydney Morning Herald, Eastern Herald Supplement, April 14.
SELECTED ARTICLES, PAPERS AND REVIEWS TO 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.
‘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
‘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.
‘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.
‘My City of Sydney’, Sydney Photographed catalogue, Museum of Contemporary Art, Sydney.
‘Wonderful Pictures’, self-published exhibition catalogue.
‘Seven Sydney Distopias’, West 6/7.
‘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.
‘Magnum: those Others who live In Our Time’, Photofile, Summer.
‘Appreciating the Scenery’, Manifest Destiny, Ian North, Contemporary Art Centre, Adelaide.
‘Flocking Australians’, Bondi: Playground of the Pacific, Anne Zahalka, Bondi Pavillion Art Gallery, April.
‘David Moore: A Life’, Photofile, Autumn.
‘The Time Machine’, Photofile, Winter.
‘Picturing History’, Artists Week, Adelaide Festival.
‘Photography’s Critical Stance?’, The Critical Distance, edited by Virginnia Coventry, Hale and Iremonger. ISBN 0 86806 223, pp132-140
‘Killing Time’, Catalogue essay, Mori Gallery
‘Photodramas’, catalogue essay, Artspace Sydney