In 1985 the video scene in Sydney had reached a point where there were enough people making video works - whether art, documentary, video music or computer graphic - to begin to make it important and possible to have a collective show of recent works.
Accidents For Four (1976) Studio, San Francisco; Spectator performances to instructions; recorded to video. [December, 1976] Photos: Bryan Hillstrom Sponsored by the Neighbourhood Arts Foundation, San Francisco.
Accidents For One (1976) Performance with live video."Open Studios", South of Market Series, Neighbourhood Arts Foundation, San Francisco, USA. Camera: Mark GillilandFlute: Carla Harryman Almorative Dance (1976), 1/2” B&W, 20 mins.Video: instructions for the performance: Accidents For One. Produced at the Bay Area Video Coalition.
Alluvium (1983) Shown at:Roslyn Oxley9 Gallery – Sydney, Australia.26 May–11 June, 1983.
Boxed (1975), Performance; 80 Langton St, San Francisco. Shipping crate driven across San Francisco to 80 Langton St gallery. Scott is packed into a shipping crate which is then delivered to the gallery. On arrival she emerges from the crate with photographs she attempted to take while in transit.1
The Constriction series is a work in four manifestations Constriction Part 1 (1982), 3/4” U-matic, colour, 14 mins.
Desire The Code (1981), 3/4” U-matic, colour. Performance installation with pre-recorded video display; atSite, Cite, Sight, Inc, San Francisco. Documentation: Mark Samuelson,Sound: Allan Scarritt and Jill Scott,Sponsors: The Bay Area Video Coalition and Site, Cite, Sight Inc. San Francisco. Also at: International Cultureel Centrum (Artist in Residence), Antwerp, Belgium.
Double Dream (1985)Videotape (media critical narrative) and video installation. Sound track from environmental sound sampled on Fairlight CMI
Double Space (1985)Roslyn Oxley9 Gallery, Sydney, Australia. 6-24 August, 1985
Double Time (1985) Video tape and Installation with spectator interaction.
Extremities (1978). Langton Street Studio, May 1978 Performance with spectator interaction and video surveillance.
Inside-Out (1976), performance, Haight-Ashbury (San Francisco) basement. With street access for spectators, surveillance video, light box, mice housed in aquarium.
Jill Scott - In the Loop by Stephen Jones, October 2003 (originally written for the Australian launch of Scott's book Coded Characters)
Moved (1978), b&w, 3/4” U-matic, stereo, 30 mins. 1 Performance at The Women’s Building, Los Angeles, USA. February, 1978.
Moved Up Moved Down (1977-78). Artist and spectator performance task with video surveillance.Bay Area Artworks at The Women’s Building, Los Angeles, USA. March, 1978
Order The Underfire (1980) (1979?), 3/4” U-matic, colour. Performance installation with video at University of California at Davis, California, with sound from a Revolving Desert Simulator, shadow play and video stills. Photos: Mike Henderson, Funded by the Visiting Artists Program of the University of California at Davis, USA.
Out, The Back (1979), Performance with sound generators The Franklin Furnace, New York;1Curator: Jackie ApplePhotos: Sam SchoenbaumAssistant: Larry Fox
Sand the Stimulant (1982) 1 Performance installation with closed circuit video, and sound produced with Revolving Desert Simulators (1978)
Taped (1975), 1/2” B&W, Performance: Wall of a warehouse building on 9th St, San Francisco. Scott stands on a pair of tall ladders and is taped (using 2” masking tape) to the side of wall of a warehouse. She remains there until sunset.1
Taped, Boxed, Hung, Strung (1977), 3/4” U-matic, colour. The four 1975 performances documented on video1
The Homecoming (1978) Performance with family members. Art Department, University of Qld, Brisbane, Qld. (1 January 1979) Photos: Robert Mercer,Performers: Lance Scott, Margaret Scott, Mary-Lou Little and Scott Ramsay.
The Magnetic Tapes (1981), 3/4” U-matic, color. Three narrative videotapes Voyeurism (6min)Dictatorship (6min)Retaliation (6min)
Tied (1975) Performance. Scott is tied to a telephone pole at 9th St, San Francisco, with a large amount of thick string. Pedestrians gathered, asking if she wished to be released but she did not answer. At sundown an “unknown woman” appeared and cut her loose.
Triple Fate (1986) Single monitor Installation with game, water, sound, video and photographs.
