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.
Extremities (1978). Langton Street Studio, May 1978 Performance with spectator interaction and video surveillance.
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
Performance installation with closed circuit video, and sound produced with Revolving Desert Simulators (1978) 1
Strung (1975), Performance. Scott climbs the Golden Gate Bridge, San Francisco, with assistants and is strung to a girder. At sunset security guards release her and threaten to charge her with attempting suicide. She talks them into letting her go as “the action had everything to do with art,”...
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
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.
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.
For the Telstra Adelaide Festival 2000, ANAT and the Contemporary Art Centre of SA, presented Verve: The Other Writing.
With Fabienne de Quasa Riera and Shusaku Takauchi.
With Theo Botschuijver.
With Tjebbe van Tijen.
With Theo Botschuijver.
With Theo Botschuijver
With Theo Botschuijver. Produced for the Genesis wourld tour, 1975.
In Waterquake long lengths of tubing were dropped into a canal and then slowly inflated with air and smoke. The tubing emerged from the water, filling the canal and then spilling over into the surrounding streets. The spectators pulled and knotted these tubes into various...
A diva at heart, Lou Steer is a cabaret artist who takes her poetry to the people - in museums (MCA and Australian Museum), nightclubs, even graveyards. Lou's poems explore the many faces of love. She speaks of hearts and flowers, but the hearts are fractured and the flowers have...
Central to this performance assemblage are two video waveform generators, an analogue voltage controlled oscillator that generates interconnected audio and video. These VCOs can be connected to audio oscillators also. With this modular synth setup I am able to generate live audio-visual media that is intrinsically...
Situated inside a glass room inside a room, Julie explored the idea of a rift or a breach. Public could follow her journey over three and half hours She is watching and waiting. You observe her and she observes you. Through the cracks and fissures there is intrigue and...
An eight hour live work in honour of the forgotten, misplaced, unrecovered and removed I Stand In reflects upon the difficulty of personally understanding and processing global human tragedy. We think we empathise but really we intellectualise. In this work 32 volunteer participants 'stand in' for a faceless...
The Redress series is a personal journey in which Julie explores repeated motifs. Each incarnation responds to something identified as current or urgent and continues an interest in repetitive tasks as a means of transformation and transcendence. It is a ritual that helps digest and transform...
A new work that explores site specific locations, the influence of soundtracks and the slippery nature of context. Conceptually it looks at ipod culture and questions the blurring between reality, film fiction constructs and our complicity within this. Stylistically influenced by the nostalgia of the drive-in...
