Press release for the exhibition of Australian video art at the Museum of Modern Art, New York, in December 1994. “An exhibition of electronic works produced by more than thirty Australian media artists since the early 1990s is on view at The Museum of Modern Art through January 29, 1995. Premiering...
SOME LIMINAL ASPECTS OF THE TECHNOLOGY TRADE: VIDEO SCREENS VERSUS HORIZON IN TOKYO AND NEW YORK Essay by Peter Callas in Mediamatic, Vol. 5, No. 3, 1990
Created by Barbara Campbell & Virginia Hilyard. Lux is the second of 4 image-text collaborations to be released in leaflet form as part of the Attitude Film & Video Event.
Video articles in Cantrills Filmnotes
Introduction Peter Callas: Initialising History is a three-component project centred around Peter Callas, one of Australia's most distinguished electronic media arts, curators and writers. Produced by dLux Media Arts with the financial assistance of the Australian Film Commission, this concentric focus offers a stimulating perspective of the vitality of Peter Callas' work,...
The Australian International Video Festival - Essay Early Days Yet John Conomos
Debra Petrovitch's new CD-ROM Uncle Bill is an engrossing, multilayered work that explores, with thematic and formal inventiveness, questions dealing with childhood memories, sexual abuse, social class and space. Petrovich's distinctive, foreboding soundtrack presages its Gothic narrative of sexual violence, industrial chaos and repression.
Chair’s Report For much of the past 18 months, I was Deputy Chairperson of ANAT. I became chair when Louise Dauth stepped down to make herself available to be considered as a consultant to ANAT.
True to her name, in recent years Destiny Deacon has blazed an extraordinary trail. Since first exhibiting at the Art Gallery of New South Wales, Sydney, in 1991, Deacon has been represented in the prestigious international exhibitions Documenta, the Yokohama Triennale, the first Johannesburg Biennale and...
'I think blak dolls represent us as people, I don't think white Australia, or whatever you want to call it, sees us as people.' Destiny Deacon 1993 'Dolls are silent reminders of childhood, but Deacon gives voice to her dolls by communicating feelings… these dolls are decapitated, ...
Destiny Deacon is a photo artist, video maker, performer, writer and broadcaster, whose images work to re-interpret, parody and make transparent cultural stereotypes. She was born in Maryborough, Queensland in 1957, however she was raised in Melbourne. Deacon has a Bachelor of Arts, major in politics,...
Destiny Deacon is a photo and video artist, performer, writer and broadcaster, whose images re-interpret, parody and make transparent cultural stereotypes. She was born in Maryborough, Queensland in 1957 and educated at La Trobe and Melbourne universities. Deacon's work has been exhibited extensively in Australia and...
'I think blak dolls represent us as people, I don't think white Australia, or whatever you want to call it, sees us as people.' Destiny Deacon 1993 'Dolls are silent reminders of childhood, but Deacon gives voice to her dolls by communicating feelings… these dolls are decapitated, ...
From the series Oz. ‘I call myself a “shy photographer”. Taking pictures of real people makes me nervous. They always want me to explain details to them and start growling if I seem vague. Who can be bothered when you’re trying to think things out for yourself anyway?...
True to her name, in recent years Destiny Deacon has blazed an extraordinary trail. Since first exhibiting at the Art Gallery of New South Wales, Sydney, in 1991, Deacon has been represented in the prestigious international exhibitions Documenta, the Yokohama Triennale, the first Johannesburg Biennale and...
‘I call myself a “shy photographer”. Taking pictures of real people makes me nervous. They always want me to explain details to them and start growling if I seem vague. Who can be bothered when you’re trying to think things out for yourself anyway? I prefer ...
Destiny Deacon’s work deals with both historical issues and contemporary Aboriginal life. It is informed by personal experience and readily accessible mass media. Her photographs feature members of the artist’s family and friends posing for the camera as well as items from her collection of ‘Aboriginalia’...
