Contemporary Australia: Women

185 Endnotes Amata painters 1 Raft Artspace, Ngayulu witini ngayuku mamaku tjukurpa. I hold my Father’s story. I hold my Mother’s story. [exhibition catalogue], Raft Artspace, Alice Springs, 2011. 2 Aboriginal Art Online, Traditional Aboriginal Painting Methods , www.aboriginalartonline.com/methods/ methods.php, viewed February 2012. 3 Raft Artspace, Ngayulu witini ngayuku mamaku tjukurpa. I hold my Father’s story. I hold my Mother’s story [exhibition catalogue]. 4 Frank Young, Nganampa Kampatjanka Uungutja: Behind Our Canvas [exhibition catalogue], Outstation Gallery, Darwin, 2011. Rebecca Baumann 1 Smoke fields will be presented as part of the Embodied Acts performative program, which includes a variety of works performed a number of times over the opening weekend of ‘Contemporary Australia: Women’, 2012. 2 See Yoshihiro Tanabe and Kunihiko Kaneko, ‘Behavior of a falling paper’, Physical Review Letters , vol.73, no.10, September 1994. 3 Rebecca Baumann, telephone conversation with the author, January 2012. Kirsty Bruce 1 Kirsty Bruce, email conversation with the author, 8 December 2011. 2 Kirsty Bruce interviewed by Bree Richards, Assistant Curator, Contemporary Australian Art, Queensland Art Gallery, 12 December 2011. 3 Robert Leonard, Feminism Never Happened [exhibition catalogue], Institute of Modern Art, Brisbane, 2010. 4 Christine Morrow, ‘I walk the line’, in I Walk the Line: NewAustalian Drawing [exhibition catalogue], Museum of Contemporary Art, Sydney, 2009, p.2. 5 Griselda Pollock, ‘Modernity and the spaces of femininity’, in Vision and Difference , Routledge Classics, London, 2003, p.70–127. 6 Christine Morrow, p.4; Emma Dexter, ‘Introduction’, in Vitamin D: New Perspectives in Drawing , Phaidon Press, New York, 2005, p. 9. Bindi Cole 1 Matthew 18: 21–22, King James Bible [online], www.kingjamesbibleonline.org/Matthew-Chapter-18/, viewed February 2012. 2 For more information on this series of work see Jirra Lulla Harvey, Bindi Cole: Not Really Aboriginal [exhibition catalogue], Centre for Contemporary Photography, Fitzroy, Victoria, 2008. Available online at www.ccp.org.au/docs/catalogues/BindiCole.pdf. 3 Bindi Cole, telephone interview with the author, 10 February 2012. 4 See Andrew Bolt , ‘It’s so hip to be black’, Herald Sun , 15 April 2009; Andrew Bolt. ‘White is the new black’, Herald and Weekly Times , 15 April 2009; Andrew Bolt, ‘ White fellas in the black’, Herald Sun , 21 August 2009. 5 Andrew Bolt, ‘One of these women is Aboriginal’, Herald Sun blog, www.blogs.news.com.au/heraldsun/ andrewbolt/index.php/heraldsun/comments/one_of_ these_women_is_aboriginal, viewed February 2012. 6 Cole, telephone interview with the author. 7 Kylie Northover, ‘Black rage, white guilt: Cole has had a skinful’, Age , 14 September 2011, www.theage.com.au/ entertainment/art-and-design/black-rage-white-guilt- cole-has-had-a-skinful-20110913-1k7pk.html, viewed February 2012. 8 Kevin Rudd, Prime Minister’s address to Parliament: Apology to the Stolen Generations, 13 February 2008, www.dfat.gov.au/indigenous/apology-to-stolen- generations/rudd_speech.html, viewed February 2012. 9 Cole, telephone interview with the author. 10 Cole, telephone interview with the author. 11 ‘Bindi Cole’s verdict on Andrew Bolt’, National Indigenous Times , 12 October 2011. 12 Cole, telephone interview with the author. 13 Kylie Northover, ‘Black rage, white guilt: Cole has had a skinful’. 14 Cole, telephone interview with the author. Marie Hagerty 1 Marie Hagerty, email to the author, 12 February 2012. 2 Otto G von Simson, ‘Compassio and co-redemptio in Roger van der Weyden’s Descent from the Cross ’, ArtBulletin , vol.35, no.1, 1953, p.11. 3 Francis Bacon, quoted in David Sylvester, Interviews with Francis Bacon, 1962–1979 , Thames and Hudson, London, 1980, p.12. 4 Hagerty, telephone call to author, 30 January 2012. 5 Ron Radford (ed), Collection Highlights: National Gallery of Australia , 2008, http://artsearch.nga.gov.au/Detail- LRG.cfm?View=LRG&IRN=36332, viewed February 2012. 6 Hagerty, telephone call to the author. 7 Michael Peppiatt, ‘Francis Bacon at work’, in Francis Bacon: A Retrospective , Elaine Stainton (ed), Harry N Abrams in association with the Trust for Museum Exhibitions, New York, 1999, p.36. 8 Hagerty, email to the author. Embodied Acts 1 RoseLee Goldberg, Performance Art: From Futurism tothe Present , 3rd edn., Thames & Hudson, London, 2011, p.249. 2 Andrea Fraser, quoted in Alexander Alberro, ‘Institutions, critique, and institutional critique’, in InstitutionalCritique: An Anthology of Artists’ Writings , 2nd edn., Alexander Alberro and Blake Stimson (eds), MIT press, Cambridge, 2011. 3 Lea Vergine, Body Art and Performance: The Body as Language , Skira, Milan, 2000, p.8. 4 Amelia Jones, ‘“Presence” in Absentia: Experiencing performance as documentation’, in Arts Journal , vol.56, no.4, 1997, pp.11–18. 5 Jones, Arts Journal, p.12. Agatha Gothe-Snape 1 Brian Fuata and Agatha Gothe-Snape, Cruising with Wrong Solo , 23 August 2010, agathagothesnape. com/2010/08/cruising-with-wrong-solo.html, viewed 17 February 2012. 2 Agatha Gothe-Snape, quoted in Tracey Burgess (ed), 2010 Helen Lempriere Travelling Art Scholarship , Artspace Visual Arts Centre, Sydney, 2010, p.8. 3 Susan Gibb, Agatha Gothe-Snape / Campbell Patterson— Mother , www.welcome-to-society.com/Mother , viewed 17 February 2012. 4 Susan Gibb, Agatha Gothe-Snape / Campbell Patterson —Mother . Natalya Hughes 1 Natalya Hughes, phone conversation with the author, January 2012. Ruth Hutchinson 1 Paul Valéry, Cahier B , quoted in Alberto Manguel, Reading Pictures: A History of Love and Hate, Bloomsbury, London, 2001, p.88. 2 Robert Graves, ‘Perseus’, in The Greek Myths: Volume One, Penguin Books, Melbourne, 1966, pp.237–45. 3 Press Release for ‘Mind’s Eye Lashings’, 18 November – 13 December 2006, Sutton Gallery, Melbourne, www. suttongallery.com.au/artists/artistprofile.php?id=16 >, viewed 6 December 2011. 4 Rosalind Krauss, The Optical Unconscious, MIT Press, Cambridge, Mass., 1994, p.112. 5 Marcel Duchamp, ‘The creative act’ (1957), quoted in Julian Jason Haladyn, Marcel Duchamp: Étant Donnés, Afterall Books, London, 2010, p.2. 6 Press Release for ‘Mind’s Eye Lashings’. Deborah Kelly 1 Marina Warner, From the Beast to the Blonde: On Fairy Tales and Their Tellers , Chatto & Windus, London, 1994, pp.7–8. 2 Donna Haraway, ‘A Cyborg Manifesto: Science, technology, and socialist–feminism in the late twentieth century’, in Simians, Cyborgs and Women: The Reinvention of Nature, Routledge, New York; 1991, pp.150–51. 3 Personal communications with the artist, February 2012. 4 www.vatican.va/roman_curia/congregations/cfaith/ documents/rc_con_cfaith_doc_19870222_respect-for- human-life_en.html, viewed 24 February 2012. Justine Khamara 1 Hélène Cixous, ‘Laugh of the Medusa’, trans. Keith Cohen and Paula Cohen, in Signs , vol.1, no.4, 1976, p.893. 2 Justine Khamara, email to author, 6 December 2011. 3 Cixous, Signs , p.881. 4 Dylan Evans, An Introductory Dictionary of Lacanian Psychoanalysis , Routledge, London, 1997, p.115. 5 Cixous, Signs , p.889. 6 Salvador Dali, ‘The stinking ass’, in Art in Theory 1900–2000: An Anthology of Changing Ideas , Charles Harrison and Paul Wood (eds), 2nd edn, Blackwell Publishing, Oxford, 2002, p.487. Anastasia Klose 1 Throughout history, artists have transgressed social norms, and performance and media artists are no exception. In 1974, American sculptor Lynda Benglis (b.1941) photographed herself with a large phallus between her legs. The following year American performance artist Carolee Schneemann (b.1939) made Interior scroll , in which she stood naked on a table painted in mud while pulling a scroll from her vagina. 2 Anastasia Klose, ‘GOMA talks young minds: What is in store for our creative future?’ hosted by Richard Aedy, uploaded by QAG 29 September 2011, www.youtube. com, viewed 19 November 2011. 3 Anastasia Klose, email to author, 27 November 2011. 4 For this work, Klose also found inspiration in Sydney‑based four‑piece collective The Kingpins and the work of the Guerrilla Girls; Anastasia Klose, email to author.