Contemporary Australia: Women

187 Jenny Watson 1 Jenny Watson, in Jenny Watson: Illusionations, [exhibition catalogue], Galerie Daniel Varenne, Geneva, Switzerland, 2007, no pagination. 2 Communicated verbally by the artist, Brisbane, 1 February 2012. 3 Virginia Woolf, A Writer’s Diary , Houghton Mifflin Harcourt, New York, 2003, p.80. 4 See Olivia Sophia, ‘Jenny Watson: The Daisy Show’, RoslynOxley9 Gallery, Sydney, viewed 27 August 2010. 5 See Virginia Fraser, ‘Opinion contest,’ Art Monthly Australia , no.117, March 1999, pp. 21–3; Evelyn Juers, ‘Jenny Watson, Art and Australia, vol.32, no.2, summer 1994, pp. 296–7, and my ‘Number Magic: the trouble with women, art and representation’, (ed. Barbara Caine and Rosemary Pringle), Transitions: New Australian Feminisms , Allen and Unwin, Sydney, 1995. 6 See Jan Hoet, in Jenny Watson: Vintage Paintings, Galerie Transit, Mechelen, Belgium, 2006, no pagination. Judy Watson 1 Judy Watson and Louise Martin-Chew, Judy Watson: blood language , The Miegunyah Press, Melbourne, 2009, p.141. 2 This story was told by Ruby Saltmere to Tony Roberts in researching his book, Frontier Justice: A History of the Gulf Country to 1900 . Saltmere was told about it by her grandmother, Rosie, the great-great grandmother of Judy Watson. 3 Tony Roberts, Frontier Justice: A History of the Gulf Country to 1900 , University of Queensland Press, Brisbane, 2005, p.232. 4 Roberts, p.233; Jonathan Richards, The Secret War: ATrue History of Queensland’s Native Police , University of Queensland Press, Brisbane, 2008, p.151–61. 5 Roberts, p.232. The original journal of Emily Caroline Creaghe is held in the Mitchell Library, State Library of New South Wales. 6 Letter from Frank Hann to AW Howitt, 5 July 1885, quoted in Roberts, p.233. 7 Judy Watson would like to acknowledge Ruby Saltmere who first told her about Rosie’s escape from the massacre on Lawn Hill and her bayonet wound, after her grandmother Grace Isaacson’s funeral in Mt Isa, 1997; and her mother, Joyce Watson, for her encouragement and support. This work is made in memory of her grandmother, Grace Isaacson, an inspiration to all her family. 8 Grace Isaacson, interview with Judy Watson, January 1999, as quoted in Watson and Martin-Chew, p.17. For more information on Aboriginal child workers, see Shirleen Robinson, Something like Slavery? Queensland’s Aboriginal Child Workers, 1842–1945 , Australian Scholarly Publishing, Melbourne, 2008. Louise Weaver 1 Louise Weaver, email to the author, 14 December 2011. 2 Weaver, email to the author. 3 Weaver, email to the author. 4 Virginia Woolf, To the Lighthouse , Harvest Books, Pennsylvania, 1989. 5 Weaver, email to the author. Justene Williams 1 Justene Williams, conversation with Julie Ewington, 13 February 2012. 2 See Surrealism: Poetry of Dreams [exhibition catalogue], Queensland Art Gallery/Gallery of Modern Art, Musée national d’art moderne, Centre Pompidou, Paris, 2011, pp.281 and 304. The film was screened in the exhibition and viewed by the artist on a visit to the Gallery in August 2011. 3 See Pamela Hansford, ‘Voodoo child’, New11 , Australian Centre for Contemporary Art, Melbourne, 2011, pp. 56–61. 4 See Justene Williams, artist’s statement for MonetMicrowave Berlin Burghers 2010, Penrith Regional Gallery and the Lewers Bequest, www.penrithregionalgallery.org/justene%20williams. php, viewed 25 February 2012. Gosia Wlodarczak 1 Artist statement, Safety Zone [exhibition brochure], Helen Maxwell Gallery, Canberra, 2004, unpaginated. 2 David Hansen, ‘Gosia Wlodarczak’, Singapore Biennale 2011 [exhibition catalogue], Singapore Art Museum, Singapore, 2011, p.270. 3 Ian McLean, ‘On drawing: Gosia Wlodarczak’s quest’, Cinderella II — The Dreamer [exhibition catalogue], SASA Gallery, Adelaide, 2008, p.14. 4 Maria Zagala, Gosia Wlodarczak: Shared Space NewYork [exhibition brochure], Kentler International Drawing Space, New York, 2008, unpaginated. 5 Artist statement, www.gosiawlodarczak.com/Pages/ Performance/PSSZ.html, viewed 19 February 2012. Judith Wright 1 Conversation with the artist, 7 October 2011. See, among many commentaries on Pliny’s legend, Keith Miller’s 2007 text ‘The emblem of earthly vanities’, www.tate.org. uk/tateetc/issue9/emblemearthlyvanities.htm, viewed 7 October, 2011. Wright took up a two-year Australia Council Fellowship in 2010 explicitly to research the role of shadows in the origin of the visual arts. 2 See, famously, Roland Barthes’s Camera Lucida , Hill and Wang, New York, 1981 or, closer to home, Helen Ennis’s Mirror with a Memory: Photographic Portraiture in Australia , National Portrait Gallery, Canberra, 2000. 3 This is explicitly acknowledged in God’s bones: for Nicole 1988–91, in the Queensland Art Gallery Collection, Acc. 2002.019a–n. 4 Conversation with the artist, 7 October 2011; subsequent comments by the artist were also noted on this date. 5 The complete suite is One dances 2003, Between 2007, The stager 2008, The faburden 2008, A fable 2008, Thegift 2008 and Desire 2009. 6 Dame Margaret Scott, founding director of the Australian Ballet School (1964–1990), taught Wright as a young ballerina; Scott appeared on stage most recently in 2000. 7 See Victor I Stoichita, A Short History of the Shadow , Reaktion Books, London, 1997, especially pp.16ff. I was directed to this text by Judith Wright. Endnotes Following Deborah Kelly Australia b.1962 Beastliness (stills) 2011 Digital animation shown as HD projection, DVD, 16:9, colour, sound, 3:17 mins, ed. 2/8