539:. It explores the inter generational effects of untreated PTSD suffered, for example, by war veterans, refugees, Indigenous people, displaced people and victims of genocide. Constructed from domestic objects, the military is domesticated, the domestic militarised. For example, 'Sewing Machine Gun' is made from the conjunction of a Singer sewing machine, a woman's industry, bobby pins, her intimate femininity, to create a Vickers machine gun, problematising the encodings of these objects to present the viewer with emotionally charged conundrums reflective of complexities rather than a didactic illustration of gendered conflict. Similarly the bedroom furniture turned inside-out forms polished wooden tunnel-like trenches, hiding places, all surveyed by the ladder-less 'Watchtower', made from a marriage bed, its floor the wire springs of a child's cot mattress. The installation embeds the viewer in the uncanny feelings of an adult transported back to childhood, inviting exploration to uncover its multiplicities. The sculptural components are contextualised by a dado around the room composed of a visual narrative addressing trauma, and the names of Kassel's Jewish people deported and killed during WW2. Their names are inscribed on a section of railway tracks at the KulturBahnhof (Kassel Central Station), an installation by Dr. Horst Hoheisel,
320:, Sydney in 1991, included nine red thunderbolts shooting up from the floor and 'snabbits' - genetically engineered creatures combining the snail's legless body and rabbit's head - hiding in ruins in the space opposite. A short story explains they are the only living creatures left on a post-apocalyptic Earth and are an excellent source of food in the future's dystopian environments as they cannot escape and are delicious. Between the thunderbolts and the snabbits' habitat, viewers pass through a corridor of golden light, a liminal space between energy and entropy.
290:(1980) examines themes of womanhood and pregnancy. Ely cast her nude body on a slab of bread dough, which she washed off in a bath of milk. She then moulded in bread dough a female form using geometric shapes, not the traditional organic forms associated with the feminine. During this action bread was baked then served to viewers after the performance. As a complex exploration of women's traditional roles, the performance is both a celebration of motherhood and nurture, and a critique of woman as a consumable product of culture.
594:, shown in Sydney, Melbourne, Brisbane and the Asian Biennale of Contemporary Art, Dhaka, Bangladesh (1999), evoked this inscription of terrain. Each giant, spiralling turn transforms its internal spatial form, its peripatetic force simultaneous to a sense of fragility - the giant spirals are kept in place with wedges at floor level and spacers held in tension between each turn of the spiral, so the sculpture's structural integrity is in 'suspended animation'.
567:, was invented – plus case studies of rivers in Athens, Kassel and Sydney in 2017, showing plastic pollution off city streets floating towards the ocean, contextualised by a world history from 2000 BC to 2054 AD showing the emergence, dominance then decline of nations, ending in 2054 with plastic filled, swirling gyres. Each genetically modified creature is described in a taxonomy presented on a touch screen, preserved on the
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for cooking fires. The sculpture's three arch-shaped entrances are approximately one metre high – children's height – and its barrel-shaped base acts like an acoustic chamber, collecting the sounds in the surrounding environment. Small holes in the conical space above illuminate the interior with soft bands of light. The sculpture is made from the small, traditional bricks from the
395:(GAB), the world’s largest aquifer that is a little known but essential source of fresh water in Australia’s arid regions. A large floor map of the GAB (5000mm x 4140mm) shows the water flow, contours, springs, recharge zones, cities and towns for orientation and significantly, coal seams and gas and petroleum exploration or production sites that potentially pollute the GAB.
181:. In a 2019 oral history interview for the State Library of Queensland, Ely describes her childhood as creative, where she was encouraged by her parents to try anything. She recalls drawing from an early age, even before starting school, using sticks to draw in the dirt and charcoal discarded from the wood stove to draw on the external walls of the pickers' hut.
379:, the scarcity of water resulted in a 'dip' or delicious pie filler, made up of river pollutants. In 2014 with artist Emma Price, Ely celebrated the health of the river creating “Murray River Punch: the Soup”, the recipe’s ingredients rubbish collected at a picnic site on the river in Mildura. The performance parodied the TV show, My Kitchen Rules.
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bacteria feeding on the algae sucked all the oxygen out of the water killing all the fish. Bonita Ely immersed herself in the river amongst the dead fish in the pose of
Millais’s “Ophelia”, lying back, chest heaving, body sinking, her open hands raised in helpless resignation. Her performance for camera was photographed by Melissa Williams-Brown.
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practical narratives used to navigate across complex terrain, embedding environmental knowledges essential for food gathering, hunting, reading the seasons, the winds. Similarly in India's Hindu mythologies, Chinese and
Japanese gardens, Europe's pre-Christian animistic belief systems, the landscape was/is inscribed with meaning. The installation
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These environmental works are informed by Ely's cross-cultural research of our relationship to land, first tracing the narratives inscribed upon natural landscapes in
Australia's Aboriginal mythologies, or Song Lines, that weave across tribal nations' countries, functioning as ethical, spiritual, and
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In 1998, Ely was invited to create a public sculpture for the
Children's Cultural Centre in Huế, Vietnam, participating in the 2nd Sculpture Symposium. Her interactive work takes the form of a hollow haystack, referencing the conical stacks made of rice 'hay' in the fields around Huế that were used
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of the trans-ecology of water. Set in the year 2054, it takes the form of a natural history display. A diorama features plastic eating creatures, their physiologies built on vacuum cleaners & the parts thereof the artist found discarded on Sydney's streets. The creatures have been genetically
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In 2019 after prolonged drought more than 1,000,000 fish were killed in the
Darling River at Menindee. The river stopped flowing, the stagnant water’s temperature was high, ideal conditions for the growth of toxic blue-green algae. The water temperature suddenly dropped killing the algae bloom,
360:. In this work the artist set up a cooking demonstration in the university's Student Union foyer at lunchtime and assumed the role of a cooking demonstrator who narrates the recipe for a ‘punch’ drink. The ingredients are the pollutants in the Murray River.
474:(2002). Scissors and sickles made by local blacksmiths were caste and braised together in a lattice pattern to form a three dimensional interpretation of a longevity symbol. Shaped like a gourd, the scrap metal used included shrapnel from the
367:, when environmentally unsustainable agricultural practices exacerbated acid sulphate contamination and outbreaks of blue green algae. Ely's forensic research along the length of the river resulted in a photographic series titled
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In 2006, Ely was invited back for Huế's 4th
International Sculpture Symposium, where the dynamic, zig-zag symbol of the thunderbolt appears again in her work, this time as a 6m steel tube sculpture that glows in the dark. Titled
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engineered using the CRISPR method to clean up the plastics polluting oceans and rivers. The diorama is contextualised by photographs of pristine nature as it would have been in 1905 – the year the first synthetic plastic,
301:(1983), the anthropomorphised fascination with another species was documented, alongside the gendered construction of history, using images of dogs in the art of Berlin museums, documented whilst artist-in-residence at
498:'THUNDER stands for our true essence, LAKE stands for our true sense, WATER stands for our real knowledge, and FIRE stands for our conscious knowledge. These four are the true 'four forms' inherent in us.'
356:(1980) is one of Ely's most well known and significant performances. The work was first performed at Melbourne University's George Paton Gallery in June 1980 as part of a week of performance titled
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is powered by solar energy, the sculpture's lighting signals to the community their level of energy consumption in the neighborhood at night, changing colour from green to yellow to red.
528:“PTSD typically leads to emotional numbing, … recurrent nightmares, substance abuse (traditionally, alcoholism), … delusional outbursts of violence.” (Goldstein, 2001).
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In 2010 Bonita Ely was selected to create a public artwork to celebrate the 10th
Anniversary of Sydney's Green Olympics. Made from a recycled windmill, the
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the sculpture's location at Thuy Tien Lake is an essential aspect of the work, evoking traditional Taoist philosophical principles expressed in the
1041:(Interview). Art Gallery of New South Wales Archive: Balnaves Foundation Australian Sculpture Archive Project. Interviewed by Edwards, Deborah.
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Her performances of the 1970s and 1980s were concerned primarily with environmental and political issues. For instance in her performance
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Ely's art practice is often categorised as environmental or socio-political or feminist, and she acknowledges the early influence of the
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is a reminder of PTSD as a ubiquitous yet under acknowledged cause of conflict and suffering in social and personal relations.
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1130:. John Oxley Library, State Library of Queensland, 26 June 2019, 6min, 28min and 58min version available to view online.
192:. After completing a Certificate of Art (Painting) in 1966, Ely worked for a year as a secondary school arts teacher in
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Ely's first exhibition was in London in 1972, but recognition of her artwork in
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Researching the natural environment in the vicinity of the Adani Mine Ely became aware of the mine’s threat to the
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283:(1979), Ely explored issues surrounding Aboriginal Land Rights and uranium mining in the Northern Territory.
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Ely established her reputation as an environmental artist in the 1970s through her works concerning the
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Ely was selected to represent
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Research of Huế's longevity characters informed Ely's second public sculpture in the city, titled
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640:"Dr Bonita Ely oral history : James C Sourris AM Collection of Artist Interviews 2019-2020"
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Ely's experimental artworks are in international collections such as the Tate Museum, London,
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Portrait of an artist: Bonita Ely. James C. Sourris AM Collection of Artist
Interviews
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river system. She has a diverse practice across various media and has often addressed
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river system. She has a diverse practice across various media and has often addressed
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Faculty from 1990 to 2017, retiring as Honorary Associate Professor of the faculty.
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brickworks. As such it is a record of bygone cultural materials & practices.
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273:(1975) had its beginnings in New York where Bonita Ely lived from 1973 to 1975.
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Following high school in Robinvale, Ely moved to Melbourne to study painting at
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332:. In 2019 Ely was interviewed in a digital story and oral history for the
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Field of vision: a decade of change : women's art in the seventies
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336:'s James C Sourris AM Collection. In the interview Ely talks to writer
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Ely lectured in sculpture, performance and installation studies at the
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1005:. Translated by Thomas F. Cleary (1st ed.). Boston: Shambhala.
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C20th Mythological Beasts: at Home with the Locust People (1973-75)
446:, Melbourne. She has also produced three public sculptures for the
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More recent work addresses the river's declining health during the
200:, where she was taught by Clive Murray White and influenced by the
121:(born 1946) is an Australian multidisciplinary artist who lives in
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movement, completing a Diploma of Fine Arts (Sculpture) in 1969.
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philosophy and cultural practices on contemporary art practice.
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in Kassel, Germany and Athens, Greece, at the Tate Gallery and
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815:. Melbourne, Australia: Oxford University Press. p. 146.
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781:. Melbourne, Australia: Oxford University Press. p. 143.
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in the Athens iteration of documenta14 was exhibited in the
558:. It addresses the contribution of casual littering to the
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Her work has been internationally exhibited, including in
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She received a Master of Art (Fine Arts) in 1991 from the
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C20th Mythological Beasts: at Home with the Locust People
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423:; the 18th Street Arts Centre, Los Angeles, US; and the
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Das Gedächtnis der Gleise ('The Memory of the Tracks' –
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Engberg, Juliana (1999). "Breadline: Women and Food".
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Let Me Take You There: the Great Artesian Basin (2021)
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This is an edited transcript of a recorded interview.
837:"Vivienne Binns OAM digital stories and oral history"
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Tell Me Tell Me: Australian and Korean Art 1976-2011
610:, Canada, and they had a daughter together, born in
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Vivienne Binns OAM digital stories and oral history
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Body and Self: Performance Art in Australia 1969–92
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Body and Self: Performance Art in Australia 1969-92
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1134:Scanlines: Media Art in Australia since the 1960s
890:. Ringwood, Vic., Australia: Viking. p. 94.
535:is embedded into the domestic environment of the
295:Dogwoman Communicates with the Younger Generation
962:"Tell Me, Tell Me | Exhibitions | MCA Australia"
196:, before returning to Melbourne to study at the
521:investigates the inter-generational effects of
511:in the Palais Bellevue in Kassel, Germany, and
387:Let Me Take You There: the Great Artesian Basin
704:van Wyk, Susan (2012). Gellatly, Kelly (ed.).
425:National Museum of Modern and Contemporary Art
129:in the 1970s through her works concerning the
269:of 1975. Her interdisciplinary installation,
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990:. Sydney: Museum of Contemporary Art Sydney.
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458:Public sculpture commissions in Huế, Vietnam
219:for a thesis researching the influences of
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399:Exhibitions, commissions and collections
340:about her life, her art and her career.
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523:post-traumatic stress disorder (PTSD)
58:Prahran College of Advanced Education
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165:country, a town on the banks of the
1155:, State Library of Queensland Vimeo
706:101 Contemporary Australian Artists
602:Around 1981 Ely met Sydney artist
556:Athens School of Fine Arts Gallery
92:Interior Decoration (2013 - 2017)
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54:Caulfield Institute of Technology
654:"Associate Professor Bonita Ely"
444:Ian Potter Centre: NGV Australia
371:. A reprise of the performance,
1184:20th-century Australian artists
1034:Grounds, Marr (30 March 2015).
708:. National Gallery of Victoria.
684:Design and Art Australia Online
472:Longevity: Scissors and Sickles
478:, as it is known in Vietnam.
90:Dogwoman Makes History (1983)
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1036:"Interview with Marr Grounds"
1003:The inner teachings of Taoism
638:State Library of Queensland.
440:National Gallery of Australia
312:The three-part installation,
233:University of New South Wales
194:Warrnambool Technical College
16:Australian artist (born 1946)
1122:Australian Video Art Archive
866:National Gallery of Victoria
262:and socio-political issues.
217:University of Western Sydney
198:Prahran College of Fine Arts
145:and socio-political issues.
75:University of Western Sydney
841:State Library of Queensland
752:Australian Video Art Online
618:at Künstlerhaus Bethanien.
334:State Library of Queensland
324:Art practice and influences
267:Mildura Sculpture Triennial
186:Caulfield Technical College
94:Plastikus Progressus (2017)
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658:School of Art & Design
209:Sydney College of the Arts
188:, where she was taught by
96:Menindee Fish Kill (2019)
88:Murray River Punch (1979)
67:Sydney College of the Arts
488:Inner Teachings of Taoism
179:Soldier Settlement Scheme
1179:Australian women artists
173:region of north western
149:Early life and education
62:St Martins School of Art
986:Barkley, Glenn (2011).
941:18th Street Arts Center
314:We Live to be Surprised
1141:on documenta14 website
1001:Chang Po-Tuan (1986).
886:Burke, Janine (1990).
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413:Künstlerhaus Bethanien
303:Künstlerhaus Bethanien
299:Dogwoman Makes History
614:when he had a year's
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1146:Plastikus Progressus
811:Marsh, Anne (1993).
772:Marsh, Anne (1993).
570:Plastikus Progressus
552:Plastikus Progressus
513:Plastikus Progressus
454:(1998, 2002, 2006).
436:Museum of Modern Art
393:Great Artesian Basin
213:University of Sydney
127:environmental artist
1043:Balnaves Foundation
862:"Murry River Punch"
678:Navdeep, Shergill.
545:Interior Decoration
533:Interior Decoration
519:Interior Decoration
515:in Athens, Greece.
509:Interior Decoration
438:, New York and the
1056:on 31 January 2023
1047:Art Gallery of NSW
937:"Bonita Ely, 1993"
916:www.documenta14.de
409:Chisenhale Gallery
375:with the subtitle
373:Murray River Punch
365:Millennium Drought
354:Murray River Punch
560:plastic pollution
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578:Other works
503:documenta14
448:City of Huế
405:documenta14
278:Jabiluka UO
163:Latji Latji
44:, Australia
1163:Categories
1094:28 October
1089:Bonita Ely
1085:"Academic"
1060:31 January
622:References
592:Juggernaut
411:, London;
242:Art career
119:Bonita Ely
25:Bonita Ely
727:Scanlines
616:residency
431:, Korea.
288:Breadline
286:The work
159:Robinvale
108:bonitaely
64:, London
50:Education
1021:13642804
565:bakelite
256:feminist
175:Victoria
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971:6 March
946:6 March
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871:8 March
794:Artlink
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732:8 March
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572:website
543:2015).
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252:Darling
169:in the
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417:Berlin
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123:Sydney
1039:(PDF)
779:(PDF)
429:Seoul
1096:2023
1062:2023
1017:OCLC
1007:ISBN
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948:2021
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892:ISBN
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817:ISBN
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348:The
110:.com
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