Shaun Wilson
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Shaun Wilson (born Melbourne, 1972) is an Australian artist, academic and curator working with themes of memory, place and scale through painting, miniatures and video art. He teaches Video Production, Experimental Video and Media Theory in the School of Creative Media at RMIT University and exhibits inter/nationally at artist run spaces, university galleries, contemporary art centres and art/moving image museums.
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[edit] Biography
Shaun Wilson studied Fine Arts at RMIT University (BFA) between 1992-94 and then Monash University (BFA hons) in 1995. In 2002 he moved to Hobart to undertake a Ph.D. in Philosophy and Media Arts (completed in 2005) at the University of Tasmania. His dissertation was titled The Memory Palace: Scale, Mnemonics and the Moving Image, which translated the Roman mnemonic texts Ad herrenium and De memoria through video installation. In 2005 he moved back to Melbourne to work in the School of Creative Media at RMIT University, Melbourne where he specialises in the relationship between memory and place in the moving image and further, the role and theorisation of Video art after 2000. He has also been a visiting Professor at the Hochshule der Medien Stuttgart in 2006.
Since 1995, Wilson has held over 25 solo exhibitions/screenings and 100 group exhibitions/screenings at notable galleries such as the Australian Centre for Contemporary Art (2006), Bilbao Arte (2006), Centre for Contemporary Culture Barcelona (2006), Presidential Government of the Canary Islands (2006), Thailand New Media Arts Festival 05(2005), Australian Centre for the Moving Image (2005), Institute of Modern Art Brisbane (2004), 24hrArt: NT Centre for Contemporary Art (2004) and the Centre on Contemporary Art Seattle (2003).
Wilson has delivered over 55 guest lectures on contemporary art and video art in Australia and Europe. He is working on three concurrent books: The Philosophy of Scale, The Philosophy of Objects and Mnemonic Safari: Digital Media and Locational Memory. Video Art production includes the Uber memoria Series I-VII (2006-07) comprised of 120 video paintings filmed in Germany, England, Scotland, USA and Australia and the Gothic memoria series I-VI (2006-07) comprised of 1000 video paintings filmed in Germany, UK, New Zealand and Australia.
[edit] Work
[edit] Painting
Wilson trained and worked as a painter throughout the 1990s undertaking medium and large-scale oil on canvas and also acrylic on vinyl paintings which addressed two concurrent themes: the politicalization of the image in the mass media and the politicalization of narrative in the mass media. Influences are drawn from Caravaggio, Theodore Gericault, Goya, the political works of Andy Warhol, Robert Rauschenburg, and the butterfly paintings of Damien Hirst.
[edit] Major series 1995-2007
- OJ Simpson Mugshots (1995-06): 59 small and medium sized paintings examining the politicalization of the image as portrait in the mass media using the O.J. Simpson mugshot as a thematic and conceptual device.
- L.A Drive-Inn (1996-97): 21 medium and large scale paintings based on Wilson’s first hand experience of Los Angeles in the several days that proceeded the LA riots in 1992.
- Millennium Bugs (1998): 48 medium and large-scale paintings with colourful screen printed bugs as a play to the (then) current issue of the Y2K bug.
- Bigotscapes (1998-99): 25 large scale paintings on coloured stretched vinyl reappropriating Australian Impressionist landscape paintings, such as Tom Roberts and Arthur Streeton, to thereby respond to the role of landscape during the rise of nationalism in Australian minority political parties such as Pauline Hanson's One Nation.
- Popscapes (1999-2000): 128 small, medium and large-scale paintings that appropriated Australian post-war landscape paintings, such as Sidney Nolan and Arthur Boyd, through candy-like, brightly coloured and thickly applied interventions into the picture plane. This further examined the changing nature of the Australian landscape in political art and its resultant dialogue with indigenous rights.
- Gothic memoria (2007-): 20 small paintings complimenting the video series of the same title.
- Uber memoria series 3 (2007-): 20 small paintings complimenting the video series of the same title.
[edit] Miniatures
Wilson began three noted series of miniatures: Crash, Disasters of Small, and The Empire of Small. These detailed works began as a response to the role of the scaled object in contemporary art and later evolved to embrace themes of memory and place through issues and tensions between narrativity. Materials used are both commercially manufactured model kits and scratch-built cardboard/plastic objects attached onto various types of vintage hard-cover books.
[edit] Major series 2000-2007
- Crash (2000): 10 small dioramas depicting recreations of plane crashes and shipwrecks appropriated from iconic press images of the Titanic, Tenerife disaster, the 1986 Space Shuttle explosion and the Air France Flight 4590 crash in 2000.
- Disasters of Small (2001-02): 25 small dioramas responding to the miniaturisation of Jake and Dinos Chapman interpretation of Francisco Goya's Disasters of War etchings taking into account the affect of the Chapman’s conceptual dialogue of their zeitgeist approaches through contemporary art. These were exhibited at the Faculty Gallery, Monash University in September 2001.
- The Empire of Small series 1 (2002-04): 75 small dioramas mounted on vintage books found in op shops and second hand book stores responding to how memory and trauma inter-relate. Selected examples, such as the sub-series Bomber Command reconstruct aspects of memory and place through the hobby war diorama genre. Australian curator Malcom Bywaters describes these works as 'Dresden, Normandy, Iraq and 9/11 at maximum reality1. The complete installation was exhibited at the Academy Gallery, Launceston in July 2004 and one individual diorama was exhibited in 2002 at the Centre on Contemporary Art Seattle, USA.
- The Empire of Small series 2 (2006-): 150 small dioramas mounted on vintage books found in op-shops and second hand bookstores responding to the notion of the ‘death of the book’ from digital media by reconstructing a conceptual reclaim of narrative structures using scale as a mode to articulate such themes of reductionism. A second series within this dialogue probes how narrative structures changed post 9/11 in the mass media and uses scale to measure this shift in its ensuing politicalization. Exhibition of this installation will be displayed in Australia and the US in 2009.
[edit] Video Art
Wilson began using video from 1998 onwards as a temporal response and extension to painting. Works produced are categorised into series and sub-series. Since 2004 he has produced over 350 video artworks under the titles of Mnemoria series, The Memory Palace series, Filmic Memorials series I-IV and Uber Memoria I-VII/Proto. These particular works that Wilson himself describes as ‘video paintings’ explore the nature of memory and place through the moving image and its subsequent affect on autobiographical memory. In doing so, Wilson has deconstructed family home movies, vintage 8mm film, and found 9mm film and from late 2006 onwards he has incorporated these filmic images with High Definition Video (HDV) to convey tensions of fractured memory. Film theorist Leon Marvell describes Wilson’s later work in Photofile as 'an ambitious and exquisitely realised exploration of the tension between artefact and memory'[2] while other reviews, such as Diane Clausen in Realtime, have described his video art as 'hypnotic'[3]. Filmic influences include Alfred Hitchcock, Michel Gondry and Oliver Hirschbiegel. Videoart influences include Brendan Lee, Bill Viola and Eija-Liisa Ahtila.
[edit] Major series 2002-2007
- The Memory Palace (2002-05): 35 video art works that raise questions about the role of false memories in the places of trauma, which is described by Briony Lee Davies in Artlink as crafted with 'a deep sense of foreboding'[4]. Early works were screened at CAST, Hobart in 2003; ten works were exhibited at the Academy Gallery, Launceston in 2005; at the Institute of Modern Art Brisbane in the Small Black Box curated program; and it's sister work, Gone screened at Bed Superclub at the Thailand New Media Arts Festival in 2005.
- Filmic Memorials series I (2004): 65 video art works that deconstruct vintage 8mm home movies derived from Wilson’s personal archive of family footage. Selected works were screened in 2005 at the Perth Institute of Contemporary Art, Perth; Hera Gallery, Rhode Island and at Federation Square during the Melbourne International Arts Festival 2005.
- Filmic Memorials series 2 (2004-05): 50 video art works that reappropriate mnemonic narratives with source footage from 8mm home movies. Selected works were screened in a video installation at the Memory Grid, Australian Centre for the Moving Image, Melbourne in 2005. In 2006 additional works were screened at the International Festival of Videoart of Valencia, Spain; the International Festival of Videoart Don Benito; and in Art Tech Media 06 at the Bilbao, Centre for Contemporary Culture Barcelona, Da2 Museum, Museum Centre of Contemporary Art (atrium), Vitoria, Parraga Centre, Murcia, Museum of Modern and Contemporary Art, Mallorca, National Museum Centre of Art Reina Sofia, Madrid and at the Museum of Contemporary Art Fenosa Union, Coruna.
- Filmic Memorials series 3 (2005-06): 22 video art installations that question the role of memory in the visual dialogues set between vintage home movies and the viewer's experience of such film. One noted installation was exhibited at the Australian Centre for Contemporary Art in New06, described by Luke Benadictus in the Sunday Age as 'being the barometer for the hottest emerging talent in the Australian art world'[5] and by Australian art critic Charles Green in Artforum.com as a 'spooky, noir, digital doctoring of family home-movie memories'[6].
- Filmic Memorials series 4 (2006-): 10 video art installations that facilitate a merger between the miniature and vintage film.
- Uber memoria series 1 (2006): 25 video art works filmed in Germany in 2006 that reposition memory and art into a filmic context. Doug Church describes this series by saying that 'at first glance these works appear 'pretty' but as the duration of the video progresses one cannot help but feel discomforted by the Schizophrenic film speed coupled with the intrusive stares of the characters looking straight at the viewer[7]. Exhibition of these works were screened at Project Space/Spare Room, Melbourne; the Directors Lounge, Berlin; The Pratt Institute, New York, and Glendale Art Gallery, Los Angeles in 2007. Additional venues will be included in 2008.
- Uber memoria series 2 (2006-): 35 video artworks filmed in Germany and the UK that dissect the role of the portrait in video art while at the same time question the affect of memory through places thus articulated through performative narratives.
- Uber memoria series 3 (2006-): 20 night video artworks filmed at Castle Fortitude, Stuttgart as an extension to the overall themes of the uber memoria project.
- Uber memoria proto series (2007): 25 video artworks filmed in Melbourne which address the recontextualising of memory and place through German Romantic seascape paintings.
- Uber memoria series 4 (2007): 15 video artworks filmed in London and Melbourne as an extension of the overall thesemes of the "uber memoria" project.
- "Uber memoria series 5" (2007): 15 video artworks filmed in Melbourne in responce to portrait and character-based German Romanticism paintings and in conjunction with the overall themes of the uber memoria project.
- Uber memoria series 6' (2007): 15 video artworks filmed in Stuttgart as an expansion of "uber memoria" Series 5.
- Uber memoria series 7 (2007): 10 video works filmed in Melbourne reconstructing a further addition from Uber memoria 5.
- Gothic memoria series 1-6 (2007): 1000 video paintings exploring Gothic Romanticism through video art. These works are scheduled for filming in May 2007 onwards in the UK, Germany, France, New Zealand and Australia.
[edit] Feature length Videoart
- 2007 "Uber memoria conventus", HDV as multi channel video installation, DVD, colour, sound, 100 mins.
- 2006 1975, DV as single channel DVD, colour, sound, 120mins
- 2006 The Bridge (v2), DV as single channel DVD, colour, sound, 120mins
- 2005 Each Moment, DV as single channel DVD, colour, sound, 120mins
- 2005 Light Falls Through Frosted Time, DV as single channel DVD, colour, sound, 120mins
- 2005 Soho Found, DV as single channel DVD, colour, sound, 120mins
- 2005 Amsterdam, DV as single channel DVD, colour, sound, 120mins
[edit] Sound Art
Wilson began to publish sound art in limited editions from 2003 onwards as companion works to video art. These are the sonic versions of a winder inquiry into memory and place with many source references appropriated from family recordings and related material. Tracks are organised into series and sub series divided into four major categories and as limited edition single and double CDs. In 2004, the track 'statica' was released as a compilation double CD 'People Doing Strange Things With Electricity Too' (1994) available on Comfortstand Records (USA) and launched at the Centre on Contemporary Art Seattle in early 2005.
Sonic influences include sound artists Phillip Glass, Phil Edwards, Philip Brophy, and John Cage and musicians Moby and David Helfgott.
[edit] Major Series 2003-2007
- The Memory Palace series (2003-04): 10 sound art works as companion pieces to the Memory Palace video works.
- Inside the Memory Palace series I-XI (2004): 120 sound art works based on sonic translations of various Roman and medieval texts that prescribe the spatial use of Art of Memory.
- Sonic Memorials (2005-06): 45 sound art works responding to video works comprised from family home movies in the Filmic Memorials I-IV collective series.
- Uber memoria sonic (2006-07): 100 sound art works accompanying the collective Uber memoria video art series.
Wilson also creates under the title of project band 'The Future'. All featured instruments are digitally generated and played by Wilson himself. The Future have released two albums, The Future: Official Motion Picture Soundtrack (2004) and Waiting for Isabella (2007).
[edit] New Video art movement
In December 2006, Wilson founded a video art movement called Vothic ('Video' and 'Gothic') in response to his investigations of Gothic Romanticism from research undertaken for the curated exhibition Australian Gothic: video art now.
[edit] Selected exhibitions and screenings
2008 Australian Gothic, curated by Shaun Wilson, Screen Gallery, Perth Institute of Contemporary Art, Perth
2007 Australian Gothic, curated by Shaun Wilson, Project Space/Spare Room, Melbourne
2007 Australian Gothic, curated by Shaun Wilson, Directors Lounge, Berlin
2007 Sampling, curated by Larissa Hjorth and Kate Shaw, Glendale Art Gallery, Los Angeles
2007 Far Away Land, curated by Jenna Ng and Shaun Wilson, site specific locations in London (Soho Gardens) and Melbourne (Bowen Street: RMIT)
2007 Made in Australia, curated by Malcom Bywaters and John Derrick, Pratt Institute, New York
2006 New06, curated by Juliana Enberg, Australian Centre for Contemporary Art, Melbourne
2006 Art Media Tech 06, Bilbao Arte, Museum of Contemporary Art Fenosa Union, Centre for Contemporary Culture Barcelona, National Museum Centre for Art Reina Sofia, Presidential Government of the Canary Islands, Da2 Museum, Basque Museum, Spain\
2006 1st International Festival of Videoart of Valencia, curated by Brendan Lee representing Kings ARI, Spain
2006 International Videoart Festival of Don Benito, Spain\
2006 Boundless, curated by Jan Christensen, Stavanger Kunstforenin Stavanger, Norway
2005 Memory, Place and Identity, curated by Alexandra Brouch, Hera Gallery, Rhode Island
2005 Boundless, curated by Jan Christensen, Stenersenmuseet, Oslo; Bodø Kunstforenin, Bodø; Sogn og Fjordane Kunstmuseum-Eikaasgallerie, Jølster; Trondarnes Distriktsmuseum Harstad, E Eidsberg Kommune, Idsberg; Kirkenes, Grenselandmuseet, Kulturkontore, Norway.
2005 Ride-in Movies, Melbourne International Arts Festival 2005, Federation Square, Melbourne
2005 The Memory Palace (PhD submission), Academy Gallery, Launceston
2005 Filmic Memorials ii, Australian Centre for the Moving Image, Melbourne
2005 Filmic Memorials, Perth Institute of Contemporary Art, Perth
2005 Thailand New Media Arts Festival MAF05, Bed Superclub, Bangkok
2004 The Empire of Small, curated by Malcom Bywaters, Academy Gallery, Launceston
2004 Modern Topographies, 24hrArt:NT Centre for Contemporary Art, Darwin
2004 Mnemonica, curated by Lloyd Bisett, Small Black Box at the Institute of Modern Art, Brisbane
2004 People Doing Strange Things with Electricity Too, CD, Centre on Contemporary Art, Seattle
2003-04 Boogy, Jive and Bop, curated by Malcom Bywaters. Plimsol Gallery, Academy Gallery, Devonport Art Gallery, Tasmania
2003 Small Worlds, curated by Sean Kelly, CAST, Hobart
2003 Compendium, curated by Martina Copley, Platform & Icon Museum of Art, Melbourne
2003 Nextworlds[3], Switchback Gallery, Monash University Churchill, Victoria
2002 Hidden Worlds, Entrepot Gallery, Centre for the Arts, Hobart
2002 Nextworlds[2], Canberra Contemporary Art Space, Canberra
2002 Nextworlds[1], George Paton Gallery, Melbourne
2002 Transcribe, curated by Alicia King, Entrepot Gallery, Centre for the Arts, Hobart
2001 Work, Cut Paste, Paint, Burn, curated by Malcom Bywaters, The Faculty Gallery, Monash University, Melbourne
2000 Popscapes [1], the Jackman Gallery, Melbourne
2000 Memory, curated by Shaun Wilson, Switchback Gallery, Monash University Churchill, Victoria
2000-02 Celebrating the Exquisite Corpse, curated by Anonda Bell, Bendigo Art Gallery; Swan Hill Gallery; Monash Gallery of Art; Ararat Art Gallery, Victoria
1999-2000 DIY:do it yourself, curated by Malcom Bywaters, The Faculty Gallery, Melbourne; Switchback Gallery, Monash University Churchill, Victoria
1999 Whispers and Memories, Indigo Studios, Melbourne
1999 Popscapes', Stop 22, Melbourne
1999 Outside Looking In, Access Gallery, The Jewish Museum of Australia, Melbourne
1998 Self Imposed Dignity, Flinders Way Arcade, Melbourne
1998 My Country, on-site installation, Swanston Street, Melbourne Fringe Festival, Melbourne
1997 Bugs, Toy Soldiers and Other Things that Suck, Indigo Studios, Melbourne
1996 Friendly Fire, Kirkcaldy Davies Galleries, Melbourne
1996 Untitled, McKillop Street Gallery, Melbourne
1996 Shamocracy, curated by Shaun Wilson, Lyall Burton Gallery, Melbourne
1995 Three Colours Nuke, Grand Central Gallery, Melbourne
1995 Artline 95, curated by Malcom Bywaters, Foy & Gibson Gallery, Melbourne
[edit] Curatorial ventures
In 1996, Wilson and Melbourne-based painter Monica Adams opened Indigo Studios, a private art school located in the suburb of Burwood, Melbourne. The intent of the venture was to introduce contemporary art to audiences who were not traditionally art focused. A total of 45 exhibitions by art students and emerging artists were held in the gallery between 1997-2002 at the three different sites that Indigo occupied between these periods. The second site was a derelict shopfront and residence previously used as a backstreet brothel also located in Burwood. The third and final site was a derelict two-storey Federation shopfront and residency located in Camberwell renovated by Adams and Wilson into a two-gallery floor space with studios and accommodation upstairs. It was also haunted. In 2001, Wilson left Indigo and Adams later closed the business in 2003.
Wilson was a curator at the Jackman Gallery in St.Kilda, Melbourne in 2000. Independent projects have included over 20 exhibitions in Melbourne, Seattle, Berlin and Hobart. These include Australian Gothic (2007) at Project Space/Spare Room, Melbourne and the Directors Lounge, Berlin (2007) and Post-Cinema touring Australia and Germany in 2007 and 2008.
[edit] Academic appointments and ventures
Wilson has upheld a strong commitment to academia with teaching appointments at Swinburne University (2000-01), Box Hill Institute (2000-01), University of Tasmania (2004) and RMIT University (2005-). In 2006, he founded the International Conference on Film and Memorialisation series which held its inaugural conference at the University of Applied Sciences, Schwaebsich Hall, Germany. In addition, related ventures complimenting the series were also founded by Wilson including the Film and Memory Research Network and the Film and Memory Quarterly refereed academic e-journal. Wilson is a contributing editor for both.
Other appointments include the Co-ordinator of the Digital Cinema Research Group (RMIT University), Co-coordinator of the Narrative and the Image Research Group (RMIT University) and the Deputy Co-orinator of the Place Research Network (University of Tasmania).
In 2002 he was awarded the prestigious Australian Postgraduate Award to undertake doctoral study at the University of Tasmania.
In 2005, Wilson wrote a series of lectures delivered in his 'Media Cultures' course at RMIT University which explored the evolution of technology through modernity and postmodernity. These formed the basis of further articles exploring the histo-philosophical nature of digital media, especially MP3 and iPod culture, as evidenced in the forthcoming e-book Post-Pod available in 2008.
Archive projects include the ten year Memory and Place Video Archive Project (2007-2017) started in December 2006 that aims to build a sizable archive of videoart from emerging and established artists who explore themes of memory and place, locational memory and locational identity through remembrance. This will be donated in 2017 to the Australian Centre for the Moving Image and Rhizome as a major filmic collection of international significance.
In 2006 he was the Program Coordinator of Higher Degrees by Research (MA and PhD) in the School of Creative Media at RMIT University, Melbourne (City) campus. Wilson is currently a Lecturer in Video, Experimental Video and Media Theory (Modernity/Postmodernity) and coordinator of the Digital Cinema Research Group.
[edit] Selected Bibliography
Enberg, J (2006). ‘NEW06’, NEW06, exhibition catalogue essay, Australian Centre for Contemporary Art, Melbourne, p. 7
Malcom B (2006). ‘The Memory Palace: Family History and 1975’, NEW06, exhibition catalogue essay, Australian Centre for Contemporary Art, Melbourne, pp.40-47
Benedictus, L (2006). ‘A Shot of the New’, Preview, The Sunday Age, March 26, pp.6-7
Marvell, L (2005). ‘Brendan Lee, Shaun Wilson, Alexandra Gillespie’, Photofile, Australian Centre of Photography, Sydney, pp.77
Mueke, S (2004). Ancient and Modern: Time, Culture and Indigenous Philosophy, University of New South Wales Press, Sydney, p.10
Bywaters, M (2004). ‘The Empire of Small’, exhibition catalogue essay, Academy Gallery, Launceston
Klaosen, D (2004). Seductive Talents, Real Time, No. 61, p.41
Lee Downes, B (2004). ‘Boogie, Jive and Bop’, Artlink, Vol 24, No. 2, pp. 83– 84
Copley, M (2003). ‘Compendium’ exhibition catalogue, Icon Museum of Art, Deakin University, Melbourne.
Copley, M (2003) ‘An Architecture of Hope’, exhibition catalogue, Gallery 101, Melbourne.
Corsini, M (2003) ‘The Memory Palace of Shaun Wilson’, Vehicle: Contemporary Visual Arts, Issue 9, Singapore, pp. 26-27
McIntyre, J (2003). ‘Cutting Edge of Bop’, The Examiner, September 27, Launceston, p.31 Andersch, J (2003). Suggestive Shapes, Gallery Watch, The Examiner, September 27, Launceston, p.25
McGrath, V (2003). ‘Research 2’, exhibition catalogue essay, Academy Gallery, Launceston.
Copley, M (2003). ‘Compendium’, exhibition catalogue, Platform, Melbourne.
Bywaters, M (2003). ‘Boogy, Jive, and Bop.’ exhibition catalogue, Academy Gallery, Launceston.
Curtis, A (2002). Squeeze, Arts Review, Togatus, Vol 73, Issue 8, TUU, University of Tasmania, Hobart, p.40
Bywaters, M (2001). Work: Cut Paste Create Burn, exhibition catalogue essay, The Faculty Gallery, Monash University, Melbourne.
Corsini, M (2000). ‘Popscapes’, exhibition catalogue essay, The Jackman Gallery, Melbourne.
Kirkman, T (2000). ‘Art-Notes’, Australian Art Monthly, Adelaide, March, p.35
Bell, A (2000). ‘Celebrating the Exquisite Corpse’, exhibition catalogue essay, Bendigo Art Gallery.
Duncan J (1999). forward, D.I.Y exhibition catalogue, Melbourne: Monash University, Melbourne.
Longstaff, M (1999). ‘DIY: Do It Yourself’, exhibition catalogue essay, Monash University, Melbourne
Church, D (1999). ‘Popscaping’, exhibition catalogue essay, Stop 22 Gallery, Melbourne.
Church, D (1998), ‘Friendly Fire Part Two’, exhibition catalogue essay, Open Space Gallery, Melbourne
Newsome, B (1996). ‘A Shot in the Dark’, Herald Sun, December 2, Melbourne, p. 35
Newsome, B (1996). Herald Sun, January 17, Melbourne, p.16
[edit] References
[1] Malcom Bywaters, 'The Empire of Small', exhibition catalogue essay, Academy Gallery, Launceston, June 2004
[2] Leon Marvell, 'Brendan Lee, Shaun Wilson, Alexandra Gillespie', Photofile, No. 76, Summer 2006, p.77
[3] Diane Klaosen, 'Seductive Talents', Realtime', June/July 2004, p.41
[4] Briony Lee Davis, ‘Boogy Jive and Bop’, Artlink, Vol.24, No.2 2004, p.84
[5] Luke Benedicts, ‘A Shot of the New’, The Sunday Age, Melbourne, March 26, 2006, pp.6-7
[6] Charles Green, 'New06', in Picks$, artforum.com, March 27, 2006.
[7] Doug Church, 'Hearts of Darkness in the Australian Gothic', exhibition catalogue, Australian Gothic: video art now, Project Space/Spare Room, RMIT University, Melbourne, February 2007
[8] Malcom Bywaters, 'The Memory Palace: Family History and 1975’, NEW06, Australian Centre for Contemporary Art, Melbourne, 2006, pp.40-47
[edit] External links
- Shaun Wilson Research Blog
- Shaun Wilson Saatchi Gallery Profile
- Shaun Wilson at the Perth Institute of Contemporary Art 2005
- New06 Podcast interview of Shaun Wilson at the Australian Centre for Contemporary Art
- International Festival of Videoart of Valencia
- Comfortstand Records
- Small Black Box, Institute of Modern Art Brisbane
