Orr, Jill Dr
Position: Lecturer, Fine Art
Study area: Visual Art
Location: Camp Street Campus, Post Office Building, Room P215
Phone: 5327 8625
Email: j.orr@federation.edu.au
Qualifications
Dr of Philosophy in Fine Art, 2012, Monash University
Masters of Art in Fine Art, 1994, RMIT University
Higher Diploma of Secondary Teaching, 1975, Melbourne College of Advanced Education
Teaching
- Bachelor of Fine Art
- Supervisor of Honours, Masters and PhD fine art and performance students
Biography
Jill Orr has delighted, shocked and moved audiences through her performance installations which she has presented internationally from the late nineteen seventies to now. Orr’s work centres on issues of the psycho- social and environmental where she draws on land and identities as they are shaped in, on and with the environment be it country or urban locales. Orr grapples with the balance and discord that exists at the heart of relations between the human spirit, art and nature.
Jill Orr was represented in the inaugural Venice International Performance Art Week in 2012 where she presented The Promised Land to international acclaim. She has since been one of ten international performance artists to present at the Bipolar Performance Art Meeting in Sopot, Poland 2014 and she has mesmerised audiences with her work for the MAP Festival, Melaka, Malaysia, 2014.
Jill is a recent recipient of the Australia Council Fellowship and has completed her latest body of work, Antipodean Epic, that has been developed from site-specific performative photographs and video which culminated as a live performance for the Mildura Palimpsest Biennale in October 2015. In 2016 Jill Orr presented The Antipodean Epic- The Quarry for the Lorne Sculpture Biennale and the third and final re-imagining was presented in an urban environment for the Belo Horizonte Biennale, Brazil. The site specificity of each incarnation of the work resulted in three unique works that responded to the extremely different environments and audiences.
Areas of expertise
- Performance Art
- Site Specific Performance
- Photography, video and physical theatre
- Painting
- Psycho-social issues surrounding environmental and place based works
- Ephemeral works
- Documentation
- Installation
- Collaboration
Research interests
Space, Place and Recurring History are categories through which practice led research enables, articulates and deepens relations to place which have been impacted through cultural, social, historical and environmental forces. Performance, photography and video are the artistic methods through which this practice is realized.
Supervision
Two PhD supervisions completed
Two PhD's currently ongoing
Five Masters supervisions completed
Five Masters supervisions ongoing
Seventeen Honours completed
One Honours supervision ongoing
Major/solo exhibitions
Juried/curated group exhibitions (last 10 yrs)
| 2019 | Laundry performance for Temporal Proximities curated by Kelli Alred for the Abbottsford Convent Laundries, Melbourne |
| 2019 | Dark Night performance for Dancehouse’s Dance Massive Program, Melbourne. |
| 2018 | Listening , Unconformity Festival, Queenstown Tasmania |
| 2018 | Detritus Springs, Biennale of Australian Art, curated by Julie Collins |
| 2018 | Force of Nature, curated by Gretel Taylor, Yarra Ranges Regional Museum |
| 2018 | This Wild Song, curated by Ilona Nelson, Hawthorne Town Hall Gallery |
| 2018 | Chaos and Order: 120 Years of collecting at RMIT, curated by Jon Buckingham, RMIT, Melbourne. |
| 2018 | Dark Night, performance commissioned for the Lorne Sculpture Biennale opening weekend. Curated by Lara Nicholls |
| 2017 | Red, Green, Blue: A History of Australian Video Art curated by Matthew Perkins, Griffith University Gallery |
| 2016-17 | Birds: Flight Paths in Australian Art, Mornington Peninsular Regional Gallery, Victoria |
| 2016 | A Wallaby Sat Here Once: Small Acts of Celebration, Curated by Lyndal Jones, Avoca Projects Inc. Watford House, Avoca Victoria |
| 2016 | Utopia du Jour, Manningham Art Gallery,curated by Megan McEvoy, Melbourne |
| 2016 | Brazil: Antipodean Epic, performance, curated by Fernando Ribiera, Belo Horizonte, Biennale, Brazil |
| 2016 | The Quarry: Antipodean Epic, performance event for the Lorne Sculpture Biennale curated by Julie Collins, Lorne Victoria |
| 2016 | We Stand Together, We Stand Alone, Jill Orr in collaboration with Third Year Acting Company, Arts Academy, Federation University, Mining Exchange, Ballarat |
| 2016 | Antipodean Epic, photographs and video, Fehily Contemporary, Melbourne |
| 2016 | Laughing Waters Road, : Art Landscape and Memory in Eltham, Catalogue, & Exhibition of the Nillumbik Shire Artist in Residence Program |
| 2016 | Fleurieu Art Prize. Finalist , Samstag Museum South Australia |
| 2015 | Lurid Beauty: Australian Surrealism and its Echoes, National Gallery of Victoria. Melbourne |
| 2015 | Antipodean Epic, live performance Mildura Palimpsest Biennale #10, Mildura |
| 2015 | Mentoring and Key Note Presentation for the Marina Abramovic: In Residence, John Kaldor Public Art Project 30, Pier 2/3, Sydney |
| 2015 | About Trees, Zentrum Paul Klee, curated by Peter Fischer, Bern, Switzerland |
| 2015 | Trilogy, performance & videos for Performance, Presence, Video Time, curated by Anne Marsh, Australian Experimental Art Foundation, Adelaide |
| 2015 | Mad Women in the Attic,: A Feminist Revisioning of the Archive, Plimsoll Gallery, Hobart, Tasmania |
| 2014 | Trilogy site-specific performance for the Melaka Performance and Art Festival, Melaka, Malaysia |
| 2014 | We create the image together II, performance,SAVVY Contemporary, Berlin |
| 2014 | Trilogy: we create the image together I, performance,II Bipolar International Meeting of Women Performance Artists in Sopot, curated by Arti Gowowski, National Gallery of Art , Poland |
| 2013-14 | Sea of Dreams: Port Phillip Bay 1915-2013 (Part Two), Mornington Peninsular Regional Gallery, Victoria |
| 2013 | Blake Religious Art Prize finalist and touring exhibition |
| 2013 | Bienal Internacional De Curitiba, Curitiba, Brazil |
| 2013 | You Carry it With You, Horsham Regional art Gallery, Horsham |
| 2013 | 80s Mixed Tape, National Gallery of Victoria, curated by Max Delaney, Melbourne |
| 2012 | The Promised Land, Venice. The inaugural Venice International Performance Art Week, Venice, Italy |
| 2012 | The Promised Land, Melbourne, Jenny Port Gallery hosted by the John Buckley Gallery, Melbourne |
| 2012 | Still Moving Despite the Tide, MAP, The Melaka Visual and Performance Festival Melaka , Creative Director , Tony Yap and Visual Art Director, Anthony Pelchan Melaka, Malaysia |
| 2012 | Space, Place and Recurring History, PhD Exhibition, Faculty Gallery, Monash University Caulfield |
| 2011 | Sleep of Reason Produces Monsters- Goya. Project: Art Gallery of Ballarat Night Projection Window, video |
| 2011 | Between Somewhere and Nowhere, performative photographs, Jenny Port Gallery, Melbourne |
| 2011 | Song to the Sea, performance, Lorne Sculpture, Lorne |
| 2011 | Palimpsest, Mildura, curated by Helen Vivian, Mildura |
| 2011 | Black Cube, White Box: Aspects of Performance in Australian Contemporary Art, The Arts Centre Gallery, curated by Steven Tonkin, Melbourne |
| 2011 | Artist’s Rooms, Vision a photographic installation, Castlemaine State Festival, curated by Jason Smith and Martin King, Castlemaine |
| 2011 | AfterGlow: Performance Art and Photography, Monash Gallery of Art , curated by Stephen Zagala, Melbourne |
| 2010 | Stormy Weather, National Gallery of Victoria, performance photography, Melbourne |
| 2010 | Vision, photographs from Avoca Primary School, Jenny Port Gallery, Melbourne |
| 2010 | Works From the Wimmera Faith in a Faithless Land, photographs Horsham Regional Art Gallery |
| 2010 | Global Mind Project: an arts & neuroscience collaboration Karen Casey, Stelarc, Domenico D`Clario at Federation Square, Melbourne |
| 2009 | Sustainable Fusion Reactions, Ash Keating, Utako Shindo & Bindi Cole, curated by Jill Orr for the Arts Academy, University of Ballarat |
| 2009 | Sustainable Cubbies with the Avoca Primary School for the Eco- Living Festival, Avoca, directed by Lyndal Jones, Avoca Victoria |
| 2009 | Rituals of Engagement: seeing and believing : Installation, World Environment Day, Ballarat |
| 2009 | Faith in a Faithless Land: Photographs Jenny Port Gallery, Melbourne |
Publications/reviews
2018, Thresholds to Other Worlds: Jill Orr’s Ritual Performances, Anne Marsh, Eyeline Contemporary Art Number 90 Australia.
Speak To Me, Conversations with the Flinders University Art Collections, Editor, Nic Brown, Flinders University Art Museum, South Australia, 2016
Kiffy Rubbo Curating the 80’s, Jill Orr pp 121-122, edited by Janine Burke and Helen Hughes, Scribe Melbourne, 2016
Performance, Ritual, Document, Anne Marsh, Macmillan Art Publishing, Melbourne, 2014
Art Insight, Third Edition, Lou Chamberlain, Nelson Cengage Learning, Australia, Brazil, Japan, Korea, United Kingdom, United States, 2012
Look: Contemporary Australian Photography since 1980. Anne Marsh, MacMillan Melbourne, Australia, 2010
Heat: Art, People & Climate Change, Jill Orr, Trans discourse 1.: Mediated Environments, Editors, Andrea Gleiniger, Angelika Hilbeck, Jill Scott, Springer Wein, New York, 2011
When You Think About Art: The Ewing and George Paton Gallery 1971 – 2008. Edited by Helen Vivian published by Macmillan Art Publishing. 2008
Art in Sight: Volume 2, L. Chamberlain, McGraw Hill Co. 2006
The Darkroom Photography and the Theatre of Desire Anne Marsh, Macmillan Art Publishing. 2003
At Home in Australia Peter Conrad, National Gallery of Australia in association with Thames and Hudson. 2003
Australian Art in the National Gallery of Australia edited by Anne Gray, produced by the Publications Department of the National Gallery of Australia. 2003
Peripheral Vision Contemporary Australian Art 1970-1994 Charles Green, Craftsman House. 1996
Art in Sight L. Chamberlain, McGraw Hill Book Co. 1996
Art Now Contemporary Art Post 1970 D. Williams and C. Simpson, McGraw Hill Book co. 1994
Body and Self: Performance Art in Australia 1969-92 Anne Marsh Oxford University Press. 1993
Sight Lines: Women’s Art and Perspectives in Australia, Sandy Kirby, Craftsman House. 1992
Anything Goes; Art in Australia 1970-1980 Ed. Paul Taylor Art & Text, Melbourne. 1984
Experimental Art Foundation, Performance Week, Ed. Noel Sheridan, Experimental Art Foundation Press, Adelaide. 1980
Live Art Australia and America Ed. Jane Kent and Anne Marsh self published Adelaide. 1984
New Art Three; Profiles in Contemporary Australian Art, Ed. N. Dury Craftsman House. 1989
Field of Vision: A Decade of Women’s Art in the Seventies, Janine Bourke Viking Press, Melbourne. 1990
Catalogues
2016 Laughing Waters Road, Art Landscape and Memory, Jane Woollard, Nillumbik Shire Council
2015 About Trees, Paul Klee Zentrum, Bern Switzerland
2012 The Promised Land, Jenny Port Gallery hosted by the John Buckley Gallery, Melbourne
2011 Between Somewhere and Nowhere, performative photographs, Jenny Port Gallery
Black Box, White Cube: Aspects of Performance in Contemporary Australian Art, written and curated by Steven Tonkin, Victorian Arts Centre, 2011
Stormy Weather, National Gallery of Victoria, Melbourne. 2010-2011
Faith in a Faithless Land, 2009. Essay by Damian Smith
The Field, Australian Art 1968-2002, National Gallery of Victoria
Ash: Jill Orr, Mass Gallery Melbourne 2002, essay by Helen Vivian
Eye-deals, Griffith Artworks March 2000
Telling Tales, Ivan Dougherty Gallery, Sydney Curated and written by Jackie Dunn and Jill Bennett 1998
Festivities Issue No. 12, Melbourne Festival 1997
Pulse Fiction, October / November 1997 Plimsoll gallery, Centre for the Arts Hobart - Curated by Leigh Hobba
The Beach, Museum of Modern Art at Heide, catalogue essay by Geoffrey Dutton 1994
Persona Cognita, Museum of Modern Art at Heide, Essay Museum of Selves by Juliana Engberg 1994
Tony Scott and Jill Orr Looking in and Looking Out, paintings at Meridian Gallery, essay by Roger Taylor 1994
Raising the Spirits, Museum of Modern Art at Heide The Bride and the Bachelors, essay by Anne Marsh 1994
25 Years of Performance Art in Australia, curator Nick Waterlow 1994 University of NSW College of Fine Arts
Jill Orr. Performance Documentation 1978-1988, Australian Centre for Contemporary Art, Melbourne The “I “in the Gaze: Aspects of the Body and the Self in Performance works by Jill Orr essay by Anne Marsh
Women at Work George Paton Gallery, Melbourne University 1980 edited by J Annear and A Danko
Act 3: Ten Australian performance Artists, Canberra School of Art, Australian National University, Canberra Oct. 1982
Articles and interviews (last 10 yrs)
2016 Provocation, Disquisitions, Anne Marsh, Art and Australia online, 2016
2015 Mishka Henner and Jill Orr: Performing to the All Seeing Eye, Helen Vivian, Artlink, Performative Quarterly, Issue 35:3 September 2015. Contemporary Art of Australia and Asia-Pacific. pp 52-57
2015 Against The Grain, Andrew Stephens for Spectrum, The Saturday Age Saturday 12th September 2015, pp 16-17
2014 Dancehouse Diary Issue 6/ 2014. The Body in the Raw Nudity today. Phillip Adams in Conversation with Jill Orr
2013 Performance Perspectives: Interview presented by Das Platforms, directed by Di Smith and Produced by Nick Garner Video: http://youtu.be/tRCw--nEKrE
2013 Venice International Performance Art Week, Interview by A.E. Zimmer Performa Magazine, 20/02/2013 http://performamagazine.tumblr.com/post/43524463704/venice-international-performance-art-week#notes
2012 Interview with Claire Bridge for Art World Women,http://artworldwomen.com/jill-orr-the-promised-land-part-1/" and Part 2
Jill Orr: Between Somewhere and Nowhere, In The Galleries, Dan Rule, The Age, Saturday, November 12 2011
Whats On, Visual Art, Monash Gallery of Art, Tuesday Feb. 1st, 2011
On My Mind, Anne Marsh, FOAM, International Photography, #25 Traces, Magazine, Winter 2010
Artist makes her Mark in the Theatre of Absence, Megan Backhouse, The Age 24/09/10 p 14
Dig it! The hole in Australian Contemporary Art, Glenn Barkley, Artlink, Contemporary art of Australia & the Australia Pacific, Vol 30 no 2. 2010. p 30-33
Lyndal Jones, Jill Orr, Utako Shindo, Bindi Cole & Ash Keating: Interview by Din Heagney & Helen Hughes, un. Magazine Issue 4.1, June 2010
The Goulish art of Witchcraft, Robert Nelson, Visual Art, The Age Wednesday June 23, 2010, p 18
Around the Galleries: Dan Rule, The Age, Saturday June 12, 2010, A2 p 23
Water as Art, Australia Day 2010. The Age, Tuesday January 26, 2010
Greenwash #5 , Patrick Jones , Trouble Magazine, October 2009
Sustainable Fusion Reactions, Interventions through the Public Domain. Jill Orr AQUADS Research Report 2009 – peer reviewed
Jill Orr: Faith in a Faithless Land and The Southern Cross – to bear and behold, Kirsten Rann, Photophile August Number 87, Melbourne 2009
Extreme Acts: Live Remade & Remediated Anne Marsh, Eyeline Contemporary Visual Arts Number 69, 2009
Greenwash, Patrick Jones, Trouble Magazine October 2009, pp 63-65
A Dreamscape of human and environmental loss. Robert Nelson The Age Wednesday May 20, 2009. p 16
Links
7a* 11d.ca, International Performance Art archive, Toronto, Canada: Hunger 3, 2002
YouTube: Venice International Performance Art Week, Jill Orr, The Promised Land
YouTube: Melaka Art and Performance Festival see Anne L. Poulain and Jill Orr
Press Reviews for the Venice International Performance Art Week, 2012
2DM Blog Magazine
Hybrid body poetic body ephemeral (2012) New 4A Magazine
Work held in collections
RMIT University
City of Yarra
National Gallery of Victoria
National Gallery of Australia, Canberra
Nillumbik Shire
Methodist Ladies College
Griffith Artworks
Mildura Art Gallery
Geelong Art Gallery
Artbank
Ian North Collection
Redgate Gallery Beijing
Grahame Gibson Collection
Maroondah City Council
Monash University Art and Design Library Collection
Australian Council of Education Research
Moreland City Council
Private collections
Australia
England
France
USA
Belgium
China
Grants and residencies
| 2018 | Commission: Detritus Springs performance installation for the Biennale of Australian Art, ( BOAA) curated by Julie Collins |
| 2018 | Commission: Listening Unconformity Festival curated by Travis Tiddy, Queenstown Tasmania |
| 2018 | Artist in residence Queenstown, Tasmania |
| 2015 | Australia Council Fellowship: Over two years to develop Ingredients for a Precarious Meal– becoming Antipodean Epic |
| 2012 | Arts Victoria International, The Promised Land, Airfare and support for the International Performance Art Week, Venice |
| 2012 | Tasco Inland sponsorship, The Promised Land Freight to the International Performance Art Week, Venice |
| 2012 | The University of Ballarat, Small Research Grant |
| 2012 | The Promised Land, Australia Council, New Work |
| 2011 | Vision, Castlemaine Arts Festival, commission |
| 2011 | Song to the Sea, performance, Lorne Sculpture commission |
| 2009 | Artist in Schools Avoca Primary School, Sustainable Cubbies for the Eco- Living Festival, Avoca |
| 2007 | Residency at 24hr art for the Darwin Festival, Interpositions |
| 2006-07 | Arts Victoria, funding for The Crossing |
| 2006-07 | Regional Arts Victoria, funding for The Crossing |
| 2006-07 | Vic Health, funding for The Crossing |
| 2006-07 | Mildura & Wentworth Arts Festival, funding for The Crossing |
| 2005 | Redgate Gallery, Beijing, China, artist in residence - research |
| 2004 | Arts Victoria, Project Grant - From the Sea, video installation |
| 2002 | Nillumbik Shire and Parks Victoria – artist in residence – Ash, paintings and performance installation |
| 2002 | City of Melbourne, Project Grant - The Sleep of Reason Produces Monsters – Goya, performance installation |
| 1999 | Geelong Art Gallery, commission - Exhume the Grave, performance installation |
| 1999 | Australia Council, Artist in Residence at the Cite des Arts, Paris |
| 1998 | Arts Victoria, Project Grant, Mass Gallery, Melbourne - Presence 1., performance installation |
| 1998 | International Performance Art Festival, Quebec City and Toronto, Canada, commission Hunger, performance installation |
| 1997 | Melbourne International Festival for the Arts, commission - Either / Orr: Myer Windows, performance installation, curated by Maudie Palmer |
| 1996 | Brisbane Festival for the Arts, commission - Sound Silence and Light, performance installation |
| 1995 | Methodist Ladies College Art Prize - painting, winner |
| 1995 | Australia Council, Hybrid Arts - Professional Development |
| 1994 | Museum of Modern Art at Heide, Persona Cognita - Raising the Spirits, performance installation |
| 1994 | National Gallery of Victoria, Celebrating Women - Marriage of the Bride to Art performance |
| 1992 | Methodist Ladies College Art Prize - painting, winner |
| 1991 & 92 | Australia Council, Fellowship Award - Love Songs, performance installation |
| 1986 & 97 | Australia Council, Theatre Board - Production Grant |
| 1982 | Australia Council, Funded participation in Eureka, Australian Artists in London at the Institute of Modern Art, London. Meeting of the Opposites, performance installation |
| 1980 | Funded participation, Performance Art Festival, ACT 3. Canberra. - The Digging in and the Climbing Out. Performance / earthwork |
| 1979 | Australia Council, Visual Arts Board – Funded participation in the Paris Biennale, Musee D’Art Modern, Paris – Bleeding Trees performance |
| 1979 | Australia Council Visual Arts Board -Travel Grant |
Seminar presentations
Seminars presented in Melbourne, Sydney, Venice, Sao Paulo and Belo Horizonte and Brazil.
Associations
National Association of Visual Art (NAVA)