John Conomos

Leftquote Let there always be on our doorstep this immense dawn called the sea. Rightquote
Saint-John Perse
Selected CV

Selected Solo Exhibitions

  • 2013 Dada Buster, Plato’s Cave, Brooklyn , NYC, USA, video, digital photography
  • 2013 Insomnia, ICAN Newtown Gallery, Sydney, digital photography, mixed-media, neon
  • 2013 The Spiral of Time, Australian Centre for Photography (ACP), Sydney, Australia
  • 2012 Lake George (After Mark Rothko), The Western Plains Cultural Centre, Dubbo, Australia
  • 2011 Shipwreck, University of Queensland Art Museum, Brisbane, Australia
  • 2009 Lake George (After Mark Rothko), Canberra Contemporary Art Space, Australia
  • 2008 Lake George (After Mark Rothko), Roslyn Oxley9 Gallery, Sydney, Australia
  • 2005 Cyborg Ned, Wollongong City Gallery, Australia
  • 2004 Cyborg Ned, Roslyn Oxley9 Gallery, Sydney, Australia
  • 2004 Aura, Artspace Visual Art Centre, Sydney, Australia
  • 2000 Autumn Song, Hazelhurst Regional Gallery and Art Centre, Sydney, Australia
  • 1999 Autumn Song (installation with digital photographs), Wollongong City Gallery, Australia
  • 1999 Autumn Song (video), Mummediale Festival, Helsinki, Finland
  • 1999 Album Leaves (installation), Project Space, Art Gallery of New South Wales (AGNSW), Sydney, Australia
  • 1999 Autumn Song (installation), Experimental Art Foundation, Adelaide, Australia
  • 1998 Autumn Song (installation), Experimental Art Foundation, Adelaide, Australia
  • 1998 Autumn Song (video), ZKM International Video Award Competition, Karlsruhe, Germany
  • 1998 Autumn Song (installation), Manning Art Centre, Taree, Australia
  • 1998 Autumn Song (installation), The Physics Room Gallery, Christchurch, New Zealand (NZ)
  • 1998 Autumn Song (video), Edge of the World Festival, Hobart, Australia
  • 1998 Autumn Song (video), Transmediale Video Festival, Berlin, Germany (selected for International Competition; Honourable Merit Award)
  • 1997 Autumn Song (installation), Artspace, Auckland, NZ
  • 1997 Autumn Song (installation), Institute of Modern Art, Brisbane, Australia
  • 1996 Autumn Song, Roslyn Oxley9 Gallery, Sydney, Australia
  • 1996 Autumn Song (video), Carnivale Festival, Sydney, Australia
  • 1996 Autumn Song (video), Video Festival, Locarno, Italy (selected for competition)
  • 1996 Autumn Song (video), Basel Art Fair, Switzerland
  • 1996 Autumn Song (installation), Roslyn Oxley9 Gallery, Sydney, Australia
  • 1995 Night Sky (neon and video installation), Australian Centre for Contemporary Art (ACCA), Melbourne, Australia
  • 1995 Night and Sky (neon and video installation), Experimental Arts Foundation, Adelaide, Australia
  • 1994 Night Sky, Institute of Modern Art, Brisbane, Australia
  • 1994 Museum of Fire [with Chris Caines and David Haines] (video), Museum of Modern Art (MoMA), New York,
    US; Carnegie Museum of Art, Pittsburgh, US; National Gallery of Canada, Ontario, Canada
  • 1994 ‘An Eccentric Orbit: Survey’, Program of Australian Video Travelling Exhibition, Cinema Academia,
    Venice and the Lunds Studenters Film Studio, Sweden
  • 1994 Night Sky (neon and video installation), Institute of Modern Art, Brisbane, Australia
  • 1994 Museum of Fire [with Chris Caines and David Haines] (video), From Frame to the Space Program,
    Adelaide Arts Festival, Australia
  • 1993 Night Sky, Roslyn Oxley9 Gallery, Sydney, Australia
  • 1993 Museum of Fire [with Chris Caines and David Haines] (screening), TVTV cable program, Zurich, Switzerland
    White Light [with David Haines] (installation), Video Positive Festival, Tate Gallery, Liverpool, England
  • 1992 Museum of Fire [with Chris Caines and David Haines] (video),‘Telling Stories Scanners of Memories
    Exhibition’, Video Positive Festival, Tate Gallery, Liverpool, England
  • 1992 Museum of Fire [with Chris Caines and David Haines] (video), Second Visions: International Film and Video
    Festival, Glasgow, Scotland
  • 1992 Museum of Fire [with Chris Caines and David Haines] (video), Experimenta Festival, Melbourne, Australia
  • 1992 Museum of Fire [with Chris Caines and David Haines] (video), Berlin Video Festival, Germany
    (travelled with Festival Program to Argentina, Brazil and Italy)
  • 1991 Untitled [with David Haines], Camera Lucida, Sydney, Australia
  • 1991 Museum of Fire [with Chris Caines and David Haines], ACP, Sydney, Australia
  • 1991 Museum of Fire [with Chris Caines and David Haines] (video), Sixth Australian International Video Festival,
    Sydney, Australia
  • 1991 Museum of Fire [with Chris Caines and David Haines] (screening), SBS Television, Vox Populi,
    Sydney, Australia
  • 1990 Of Dust and Time [with David Haines] (installation), 4th Australian Video Festival, Sydney, Australia
  • 1990 The Voice of No One Once Again [with Mark Jackson] (video), Frames, Film and Video Festival,
    Melbourne, Australia
  • 1989 Light Was [with Mark Jackson] (installation), Artspace Visual Art Centre, Sydney, Australia
  • 1989 Waiting in the Wings [with Mark Jackson] (super 8 film), Perspecta Film and Video Program, Sydney,
    Australia
  • 1989 The Algebra of Stars [with David Haines], Experimenta Festival, Melbourne, Australia
  • 1989 The Voice of No One Once Again [with Mark Jackson] (video), ACP, Sydney, Australia
  • 1988 From the Archive of the Body [with Steven Lojewski] (photography performance), ACP, Sydney, Australia

Selected Group Exhibitions

  • 2014 The Deconsumptionists, Art as Archive project, EIDA HOUSE/Plato’s Cave, Brooklyn, NYC, at Museum of Contemporary Art, Detroit (MOCAD), (6–29 June 2014.
  • 2013 Etudes for the 21st Century, Osage Art Gallery/Art Foundation, Hong Kong
  • 2012 Funeral Songs, Museum of Old and New Art (MONA), Hobart, Australia
  • 2010 Lake, Lake Macquarie City Art Gallery, Australia
  • 2010 Body/Capital, Loop Gallery, Newcastle, Australia
  • 2009 Figuring Landscapes, Tate Modern, London, England
  • 2009 Langue Froid – Cold Language/Cold Tongue, Conny Dietzschold Gallery, Sydney, Australia
  • 2009 Come Hither Noise, The Fremantle Art Centre, Australia
  • 2008 Video Logic, Museum of Contemporary Art (MCA), Sydney, Australia
  • 1999 25th Anniversary Exhibition, Ivan Dougherty Gallery, College of Fine Arts (COFA), the University of New South Wales (UNSW), Australia
  • 1997 Pulse Friction, Plimsoll Gallery, Hobart, Australia
  • 1996 Echo, Addison Road Gallery, Marrickville, Australia
  • 1995 Topos: Occupied Space, Artspace Visual Art Centre, Sydney, Australia
  • 1994 An Eccentric Orbit: Survey Programme of Australian Video Travelling Exhibition, MoMA, New York; Carnegie
    Museum of Art, Pittsburgh, US; National Gallery of Canada, Ottowa, Canada; Cinema Accademia, Venice,
    Italy; and the Lunds Studenters Film Studio, Sweden
  • 1991 Inherent Identity [with Chris Caines and David Haines], The Performance Space, Sydney, Australia
  • 1991 Second Language Show [with Chris Caines and David Haines], Institute of Modern Art, Brisbane, Australia
  • 1990 Surrender [with David Haines], First Draft West, Sydney, Australia
  • 1989 Passion and Desire [with David Haines], Lewers Bequest and Regional Gallery, Penrith, Australia
  • 1989 Passion and Desire [with David Haines], Park Gallery, Glebe, Australia
  • 1988 One Road Block from Heaven [with Mark Jackson], The Performance Space, Sydney, Australia

Selected Video Screenings

  • 2013 Lake George (After Mark Rothko), Chatswood Square, Chatswood, Sydney, NSW.
  • 2013 Striking Contrasts, Federation Square, Melbourne, Australia, Shanghai, China and seven interstate galleries throughout Australia (dLux MediaArts, Sydney)
  • 2012 Lake George (After Mark Rothko), Federation Square, Melbourne, Victoria.
  • 2010 Autumn Song, Imaging Identity Symposium, The National Portrait Gallery, Canberra, Australia
  • 2009 Lake George (After Mark Rothko), Figuring Landscape Seminar, COFA, UNSW, Sydney, Australia
  • 2000 Autumn Song, Medi@terra Art and Technology Festival, Athens, Greece
  • 1999 Autumn Song, Mummediale Festival, Helsinski, Finland
  • 1999 Autumn Song, Dallas Video Festival, Texas, US
  • 1998 Autumn Song, ZKM International Video Award Competition, Karlsruhe, Germany
  • 1998 Autumn Song, Edge of the World Festival, Hobart, Australia
  • 1998 Autumn Song, Transmediale Video Festival, Berlin, Germany
  • 1996 Autumn Song, Carnivale Festival, Sydney, Australia
  • 1996 Autumn Song (Premiere screening), AGNSW, Sydney, Australia
  • 1996 Autumn Song, Locarno Video Festival, Italy
  • 1993 White Light [with David Haines], Video Positive Festival, Liverpool, England
  • 1992 Museum of Fire [with Chris Caines and David Haines], Video Positive Festival, Liverpool, England
  • 1992 Museum of Fire [with Chris Caines and David Haines], Second Visions International Film and Video Festival, Glasgow, Scotland
  • 1992 Museum of Fire [with Chris Caines and David Haines], Experimenta Festival, Melbourne, Australia
  • 1992 Museum of Fire [with Chris Caines and David Haines], Berlin Video Festival, Germany (and touring to Argentina, Brazil and Italy)
  • 1991 Museum of Fire [with Chris Caines and David Haines], 6th Australian International Video Festival, Sydney, Australia
  • 1990 Of Dust and Time [with David Haines], 4th Australian Video Festival, Sydney, Australia
  • 1990 The Algebra of Stars [with David Haines], ‘Passages of Identity’, 4th Australian Video Festival, Sydney, Australia
  • 1990 The Voice of No One Once Again [with Mark Jackson], Frames, Film and Video Festival, Melbourne, Australia

Selected Videography

  • 2014 Paging Mr Hitchcock, 8 mins, video, colour, sound, 2014
  • 2014 Miro on the Beach, 24 mins, video, colour, sound, 2014
  • 2014 The Girl from the Sea, 30 mins, video, colour, sound, 2014
  • 2013 Dada Buster, 3 minutes, video, colour, sound
  • 2013 The Spiral of Time, 4 minutes, video, black and white, sound
  • 2013 Nocturnal Beach, 7 minutes, video
  • 2013 The Absent Sea, 7 minutes 30 secs, video, colour
  • 2011 Shipwreck, mixed-media installation (video, photographs, wall text, paper, vitrine table of various objects)
  • 2008 Autumn Song (Take Two), 23 minutes, mini DV, colour, sound, neon
  • 2008 Rat-a-tat-tat, 11 minutes, mini DV, colour, sound
  • 2007 Lake George (After Mark Rothko), 24 minutes, mini DV, colour, sound
  • 2004 Aura, 11 minutes, mini DV, colour, sound
  • 2003 Cyborg Ned, 24 minutes, mini DV, colour, sound
  • 1999 Album Leaves, 23 minutes, SP Beta video, black and white, neon, colour photographs
  • 1998 Autumn Song, 23 minutes, SP Beta, colour, sound
  • 1996 Slow Burn, 10 minutes, SP Beta, colour, sound
  • 1995 Night Sky, 20 minutes, SP Beta, colour, sound
  • 1993 White Light [with David Haines], video installation, colour, sound
  • 1991 Museum of Fire [with Chris Caines and David Haines], 33 minutes, SP Beta, colour, sound (omnibus video)
  • 1990 Bottle in the Sea [with David Haines], video installation, black and white and colour, sound

Radiophonic Works

  • 2008 The Bells of Toledo, Australian Broadcasting Commission (ABC), 44 minutes, 33 seconds
  • 2001 The Cinema of Solitude, ABC, 28 minutes, 12 seconds
  • 1999 Smoke in the Woods, ABC, 37 minutes and 42 seconds

Selected Forums, Conferences and Papers

  • 2012 ‘On the Double Helix of Documentary Cinema and Contemporary Art since the 1950s’, Visible Evidence XIX
    Conference, Canberra, Australia
  • 2011 Co-chaired and developed [with Brad Buckley] two sessions of ‘The Erasure of Contemporary Memory,
    Parts One and Two’, 99th College Art Association (CAA) Conference in New York, US
  • 2011 ‘What is World Cinema?’, World Cinema Now Conference, Monash University, Melbourne, Australia
    ‘Outside the Canon: Experimental Arts, The Academy and Transdisciplinarity’, National Institute of Experimental Arts Conference, COFA, UNSW, Sydney, Australia
  • 2010 ‘The Self-Portrait and the Essay Film and Video’, Imagining Identity Conference, National Portrait Gallery
    and Humanities Research Centre, Research School of Humanities and Arts (RSHA), Australian National University (ANU), Canberra, Australia
  • 2010 ‘Henri Storck and the Surreal Documentary Cinema’, Cinema, Modernity and Modernism Conference, Film and History Association of Australia and New Zealand (FHAANZ), Sydney, Australia
  • 2009 ‘Towards a Media Archeology of Australian Video Art and New Media’, Re:Live Media Art Histories Conference, Victorian College of the Arts, University of Melbourne, Melbourne, Australia
  • 2009 ‘Between Celluloid, Video and Neon’, Disappearing Video Conference, Museum of Contempory Art (MCA), Sydney, Australia
  • 2009 ‘Mr Kong, Bad Cinema and The Surrealists’, B for Bad Cinema International Conference, School of English,
    Communications and Performance Studies, Monash University, Melbourne, Australia
  • 2008 Co-chaired and developed (with Brad Buckley) ‘The Contemporary Collaborator in an Interdisciplinary World’, 96th CAA Conference, Dallas, US
  • 2005 Co-chaired and developed (with Brad Buckley) ‘America: The Divine Empire’, 93rd CAA Conference, Atlanta, US
  • 2000 ‘Travelling Without a Passport: Teaching New Media Arts in an Australian University’, Medi@terra Festival and Symposium, Athens, Greece
  • 2000 ‘At the Edge: Recent Australian New Media Arts’, Medi@terra Festival and Symposium, Athens, Greece
  • 2000 ‘The Vertigo of Time’, For Fear or Love: Alfred Hitchcock, MCA, Sydney, Australia
  • 1999 ‘The Solitude of the Empty Page’, What John Berger Saw, ANU and the National Gallery of Australia, Canberra, Australia
  • 1999 ‘Sonic Darkness: Notes towards the Aesthetic of Jazz in the American Film Noir’, Cinesonic 2, Royal Melbourne Institute of Technology (RMIT), Australia
  • 1999 ‘Australian Greek Milk Bar Culture’, Travelling Passports Conference, History Department, the University of Sydney, Australia
  • 1999 ‘Across Borders’, Multicultural Alliance Forum, Powerhouse Museum, Sydney, Australia
  • 1999 ‘Postphotography: Crossing the Threshold, or, from Analog to Digital and Back Again’, An Inconsistent Iconography: Photography Seminar, COFA, UNSW, Sydney, Australia
  • 1999 Republics of Ideas Conference, convened by John Conomos and Brad Buckley at Artspace Visual Arts Centre, Sydney, Australia: Forum One: ‘The Self-Enabling Republic’, speakers Brad Buckley (Chair), Larissa Behrendt, James Button, Humphrey McQueen and Mary Kalantzis; Forum Two: ‘Beyond The Turnstile Culture’, speakers John Conomos (Chair), Peter Myers, Rex Butler, Catriona Moore and Joan Kerr
  • 1998 ‘Towards a New Media Museology’, ISEA, Liverpool, England
  • 1998 ‘Digital Art and Postcolonial Memory’, Trauma and Memory Conference, COFA, UNSW, Sydney, Australia
  • 1998 ‘Between Worlds’, Arabmade, Casula Powerhouse Arts Centre, Australia ‘Contemporary Australian Art and the Internet’, Transmediale Video Festival and Conference, Berlin, Germany
  • 1996 ‘Australian Video Art: Some Observations’, panel presentation, Locarno International Video Festival and Symposium, Italy
  • 1995 ‘Cultural Amnesia and the New Technologies’, Horismos Conference, Artspace Visual Arts Centre, Sydney, Australia
    ‘Australian Interactive Art’, The Sydney Biennale of Ideas Symposium, Sydney, Australia
  • 1995 ‘Ren and Stimpy and the Abject’, The Illusion of Life, MCA, Sydney, Australia
  • 1995 ‘New Media Museology and its Possibilities’, New Media and Libraries, Association of Museums National Conference, Brisbane, Australia
  • 1994 ‘Border Crossing, or The Question of Inside/Outside’, Frames, Film and Video Festival, Melbourne, Australia
  • 1994 ‘Video Art-Checking the Electronic Frontier’, Nintendo Killed the Video Star: Australian International Video Symposium, Sydney, Australia
  • 1994 ‘Tomorrowland’, New Media Conference, AGNSW, Sydney, Australia
  • 1993 Interactivity and Postphotography’ (Group Seminar Presentation), Association for Computing Machinery’s Special Interest Group on Computer Graphics and Interactive Techniques (SIGGRAGH), California, US
  • 1993 ‘Colouring in David Lynch’s Cinema’, Breath of Balsam-Surrealism Conference, MCA, Sydney, Australia
  • 1993 ‘Cinema and New Technologies’, Great Works Seminar, MCA, Sydney, Australia
  • 1993 ‘New Media and the Question of Uptopia’, Digital Aesthetics Conference, UNSW, Sydney, Australia
  • 1992 ‘Fire Eyes or Paralysed at Tempe’, Elvis Presley Conference, ABC National Radio, Sydney, Australia
  • 1992 ‘European Video Art : New Developments’, (International Video Conference participant ) Montbeliard Video Festival, France
  • 1992 ‘Australian Video Art’, Montbeliard Video Festival, France
  • 1991 ‘Travelling without a Passport’, Agenda Magazine Conference, Melbourne, Australia
  • 1990 ‘The Synthetic in Video’, Experimenta Festival, Melbourne, Australia
  • 1990 ‘Zig-Zag Video’, 1st Australian Electronic Media Arts Conference, AGNSW, Sydney, Australia

Collections

  • Art Gallery of New South Wales, Sydney
  • dLux MediaArts, Sydney
  • Gallery of Modern Art, Brisbane
  • Griffith Artworks, Griffith University, Brisbane
  • Lux Centre, London, England
  • National Film and Radio Archive, Canberra
  • National Heritage Collection, National Gallery of Australia, Canberra
  • Private Collections, Australia, UK, Greece

Monograph Essays by the Artist

  • ‘A New Silence’, Australia – Korea, catalogue, AGNSW, Sydney, 1992.
  • ‘At the Edge: Recent Australian New Media Arts,’ Medi@terra Festival and Symposium, Athens, 2000.
  • ‘At the End of the World,’ Andreas Sunder-Plassman 1986–2000, catalogue, Buxus Verlag, Berlin, 2000.
  • ‘Between Media’, Pulse Friction, catalogue, Hobart, 1997.
  • ‘Between Worlds’, Arabmade, catalogue, Casula Powerhouse Arts Centre, Sydney, 1998.
  • ‘Browsing Beauty’, catalogue, SCA, University of Sydney, Sydney, 1996.
  • ‘Corruptions’ [with Mark Jackson], Fortune, catalogue, George Patton Gallery, Melbourne, 1987.
  • ‘Early Days Yet’, 6th Australian International Video Festival, catalogue, Sydney, 1991.
  • ‘Entwinement’, The Australian Sculpture Triannual, catalogue, Melbourne, 1994.
  • ‘Faraway’, Geoffrey Weary and Ruby Davies Installation, catalogue, Institute of Modern Art, Brisbane, 1991.
  • ‘From Tokyo’, Ruby Davies Photography Exhibition, catalogue, Artspace Visual Art Centre, Sydney, 1990.
  • ‘In Limbo (On Stelarc)’, in Werner Hammerstingl (ed.) Contemporary Art and Technology, Melbourne, 1995.
  • ‘INA’, in Brian Langer (ed.) Video Forms: The 4th Australian Video Festival, catalogue, Sydney, 1989.
  • ‘Jean-Paul Fargier and the Electrification of Literature’, in Isabelle Truchot (ed.) Montbeliard Video Festival, Monograph, 1992.
  • ‘Phantom Cities,’ Jon Cattapan: Figure: Ground, Kaliman Gallery, Sydney, 2002.
  • ‘Pick Up’ [with Mark Jackson], One Road Block from Heaven, catalogue, The Performance Space, Sydney, 1988.
  • ‘Robert Lloyd: Time Being Time’, Robert Lloyd – Solo Piano Concert, catalogue, Goethe Institute, Sydney, 1998.
  • ‘The Fragile Vortex’, catalogue, Artspace Visual Art Centre, Sydney, 1996.
  • ‘The Temporal Mode (On Australian Video)’, in Sandra Symons (ed.) From Australia, Australia Council for the Arts, 1992.
  • ‘Turn on the Tongue,’ Eugenia Raskopolous, catalogue, Artspace Visual Arts Centre, Sydney, 2000.
  • ‘Vapour Painting’, Geoffrey Weary, Faraway: Three Photographic Works 1988–1990, catalogue, AGNSW, Sydney, 1991.
  • ‘Video as Moonlighting’, Experimenta, catalogue, Melbourne, 1990.
  • ‘Video Installations: Horizons Unlimited’, in Brian Langer (ed.) Video Forms: The 4th Australian Video Festival, catalogue, Sydney, 1989.

Selected Publications (Books, Book Chapters and Essays) by the Artist

  • ‘A Complex Approach to Story-telling’, Art Monthly, Issue 79, 1995.
  • ‘America: The Divine Empire’ [with Brad Buckley], session abstract, 93rd CAA Conference, Atlanta, US, 2005.
  • ‘Andrew Sarris: The Last of a Kind’, Senses of Cinema, Issue 65, 2012.
  • ‘Art and Cinema as the Perfect Crime’, Art Monthly, Issue 128, 2000.
  • ‘Art in the Age of Digital Reproduction’, Photofile, April 1995.
  • ‘Atavistic Traces’, Broadsheet, vol. 23, no. 6, 1994.
  • ‘Autumn song’, Cantrills Filmnotes, no. 91–2, 1998.
  • ‘Bill Henson and the Cinematic’, INTERScreening the Past, November 2010.
  • ‘Cinema and the New Interactive Media’, Cantrills Filmnotes, no. 79–80, 1995.
  • ‘Claude Chabrol, Les Cousins/The Cousins’, Senses of Cinema, October 2005.
  • ‘Creativity painted into a corner’ [with Brad Buckley], Higher Education supplement, The Australian, 25 August 2004.
  • ‘Dali in Melbourne, or Pearls before Swine’, Art Monthly, Issue 224, 2009.
  • ‘Dear Amigo’, A Spontaneous LOLA Collective – Part One, Issue 3, 2012.
  • ‘Flat White Australia: Whatever Happened to an Arts and Cultural Policy?’ [with Brad Buckley], Broadsheet, vol. 40.2, 2011.
  • ‘Inside the Mind of Stanley Kubrick’, Art Monthly, Issue 187, 2006.
  • ‘Jean-Paul Fargier and the Electrification of Literature’, in Isabelle Truchot (ed.), Jean-Paul Fargier, Montbeliard Video Festival Monograph, France, 1992.
  • ‘Maggie Medlin’s Magic City: Mobility in an Artificial City’, Cantrills Filmnotes, no. 87–8, 1997.
  • ‘Media Archeological Undertakings: Towards a Cartography of Australian Video Art’, in Sean Cubitt and Paul Thomas (eds), ReLive: Media Art Histories, CUP, 2013.
  • ‘Museum of Fire’, Cantrills Filmnotes, no. 69–70, 1993.
  • ‘Night sky’, Cantrills Filmnotes, no. 69–70, 1994.
  • ‘On Jean-Luc Godard’s Second Skin: Video as a Mode of Being’, Eyeline, no. 26, 1994.
  • ‘Other Shorelines, or The Greek-Australian Cinema’, in Anthony Lambert, Catherine Simpson and Renata Murawska (eds), The Diasporic Cinemas of Australia, Intellect, London, 2009.
  • ‘Rethinking video art in the 90s’, in Nicholas Zurbrugg (ed.), Electronic Arts in Australia, Continuum, Sydney, 1994.
  • ‘Short Take Tributes on Rohmer – Under the Sign of Leo’, Senses of Cinema, 4 April 2010.
  • ‘Techno Utopianism in Video Art and the New Media Arts’, Mesh, no. 11, 1997.
  • ‘The Art of Memory’, Photofile, no. 24, 1988–9.
  • ‘The Contemporary Collaborator in an Interdiscipinary World’ [with Brad Buckley], session abstract, 96th CAA Conference, Dallas, US, 2008.
  • ‘The Delinquent Curator: or how curators shafted Australian Art’ [with Brad Buckley], Broadsheet, vol. 41.1, 2012.
  • ‘To See and Hear Differently, or, from Camera-Stylo to Media-Stylo’, in Russell Storer (ed.), Video Logic, catalogue,
    MCA, Sydney, 2008.
  • ‘Unseen Cinema: An Interview with Bruce Posner’ [with Lino Caputo], no. 21, Senses of Cinema, Melbourne, 2002.
  • ‘Verbal Executions: on Gary Hill’s Incidence of Catastrophe’, Photofile, no. 35, 1992.
  • ‘Video Installations’, in Brian Langer (ed.), The Fourth Australian Video Festival, catalogue, Sydney, 1989.
  • ‘Virtual Culture’, Broadsheet, vol. 23, no. 4, 1994.
  • ‘Wander in Wonderment: Walter Benjamin Archives’, Art Monthly, Issue 249, 2012.
  • ‘What is the current state of thinking on the PhD by art practice’, in James Elkins, (ed.), What do Artists Know, Pennsylvannia State University Press, US, 2012.
  • ‘Why Orson Welles Matters’, Art Monthly, Issue 217, 2009.
  • Autumn Song, The Kythera Narratives, Australian Region Media, Sydney, 1999.
  • Editorial, Scan+, no. 1, 1989.
  • Mutant Media: Essays on Cinema, Art and New Media, Artspace Visual Arts Centre/Power Publications, Sydney, 2008.
  • Republics of Ideas, Brad Buckley and John Conomos (eds.), Pluto Press, Sydney, Australia, 2001.
  • Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy, Brad Buckley and John Conomos (eds.), NSCAD University Press, Halifax, Canada, 2009.
  • The 400 Blows, or the Sea, Antoine, the Sea’, Senses of Cinema, Issue 6, 2000.
  • The Kythera and Anti-Kythera Conversations, Armedia, Sydney, 2008–9.

Selected Bibilography about the Artist

  • Alexander, George, Australian Perspecta, exhibition catalogue, AGNSW, Sydney, 1989.
  • Callas, Peter and Harley, Ross, An Eccentric Orbit: Electronic Media Art from Australia, exhibition catalogue, MoMA, New York, 1994.
  • Cachia, Amanda, ‘Disabling the Museum: Curator as Infrastructural Activist’, Canadian Journal of Disability Studies, Vol. 2 , no. 4, 2013.
  • Cahen, Robert, ‘Visions Glimpsed’, Catalogue essay, Modern and Contemporary Art Museum, 15 March–11 May 2014, Strasbourg, France.
  • Cordaiy, Hunter, ‘Mutant Media’, Metro Magazine, Issue 165, 2010.
  • Eagle, Mary, ‘Republics of Ideas’, Australian Book Review, no. 24, 2002.
  • Edwards, Dan, ‘New Landscapes, New Thinking’, Realtime, no. 64, 2004.
  • Elwes, Catherine, ‘Figuring Landscapes in Australian Artists’ Film and Video’, in Graeme Harper and Jonathan Rayner (eds), Film Landscapes, Newcastle upon Tyne, Cambridge Scholars Publishing, pp.164–182, pp.178–179, p.182.
  • Elwes, Catherine, ‘In the Perceptible Field’, Vertigo, Vol.4 Issue 3, Summer 2009.
  • Eu Jin Chua, ‘Untethering Landscape’, in Catherine Elwes, Eu Jin Chua and Steven Ball (eds) ‘Figuring Landscapes: Artists, Moving Image from Australia and the UK’, Catalogue, London, Tate Modern, 2009.
  • Finegan, Ann, ‘John Conomos/Cyborg Ned’, Eyeline, no. 54, 2004.
  • Finegan, Ann and Conomos, John, Album Leaves, exhibition catalogue, AGNSW, Sydney, 1999.
  • Frost, Andrew, ‘John Conomos: Artist Writer Curator’, Scanlines, College of Fine Arts, UNSW, Sydney, 2012.
  • Geczy, Adam, ‘Music + Video = I See Music’, in Russell Storer (ed.), Video Logic, exhibition catalogue, MCA, Sydney, 2008.
  • Geczy, Adam, ‘The ACP Files  Autumn 2013’, Photofile, Vol.93, Spring/Summer 2013–14, pp.121–125.
  • ‘Mutant Media’, Art and Australia, vol. 46 no. 4, 2009.
  • Hill, Peter, ‘How to pass the sight test’, The Times Higher Education Supplement, July 2010.
  • Hill, Peter, ‘The Art of Matter’, The Times Higher Education Supplement, January 2012.
  • Hinkson, Melinda (ed), ‘Imaging Identity: Media, Memory and Visions of Identity’, National Portrait Gallery, Canberra, July 15–July 17, Catalogue essay, 2010.
  • Hoet, Tom, ‘Unsentimental Education’, Artforum, Summer 2010.
  • Janaczewska, Noelle, ‘Film as Art or Art as Film: Film and Video at Perspecta’, Art Monthly, no. 22, 1989.
  • Kouvaros, George, ‘Nocturnal Kinship: Cinema and memory in John Conomos’ Album Leaves’, Screening the Past, no. 13, 2001.
  • Lowry, Sean, ‘In Between the Moving Image: Mutant Media’, Senses of Cinema, Issue 51, 2009.
  • Macallan, Helen, ‘Autumn Song: John Conomos’ work of mourning’, Heat, 10, 1998.
  • McQuire, Scott, ‘Video Theory’, Global E, no. 9, 1999.
  • Maziere, Michael, ‘Passing through the Image’, in Julia Knight (ed.), Diverse Practices, University of Luton and the Arts Council of England, 1996.
  • May, Josephine, Reel Schools: Schooling and the Nation in Australian Cinema, Berlin, Peter Lang, 2013, p.203.
  • Millner, Jacqueline, ‘Home video: Australian pioneers and their contemporary legacy’, Art & Australia, vol. 45, no. 2, 2007, pp.254–257.
  • Palmer, Daniel, ‘Media Arts and its Critics in the Australian Context’,  Re: Place Second International Conference on the Histories of Media Art, Science and Technology, Berlin, November 15–18, 2007.
  • Papastergiadis, Nikos, Dialogues in Diaspora, Rivers Oram Press, London and New York, 1998.
  • Payne, Cathie, ‘Visible Spaces, Electronic Records: John Conomos and Tracey Moffatt’, in Nicholas Zurbrugg (ed.), Electronic Arts in Australia, Sydney, Continuum, 1994.
  • Smith, Diana, ‘A Brief History of Video Art’, in d/Art on Screen, d/Lux//Media Arts, Sydney, Education Resource, 2012, Foreword by Diana Smith, www.dianasmith.com.au/wp-content/uploads/2012/12/dArt.pdf
  • Tate Modern, ‘Imaging Landscapes’, Art Survey (November 2008), Catherine Elwes, Eu Jin Chua and Steven Ball (eds). Tate Modern Film and Media, Curator: Stuart Cromer, February, 2009.
  • Zournazi, Mary, ‘Born Under a Blue Neon Sky’, in Russell Storer (ed.), Video Logic, exhibition catalogue, MCA,
    Sydney, 2008.