Stephen Jones : Exhibitions and Publications
Stephen Jones (born 1951) is an Australian video artist, curator, video engineer and conservator of long standing. Since 1976 he has provided technical support for many artists and major exhibitions including the Biennale of Sydney (1976) and Australian Perspecta (1981).
Philippa Cullen: Dancing the Music (2023) Curated exhibition on the dancer and electronic sound artist at McClelland Gallery, Langwarrin, Vic. May-July, 2023.
Curator: Cognitive Dissidents (2020) a collection of important Australian video artists at Griffith University Art Museum, Brisbane.
Catalogue essay: for Solid Light: Josef Stanislaw Ostoja-Kotkowski, McClelland Gallery & Sculpture Park, Langwarrin, VIC. 2019.
Dancing the music: Philippa Cullen
An Archival Exhibition for Philippa Cullen
1950 – 1975
curated by Stephen Jones
SNO (Sydney Non-Objective) Gallery, Marrickville
23 April – 22 May, 2016
photograph of Philippa : Lillian Kristall
Video art of Stephen Jones (2016) at SNO Gallery, Marrickville, NSW. Self-curated video retrospective.
This is Video (2013), Curated exhibition of early Australian video for ISEA 2013 at Artspace, Sydney, June 2013. Curated the collection and wrote the extensive catalogue.
Stephen Jones, (2013), “Video Art at the National Gallery of Victoria: 1973 – 1978”, Art Journal of the National Gallery of Victoria, 52.
Stephen Jones, (2013), “The Theremin as an Interface: Early Interactive Art in Australia,” paper presented at AAANZ 2013, https://aaanz.info/wp-content/uploads/2015/11/AAANZ-2015-Abstract-Booklet.pdf [PDF page 1310]
Stephen Jones, (2012), “Relational Processes in the Production of Art”, Paper presented at the 2012 Art Association of Australia and New Zealand, conference, Sydney.
Stephen Jones, (2012), “Bush Video: towards a new secular electronic notion of the divine,” in Sean Cubitt and Paul Thomas (eds), Relive: Media Art Histories. Leonardo Books, MIT Press, January 2012. In press, accepted January 2012.
Tell Me, Tell Me (2011) : Glen Barkly (curator) : MCA Offsite at National Art School Gallery. Stephen Jones works included were Performance Work as Social Work (1977) and Hunting for the Future: Paik and Moorman in Australia, 1976 (1977). The exhibition then travelled to the National Museum of Contemporary Art, Seoul, South Korea.
Image: Moorman and Paik with TV Cello in the Art Gallery of NSW, during their exhibition [sponsored by John Kaldor] March, 1976.
Stephen Jones, (2011), “Early Interactive Art in Australia,” paper presented at Re-Wire, Liverpool, U.K., Sept 28-30, 2011. Liverpool, U.K., Sept 28-30, 2011.
Stephen Jones, (2011), “Towards a Taxonomy of Interactivity,” paper presented at ISEA 2011 Istanbul, 14-21 September, 2011. Available at https://www.isea-archives.org/docs/2011/proceedings/ISEA2011_Full_Proceedings.pdf [PDF page 1310] Stephen Jones, (2011), “A Systems Basis for New Media Pedagogy”, Leonardo, vol.44, no.1, pp.88-89.
Circa 79: Signal to Noise (2010) Modular Records, Sydney Festival exhibition at Seymour Centre. Exhibition consisted in the ephemera of the post-punk music scene in Sydney c.1979. It included video works by Stephen Jones for Laughing Hands and Severed Heads. < https://concreteplayground.com/sydney/event/circa-1979-signal-to-noise > Session 3
Stephen Jones, (2009) “A Systems structure for understanding New Media practice”, paper presented at the Media Art Scoping Symposium: Media art education at the intersection of science, technology and culture, Melbourne, 4 July, 2009. See <http://mass.nomad.net.au/wp-content/uploads/2009/10/Media%20Art%20Scoping%20Symposium.pdf [page 90of pdf] >
Stephen Jones, (2009) “Bush Video”, paper presented at Re:Live Media Art History 09 conference, Melbourne, Australia, 26-29 November, 2009.
Stephen Jones, (2008) “The Confluence of Computing and Fine Arts at the University of Sydney 1968-1975” in Andreas Broeckmann and Gunalan Nadarajan (eds) Place Studies in Art, Media, Science and Technology: Historical Investigation on the Sites and the Migration of Knowledge. VDG-Weimar, Germany.
Stephen Jones, (2008) “Frank Eidlitz: Design and the origins of computer graphics in Australia.” Paper presented at the Art Association of Australia and New Zealand annual conference, Brisbane, December 4-6, 2008.
Constructed Memories at Stills Gallery, Sydney, May 28 – June 28, 2003 large scale digital photo collages constructed as scrolls and presented in a site specific manner.
Intersections of Art and Science (July 2001). Ivan Dougherty Gallery, curated by Nick Waterlow. Showed a set of photo-collages relating to the Brain Project with the Reading Machine.
The Reading Machine and six ink-jet prints included in Intersections of Art and Science at Ivan Dougherty Gallery, College of Fine Arts, UNSW, Paddington, NSW, June 7 – July 14, 2001.
Momiji: an Autumn in Japan (May, 2001) Gallery East, Clovelly. A series of visual/textual inkjet printed scrolls by Stephen Jones accompanying photographs by Sandy Edwards.
Synthetics: The History of the Electronically Generated Image in Australia. A 2 day Symposium curated by Stephen Jones, for dLux Media Arts, presented at the PowerHouse Museum, Sydney, July, 1998.
The Reading Machine: Towards the realisation of Charles’ and Ada’s future. A Brain Project installation at ArtSpace, Sydney, July 2 – 25, 1998. The Reading Machine was also a finalist in the National Digital Art Awards, 1999 and was shown at the IMA, Brisbane, Oct. 15-30, 1999.
The Brain Project Forums, (August, 1996) Performance Space, August. Five days of discussions I led covering the topics of the Brain Project research.
Chasing Skirt (1988) an interactive video installation by Severed Heads at the Biennale of Sydney, 1988. Also in the Melbourne (NGV) tour of the Biennale. Later shown at Video Positive ’91, Liverpool, UK.
Video Plus Four (1979) Open Channel, Melbourne. Showed Stonehenge, Tai Chi Transforms, Untitled (Dance Piece).
Curated and produced VideOzone at the Ozone Cinema, Paddington Town Hall, July, 1978. Programme included Stonehenge and TV Buddha.
Video Spectrum at the Latrobe University Union, September, 1977.
Open Processes at Watters Gallery, February, 1977: An open invitation experimental video production facility installed in Watters Gallery, Sydney. I developed the program proposal, installed the video system, and produced much of the video.
Over the period 1975 – 1978 I was technical producer at Paddington Video Access and made several video art works of my own.