Chapter 2
Fig. 2:1. Anne Noble Piss Poles #1-#6, Antarctica, (2008) © Anne Noble, source:
http://www.creativephotography.org/exhibitions-events/events/anne-noble-search- ecological-sublime, (accessed: 30.06.19).
Fig. 2:2. Herbert Ponting, Anton Omelchenko stands at the end of the Barne Glacier on Ross Island, in the Ross Dependency of Antarctica, during Captain Robert Falcon Scott’s Terra Nova
Expedition to the Antarctic, 2nd December 1911. Source:
https://commons.wikimedia.org/wiki/File:Ponting_Barne_Glacier.jpg (accessed: 30.06.19). Fig. 2:3. Anne Noble, captioned as The Barne Glacier, (2001) in Ice Blink, and as Photographing
Antarctica (2002) on the NZ Museums website source:
https://www.nzmuseums.co.nz/collections/3332/objects/29745/photographing-antarctica,
(accessed 30.06.19).
Fig. 2:4. V.A.L.I.S. (vast active living intelligence system), (2005-07), Amundsen-Scott Station, Phase III (triptych), archival inkjet print from film, 120 x 30", edition of 5,
(http://www.conniesamaras.com/VALIS.html) (accessed 19.05.19).
Fig. 2:5. V.A.L.I.S. (vast active living intelligence system), 2005-07, Dome Interior (now dismantled),
archival inkjet print from film, 26 x 60", edition of 5,
(http://www.conniesamaras.com/VALIS.html) (accessed 19.05.19).
Fig. 2:6. Connie Samaras V.A.L.I.S. (vast active living intelligence system), (2005-07), Night Divide and Contrail Pollution, archival inkjet print from film, 30 x 40, edition of 5.
(http://www.conniesamaras.com/VALIS.html) (accessed 19.05.19).
Fig. 2:7. Connie Samaras V.A.L.I.S. (vast active living intelligence system), (2005-07), South Pole Antennae Field, archival inkjet print from film, 30 x 40, edition of 5.
(http://www.conniesamaras.com/VALIS.html) (accessed 19.05.19).
Fig. 2:8. Connie Samaras V.A.L.I.S. (vast active living intelligence system), (2005-07), Untitled (Ross Ice Shelf, Antarctica) video installation still, 4.5 min loop of Weddell seal oxygenating, sleeping Worker on cargo plane video installation still, close-up of projection on floating screen,
http://www.conniesamaras.com/VALIS.html, (accessed 19.05.19)
Fig. 2:9. Frank Hurley, A Blizzard (1915), toned gelatin silver ; image 35.5 x 44.8 cm., in the collection of the National Library of Australia, Sir Douglas Mawson Collection of Antarctic Photographs.
Source: http://nla.gov.au/nla.obj-141758511/view (accessed: 30.06.19).
Fig. 2:10. Western Inlet in the Ross Barrier, looking south with ice-blink to right, [British Antarctic Expedition, 1907–1909.] Sir Douglas Mawson collection of Antarctic photographs, National Library of Australia, Canberra, PIC Box Q44 #P8098/236 Photograph: gelatin silver 12 x 8.8cm In pencil on verso “Western Inlet in the Ross Barrier, looking south with ice-blink to right, the headland of Western Inlet is about 100 feet in height, near the head of the inlet, the Barrier Cliff is only 20 to 30 feet high”, https://nla.gov.au/nla.obj-141775760/view, (accessed: 30.06.19).
Fig. 2:11. Douglas Mawson Collection of Antarctic Photographs, Photograph of four unidentified geological specimens, gelatin silver photograph, in the collection of the National Library of Australia PIC Box P808 #P808/261. https://nla.gov.au/nla.obj-141781967/view (accessed 11.05.19).
Fig. 2:12. Fibre material, gelatin silver photograph, in the collection of the National Library of Australia
PIC Box P808 #P808/100. The image to the left, is my own photograph of the object taken
while researching in the pictures collection at the National Library. The collection has been digitized and this image can be viewed here: https://nla.gov.au/nla.obj-141774966/view
(accessed 11.05.09)
Fig. 2:13. Sir Douglas Mawson collection of Antarctic photographs, Australasian Antarctic Expedition, 1911-1914, Large piece of ice, (1911–1914),gelatin silver, 7.6 x 11.5 cm. The image above is
my own photograph of the object taken while researching in the pictures collection at the National Library. The collection has been digitized and this image can be viewed here:
https://nla.gov.au/nla.obj-141777365/view, (accessed: 30.06.19)
Fig. 2:14. Percy E. Corell, Australasian Antarctic Expedition, 1911-1914, Large mossy covered rocks,
gelatin silver photograph, 16 x 21.9 cm. https://nla.gov.au/nla.obj-141762263/view, ,
(accessed: 30.06.19)
Fig. 2:15. Kate M Murphy (Ellis Hutch), Ice #1, 2011 digital photograph Fig. 2:16. Kate M Murphy (Ellis Hutch), Ice #2, 2011, digital photograph
Fig. 2:17. Kate M Murphy (Ellis Hutch), From above, 2011, digital photograph Fig. 2:18. Kate M Murphy (Ellis Hutch), From below, 2011, digital photograph
Fig. 2:19. James Nasmyth’s drawings held in the collection of the London Museum of Science. Nasmyth’s diligent approach was evident in the scale markings along the side, indicating his intention to render them as accurately as possible. From an artistic perspective I found them to be compelling drawings, with great sensitivity apparent in the mark, making and choice of media.
Fig. 2:20 One of James Nasmyth’s plaster models and I photographed this plaster model and Nasmyth’s drawings in 2011 at the London Museum of Science storage facility.
Fig 2:21 J ames Nasmyth, Photograph of the relief sculpture presented as an approximation of the lunar surface. http://web.mit.edu/redingtn/www/netadv/SP20141020.html (accessed 30.06.19). Fig. 2:22. Nasmyth and Carpenter, To illustrate the origin of certain mountain ranges resulting from
shrinkage of the interior of the globe, Woodburytype, 1874, Image source:
http://blog.eastmanhouse.org/2009/07/21/exploring-the-archive-the-moon-imagined/
(accessed 28.06.11)
Fig. 2:23. Kate M Murphy (Ellis Hutch), Frozen horizon 2012, inkjet print, 75 x 112cm Fig. 2:24 Kate M Murphy (Ellis Hutch), Morning series (2012), inkjet prints, 50 x 74.5 cm. Fig. 2:25. Kate M Murphy (Ellis Hutch), Morning series (2012), inkjet prints, 50 x 74.5 cm. Fig. 2:26, Kate M Murphy (Ellis Hutch), Midnight series (2012), inkjet prints, 50 x 74.5 cm. Fig. 2:27. Kate M Murphy (Ellis Hutch), Midnight series (2012), inkjet prints, 50 x 74.5 cm.
Fig. 2:28. Kate M Murphy (Ellis Hutch), Dawn, stills from time-lapse animation tracking the moon setting and changing light at dawn.
Fig. 2:29. Charles Duke, Duke family, April 1972, source:
https://www.businessinsider.com.au/apollo-16-hidden-family-portrait-on-the- moon-2015-10 , (accessed 26.06.19)
Fig. 2:30. Charles Duke, Duke family portrait on lunar surface, (1972)
http://www.apolloarchive.com/apollo_gallery.html, (accessed: 30.06.19)
Chapter 3
Fig. 3:1 NASA, Aldrin’s boot and bootprint in lunar soil, (1969) JSC scan,
http://www.apolloarchive.com/apollo_gallery.html, (accessed 30.06.19)
Fig. 3:2. Kate M Murphy (Ellis Hutch) Lessons for astronauts, (2013) still from performance with Amy Fiveash, Steven Holland, and Caroline Huf at QL2 Dance Theatre, Gorman House, Canberra Fig. 3:3. Kate M Murphy (Ellis Hutch), Lessons for astronauts, 2013 stills from performance in
development with Amy Fiveash, Steven Holland, and Caroline Huf at QL2 Dance Theatre, Gorman House, Canberra
Fig. 3:4. Kate M Murphy (Ellis Hutch) Lessons for astronauts, (2013) stills from performance with Amy Fiveash, Steven Holland, and Caroline Huf at QL2 Dance Theatre, Gorman House, Canberra
Fig. 3:5. Kate M Murphy (Ellis Hutch) Folding, (2013) still taken during performance in ANU School of Art and Design Photospace, Canberra
Fig. 3:6. Kate M Murphy (Ellis Hutch) Folding, (2013) still taken during performance in ANU School of Art and Design Photospace, Canberra
Fig. 3:7. Kate M Murphy (Ellis Hutch), Folding, 2013 stills from durational performance, Photospace, ANU School of Art and Design
Fig. 3:8. Kate M Murphy (Ellis Hutch) Folding, (2013), wall drawing done during performance in ANU School of Art and Design Photospace, Canberra
Fig. 3:9. Kate M Murphy (Ellis Hutch) Folding, (2013), stills showing folded paper cranes, taken during performance in ANU School of Art and Design Photospace, Canberra
Fig. 3:10. Kate M Murphy (Ellis Hutch), Folding, 2013 still from performance, Photospace, ANU Fig. 3:11. Kate M Murphy (Ellis Hutch) and Lucy Quinn, Team training exercise, (2014), still from
performance, Canberra Contemporary Art Space, Gorman House, October 2014
Chapter 4
Fig. 4:1. The view from my window at the Arteles Creative Centre , Haukijärvi, Finland (2013) Fig. 4:2. Looking towards Lake Parilanjärvi from Arteles Creative Centre, Haukijärvi, Finland (2013) Fig. 4:3. Kate M Murphy (Ellis Hutch), Branches (2013), Haukijärvi, Finland
Fig. 4:4. Looking out the window, Arteles Creative Centre, Haukijärvi, Finland (2013) Fig. 4:5. Kate M Murphy (Ellis Hutch), Aurora, Queanbeyan 2014, inkjet print on Ilford Pearl
photographic paper, 78 x 111.5 cm.
Fig. 4:6. Kate M Murphy (Ellis Hutch) Mirror L, R, 2014, inkjet print on Ilford Pearl photographic paper, 2 prints 87 x 61cm each
Fig. 4:7. Kate M Murphy (Ellis Hutch), Facing west,Queanbeyan 2014, inkjet print on Ilford Pearl photographic paper, 111.5 x 78 cm.
Fig. 4:8. Kate M Murphy (Ellis Hutch), A case of polar depression, still documentation of performance, October 2015 as part of Playful Sound presented by Danny Wild, Ralph Wilson Theatre, Gorman House Canberra
Fig. 4:9. Kate M Murphy (Ellis Hutch), A case of polar depression, still documentation of performance, October 2015 as part of Playful Sound presented by Danny Wild, Ralph Wilson Theatre, Gorman House Canberra
Fig. 4.10. John King Davis papers, State Library of Victoria,, Sidney Jeffryes,
https://mawsonshuts.antarctica.gov.au/cape-denison/the-people/sidney- jeffryes/, (accessed: 26.06.19)
Chapter 5
Fig. 5:1. Sidney Jeffryes, ‘Miss Eckford – Letter received July 1914(?) from Sidney N Jeffryes, in a mental institution at Ararat, Victoria, containing an account of his time as radio operator during 1913 on the Australiasian Antarctic Expedition 1911 – 1914, unpublished, held in the collection of the State Library of NSW (MLMSS 7064
Fig. 5:2. Sidney Jeffryes, ‘Miss Eckford – Letter received July 1914(?) from Sidney N Jeffryes, in a mental institution at Ararat, Victoria, containing an account of his time as radio operator during 1913 on the Australiasian Antarctic Expedition 1911 – 1914, unpublished, held in the collection of the State Library of NSW (MLMSS 7064)
Fig. 5:4 Kate M Murphy (Ellis Hutch) Into silence (2018), stop motion animation projection on canson paper, pastel and charcoal on tracing paper