Staff & Visiting Fellows
Melinda Hinkson (Coordinator, Centre for Visual Anthropology)
My research is, in different ways, a kind of dialogue between the disciplines of anthropology and art history; but my passion is Australian desert art. Having conducted my PhD research with the Balgo artists of the Western Desert, I've worked on several other projects with Aboriginal artists around Central Australia, the Pilbara and the Kimberley. My emphasis in recent years has been on illuminating the formal analysis of artworks with oral histories from artists themselves. I've done this on a small scale with Martu artists such as Yunkurra Billy Atkins, and more broadly in producing a local art history with the Ngaanyatjarra artists of Central Australia. The most public expression of this work has been the exhibition, Yiwarra Kuju: the Canning Stock Route, which opened at the National Museum of Australia in 2010. I was the anthropologist on that project and co-curator of the exhibition; an experience that opened my eyes to the possibilities of bringing the insights of visual anthropology to bear on the display of Aboriginal art in our state institutions. More>
My work as an anthropologist is enlivened by the inter-play between making visual work and writing about it. In between there is a fair bit of gazing elsewhere. Inspired by on-going collaborations with Aboriginal and non-Aboriginal filmmakers, I see digital technologies as a means to generate new modes of social engagement and new kinds of scholarship. I am currently working on a four-year ARC funded project, which involves site-specific art installation with remote communities in Arnhem Land. Produced in accordance with contemporary Yolngu aesthetic and social concerns, we are also working on a number of film projects ranging from the experimental to more classical ethnographic genres. These include Manapanmirr, in Christmas Spirit (Miyarrka Media, 2012), Bol'ngu Shooting Star (with Susan Marrawakamirr, 2012), and my red yolngu heart (2012) and the re-release of Gularri: That Brings Unity (Warrkwarrkpuyngu Yolngu Media 1997/2010). More >
Natasha is a ANU College of the Arts and Social Sciences Postdoctoral Fellow within the School of Archaeology and Anthropology from 2011-2014. Natasha is involved in the Masters of Visual Culture Research Programme, coordinating the Masterclasses in Ethnographic Film course with Pip Deveson. Natasha and Melinda Hinkson are also teaching a new undergraduate course entitled Visual Anthropology in a Digital World, encouraging students to use current technology, such as mobile phones and handycams, to record visual material. More>
I am a Project Officer at the Digital Humanities Hub and teach Digital Media Methods in the Masters of Liberal Arts. I was introduced to visual anthropology when I came to the ANU in 2001 and worked with Pip Deveson and Howard Morphy on a multimedia biography of artist Narritjin Maymuru. I have continued to work as a digital media developer on several research projects working with Aboriginal communities, anthropologists and museums. Currenltly I am also working with Junran Lei to develop an online database tool for researchers using visual media (OCCAMS). More >
Nigel teaches in the postgraduate program at the ANU School of Art. He is an Associate Professor and Affiliate Fellow in the Research School of the Humanities and the Arts. He has worked as an artist, art historian and curator in the fields of minimalist, conceptual art and photography, with a particular interest in the relation between tradition and innovation with a focus on collaborative and interdisciplinary and cross-cultural practices. For the last twenty years he has focused on the history and theory of Indigenous art in Australia and Afghanistan. Together with Professor Tim Bonyhady he holds an ARC Discovery grant to research the war art of Afghanistan. More>
Pam’s research draws from the disciplines of both anthropology and history in order to examine the social relations produced by the use of cameras and the subsequent circulation of their visual products. Her PhD research with Ngaanyatjarra people from the Western Desert of Western Australia was both a historical ethnography of intercultural relationships around cameras, as well as an account of the contemporary reception of historical images. In 2008 Pam was the recipient of the Minoru Hokari Memorial Scholarship for Aboriginal History Fieldwork. She is currently a Senior Project Manager with the Native Title Research Unit of Australian Institute of Aboriginal and Torres Strait Islander Studies in Canberra, and remains a Visiting Fellow with the ANU’s Institute of Professional Practice in Heritage and the Arts.
Kim is an ethnographic filmmaker and multimedia producer based at the Digital Humanities Hub.
In his career Howard has moved between Museums and Universities: researching and curating collections, and organising exhibitions. He has conducted extensive fieldwork with the Yolngu people of Northern Australia, and collaborated on many films with Ian Dunlop of Film. He has published widely in the anthropology of art, aesthetics, performance, museum anthropology, Aboriginal social organization, the history of anthropology, visual anthropology and religion. Howard's main fieldwork has been with the Yolngu people of northeast Arnhem Land (Yirrkala) beginning in 1974-76, with subsequent research visits continuing to the present. He has also worked among the Ngalakan people of the Roper Valley, in 1980-81 and again in 1998. In 1983 he spent 6 months in Darwin researching the public response to Aboriginal art. In 1988 he spent two months in the field in Central Arnhem Land (at Ramingining and Maningrida). More >
Rob is a documentary film maker. He has just finished making a bespoke locust film called Memoirs of a Plague which examines man's relationship with nature though the eyes of locust hunters.
My interest in visual anthropology began during collaboration with film director Roger Sandall working as the anthropologist on eleven ethnographic films made for the Australian Institute of Aboriginal Studies as it then was. Subsequently I have focused on still photography, co-editing ‘Photography’s Other Histories’ with Chris Pinney (Duke 2003; see link to other publications) and am currently working on a joint ARC grant in which I am looking at the still photography of Ian Dunlop on an early excursion into the western desert. I teach a graduate course on ‘Photography in Social Context’. More>
Cathie's major research areas are in documentary film studies and new media theory and performance. In 2004, she convened and directed AD - Art of the Documentary: a combined international conference, film competition for emerging filmmakers and film festival at the National Museum of Australia, ScreenSound, the National Gallery of Australia. Her work has recently been published in several national and international journals and anthologies, including her major article, 'Haunting Secrets - Tracey Moffatt's beDevil' which was published in the Fall 2004 issue of the University of California's film studies journal Film Quarterly Vol. 58:1. Her monograph on Moffatt's films, The Moving Images of Tracey Moffatt was published by Charta Edizione, Milan in September 2007. Cathies is currently a Lecturer in Film and New Media Studies and Graduate Advisor in Film and New Media Studies.
Katerina has a background in Anthropology and Pacific Islands Studies and her original research at the ANU was produced in digital film and text. Her research looks at the histories of phosphate mining in the central Pacific. She focuses on the movement of Banaban rock and the complex relations created by the mining, shipping, production and consumption of superphosphate and ensuing commodities. She also studies the ways in which indigenous Banabans make sense of this history in their new home of Rabi Island in Fiji. She is currently transforming this research into a monograph titled Consuming Ocean Island. Her Banaba work has inspired a permanent exhibition at the Museum of New Zealand Te Papa Tongarewa, which tells the story of phosphate mining in the Pacific through Banaban dance and film. Renowned New Zealand sculptor Brett Graham also transformed Katerina’s research into a multi-media installation, Kainga Tahi, Kainga Rua, (http://www.adamartgallery.org.nz/past-exhibitions/brett-graham/) exhibited at the Adam Art Gallery in Wellington in 2003 and Moving Image Centre in Auckland in 2007. Katerina also writes on and has taught courses on popular culture and consumption, globalization, women's studies, contemporary Pacific dance, and Pacific diasporas. She is interested in the cultural, economic and political relations within and between island regions and from 2003-07 was a member of the Islands of Globalization (http://pidp.eastwestcenter.org/mi/) project team in Honolulu which connected the Pacific and the Caribbean through popular, policy and pedagogy projects. She is currently working on a new 5-year project called Indigenous Peoples and the Global Remix through a fellowship with the Framing the Global research and publishing program based at Indiana University. More>