Tall Ships, 1992
Sixteen-channel video installation, silent
Sixteen modified 4-inch black-and-white video monitors (cathode ray tubes removed from chassis) with projection lenses, sixteen adjustable metal brackets, pressure-sensitive switch mats, black or dark gray carpet, computer with sixteen RS-232 control ports and controlling software written in DOS, sixteen laserdisc players and sixteen laserdiscs (black-and-white; silent)
Dimensions of corridor: 10 h. x 10 w. x 90 l. ft. (3 x 3 x 27 meters)
Edition of two and one artist’s proof
Tall Ships consists of sixteen 4-inch black-and-white video monitors with sixteen angled projection lenses, which are mounted in a line down the center of the ceiling of a completely dark, corridor-like space. There is one projection approximately every five feet alternating from side to side (i.e., approximately every ten feet on each side), and the last projection is seen on the back wall. The projections are of people of varying ethnic origin, age and gender. The images are high-contrast yet soft with a halo-like quality due to the nature of the projection system and the acute angle of projection. There is no border of light defining the frame of the image; it is the figure itself that gives off the light and is seen directly on the wall. The figures, standing or seated and ranging from one to two feet high, first appear in the distance, at about eye level. As the viewer(s) walk through the space, electronic switches are activated and the figures approach the viewer until they reach approximately life-size. They remain in the foreground, slightly wavering, until the viewer(s) leave the immediate area. Each of the projections is independently interactive with the viewers; thus, according to the number of viewers in the space, any number of the people/projections could appear in the distance – approaching, withdrawing, or standing in the foreground – at any given time.
Commissioned by Jan Hoet for Documenta IX, Kassel, Germany, 1992.
Twelve-channel version left wall: Bill Colvin, Santha Cassel, Ronald Choate, Sharon Parker, Megan Adcock, Mark Vandevanter; back wall: Anastasia Hill; right wall: Lou Hetler, David Cheung, Terri Colvin, Katsura Ozeki, Preston Wadley.
Sixteen-channel version, left wall: Bill Colvin, Preston Wadley, Ronald Choate, Santha Cassel, David Cheung, Sharon Parker, Megan Adcock, Mark Vandervanter; back wall: Anastasia Hill; right wall: Greg Hill, Lou Helter, Richard Parker, Terri Colvin, Donald Young, Jay McLoughlin, Katsura Ozeki.
Custom hardware and software for Tall Ships were designed by Dave Jones.
It is currently being migrated from laserdisc players to microcomputer controllers by Small Data Industries in consultation with Dave Jones and the artist (2021 -
An example of this work was exhibited for the first time at Documenta IX, Museum Fridericianum, Kassel, Germany, June 13 – September 20, 1992. (sixteen-channel version)
“1993 Biennial Exhibition,” Whitney Museum of American Art, New York, New York, March 4 – June 13, 1993. (twelve-channel version)
“Frames,” Ydessa Hendeles Art Foundation, Toronto, Ontario, Canada, May 15, 1993 – March 5, 1994. (sixteen-channel version)
“Gary Hill,” Stedelijk Museum, Amsterdam, The Netherlands, August 28 – October 10, 1993. (sixteen-channel version)
“Gary Hill: In Light of the Other,” Museum of Modern Art, Oxford, England, November 7, 1993 – January 9, 1994; The Tate Gallery, Liverpool, England, February 26 – May 2, 1994. (sixteen-channel version)
“Gary Hill,” Musée d’art contemporain, Lyon, France, May 26 – September 19, 1994. (twelve-channel version)
“Múltiplas Dimensões,” Centro Cultural de Belém, Lisbon, Portugal, June 7 – July 31, 1994. (sixteen-channel version)
“Facts and Figures: Selections from the Lannan Foundation Collection,” Lannan Foundation, Los Angeles, California, October 22 – February 26, 1994. (sixteen-channel version)
“Gary Hill,” (travelling exhibition organized by Riksutställningar, Stockholm, Sweden), Moderna Museet, Spårvagnshallarna, Stockholm, Sweden, February 4 – April 17, 1995; Museet for samtidskunst, Oslo, Norway, April 26 - May 21, 1995; Helsingin Taidehalli, Helsinki, Finland, June 29 - July 30, 1995; Bildmuseet, Umeå, Sweden; September 3 - October 15, 1995; Jönköpings läns museum, Jönköping, Sweden, October 22 - November 15, 1995; Göteborgs Konstmuseum, Göteborg, Sweden, November 15, 1995 - January 14, 1996. (twelve-channel version)
“Being & Time: The Emergence of Video Projection,” (travelling exhibition organized by the Albright-Knox Art Gallery, Buffalo, New York), Albright-Knox Art Gallery, Buffalo, New York, September 21 – December 1, 1996; Cranbrook Art Museum, Bloomfield Hills, Michigan, January 24 – March 29, 1997; Portland Art Museum, Portland, Oregon, May 24 – July 27, 1997; Contemporary Arts Museum, Houston, Texas, August 8 – October 12, 1997; Site Santa Fe, Santa Fe, New Mexico, November 1, 1997 – January 25, 1998. (twelve-channel version)
“Inside,” Henry Art Gallery, University of Washington, Seattle, Washington, April 13 – June 29, 1997. (twelve-channel version)
“Gary Hill: O lugar do outro/where the other takes place,” Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil, July 3 – September 21, 1997; Museu de Arte Moderna de São Paulo, Brazil, October 3 – November 2, 1997. (twelve-channel version)
University Art Galleries, University of California, San Diego, California, September 25 – December 13, 1997. (twelve-channel version)
“Made in Corpus,” Odyssud, Blagnac, France, May 11 – June 5, 1998. (twelve-channel version)
Aarhus Kunstmuseum, Aarhus, Denmark, January 17 – April 5, 1999. (sixteen-channel version)
“Space Odysseys: Sensation and Immersion,” Art Gallery of New South Wales, Sydney, Australia, August 18 - October 14, 2001; Australian Centre for the Moving Image (ACMI), Melbourne, Australia, October 26, 2002 – January 27, 2003 (with the title “Deep Space: Sensation and Immersion”). (twelve-channel version)
“Gary Hill: Selected Works.” Kunstmuseum Wolfsburg, Wolfsburg, Germany, November 10, 2001 – March 10, 2002. Travelled to: Centro Cultural de Belém, Lisbon, Portugal, October 10, 2002 – January 12, 2003. (sixteen-channel version)
“Gary Hill: Selected Works 1973 – 2003,” Museum of Contemporary Art, Taipei, Taiwan, May 2 – August 24, 2003. (twelve-channel version)
Special exhibition of Tall Ships in conjunction with “Gary Hill: Language Willing,” (travelling solo exhibition organized by the Boise Art Museum), Art Gallery of Nova Scotia, Halifax, Canada, July 22 – November 21, 2004. (twelve-channel version) Note: The installation of Tall Ships was extended beyond close date of travelling exhibition.
“W.O.W. (The Work of the Work),” Henry Art Gallery, University of Washington, Seattle, Washington, October 7, 2004 – February 6, 2005. (twelve-channel version)
Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992, pp. 12, 60, 61. (Including an excerpt from Gary Hill, “Inter-view”).
Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard, France: Centre International de Création Vidéo Montbéliard, Belfort, 1992, pp. 44, 84. (Including an excerpt from an interview with Gary Hill).
Yamamori, Eiji. "Gary Hill." Aera Magazine 5, 27, Tokyo (July 1992), p. 73.
Levin, Kim. “Jan Who? Docu What?” Village Voice (July 14, 1992), p. 95.
Morgan, Stuart. “Documenta IX: Three Perspectives Body Language.” Frieze 6 (September/October 1992), p. 32.
Batchelor, David. “Almost everything is available.” Frieze (September/October 1992), p. 38.
Bourriaud, Nicolas. “Re-runs on channel Documenta.” Flash Art (October 1992), p. 132.
Dercon, Chris. “Am I Now Getting Sentimental.” Parkett 33 (1992), pp. 155 – 158.
Cooke, Lynne. "Gary Hill: 'Who am I but a figure of speech?'" Parkett 34 (1992), p. 18.
Das 21. Jahrhundert – Mit Paracelsus in die Zukunft. Basel: Kunsthalle Basel, 1993, pp. 84, 85.
1993 Biennial Exhibition. New York: Whitney Museum of American Art, 1993, pp. 13, 14, 16, 17, 38, 39, 168, 169, 280.
Mignot, Dorine. Gary Hill. Amsterdam: Stedelijk Museum; Vienna: Kunsthalle Wien, 1993, pp. 8, 9, 16, 17, 32, 77, 94 – 109, 112. (Including excerpts from Gary Hill, “Inter-view”).
Van Assche, Christine and Corinne Diserens. Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, pp. 16, 64, 65, 108, 118, 119. (Including an excerpt from Gary Hill, “Inter-view”).
Gary Hill: In Light of the Other. Oxford: Museum of Modern Art Oxford; Liverpool: The Tate Gallery Liverpool, 1993, pp. 5, 7, 9, 10, 22 – 27.
Wooster, Ann-Sargent. "The Heart of Darkness--Film and Video at the Whitney Biennial." Arts Magazine (October 1991), pp. 67 – 69.
Durand, Régis. “Gary Hill. Centre Georges-Pompidou Galeries contemporaines.” art press 177 (February 1993), p. 80.
Sarrazin, Stephen. “Gary Hill. Dai un senso a ciò che muovi.” Flash Art XXVI, 174 (April 1993), p. 35. (In English: “Gary Hill: mean what you move.” Flash Art (International Edition) 173 (November/December 1993), p. 86.)
Jones, Karen. “Whitney Biennial.” Tema Celeste 40 (Spring 1993), p. 85.
Grout, Catherine. "Gary Hill – La condition humaine de la pensee." Arte Factum 48 (June/July/August 1993), p. 10.
Von Graevenitz, Antje. "Living Funeral Art--Video Installations by Bill Viola and Gary Hill." Archis (July 1993), pp. 47, 52.
Den Hartog Jager, Hans. “Droomwereld.” HP de Tijd (September 3, 1993), pp. 111, 113, 114.
Braet, Jan. “Schepen in de nacht.” KNACK (September 15, 1993), p. 131.
Van der Jagt, Marijn. “Schimmen: Gary Hills tussenwereld.” De Groene Amsterdammer (September 22, 1993), p. 24.
Perrée, Rob. “Gary Hill: Kijken, Horen, Lezen.” Kunstbeeld (September 1993), pp. 12 – 14.
Raizada, Rajeev. “Gary Hill.” ISIS (Michelmas 1993), pp. 12, 13.
Cornwell, Regina. “Gary Hill Interview.” Art Monthly 170 (October 1993), pp. 3 – 11.
Failing, Patricia, et al. “Fast Forward: nineteen artists whose works are gaining recognition. Gary Hill.” Artnews 92 (November 1993), p. 124.
Failing, Patricia. “Seattle. Gary Hill.” Artnews (November 1993), pp, 124, 125.
Murin, Preložil Michal. “Gary Hill.” Profil. Súcasného Výtvarného Umenia (December 1993), p. 28.
Benjamin, Marina. “Ghosts in the machine.” New Statesmen & Society (December 3, 1993), p. 33.
De Rijcke, Elke. “Dageraad of avondschemer over de video-installaties van Gary Hill.” Metropolis M 1 (1993), pp. 26, 30.
Múltiplas Dimensões/Multiple dimensions. 2 volumes. Lisbon: Centro de Cultural de Bélem, 1994, vol. 1: pp. 39, 86, 87; vol. 2: pp. 26, 27.
Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington, New York: The Voyager Company, 1994, p. 4.
Bruce, Chris. Gary Hill. Seattle, Washington: Henry Art Gallery, University of Washington, 1994, pp. 60, 62, 68 – 71, 85, 87, 97.
Darke, Chris. “Gary Hill, Museum of Modern Art, Oxford.” Frieze 14 (January/February 1994), p. 56.
New York Magazine (March 21, 1994).
Haynes, Rob. “In Light of the Other.” The Big Issue (March 29 – April 4, 1994), p. 11.
Berg, Stephen. “Als die bilder fliegen lernten.” Neue bildende kunst 5 (October/November 1994), p. 22.
Vogel, Sabine B. “Im Licht des Monitors Gary Hill.” Artis (December 1994/January 1995), pp. 44 – 47.
Gary Hill: Tall Ships, Clover. Stockholm: Riksutställningar, 1995.
3e biennale d’art cotemporain de lyon: installation, cinéma, vidéo, informatique. Paris: Réunion des musées nationaux, Biennale d’art contemporain, Paris, 1995, p. 174.
Vischer, Theodora, ed. Gary Hill: Imagining the Brain Closer than the Eyes. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 69, 72, 73, 113. (In German: Gary Hill: Arbeit am Video. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 75, 78, 79, 119.)
Arnell, Karin. “Elektroniken Gerkonsten Liv.” Civilingenjöre NR 2 (1995), pp. 14, 15.
Duncan, Michael. “In Plato’s electronic cave.” Art in America 83, 6 (June 1995), p. 69.
Beckmann, Angelika. “Gary Hill.” European Photography 58, 16, 2 (Fall 1995), pp. 60, 64, 67.
Heartney, Eleanor. “Video in Situ.” Art in America 83, 10 (October 1995), p. 98.
Quasha, George and Charles Stein. Gary Hill: HanD HearD/liminal objects. Paris: Galerie des Archives; Barrytown, New York: Station Hill Arts, 1996, unpaginated.
Mayer, Marc. Being and Time: The Emergence of Video Projection. Buffalo, New York: Albright-Knox Art Gallery, 1996, pp. 30, 42 – 49.
Young, Lisa Jaye. “Electronic Verses: Reading the Body vs. Touching the Text,” Performing Arts Journal 52, 18, 1 (January 1996), p. 38.
Lestocart, Louis-José. “Gary Hill: Surfer sur le medium / Surfing the Medium.” art press 210 (February 1996), p. 20.
Morgan, Robert C. “Gary Hill / Barbara Gladstone Gallery,” Review 2, 7 (December 15, 1996), pp. 29, 30.
Grillner, Katja. “Att Drömma Om Regnbågens Slut Och Horisontens Faktiska Vara: En resa i tillvarons arkitektur med Gary Hill’s “Tall Ships.” Arkiteture, Sweden 2 (1996), pp. 49 – 51.
Joachimides, Christos M. and Norman Rosenthal, eds. The Age of Modernism. Art in the 20th Century. Ostfildern-Ruit, Germany: Verlag Gerd Hatje, 1997, p. 603.
Quasha, George and Charles Stein. Tall Ships. Gary Hill’s Projective Installations 2. Barrytown, New York: Station Hill Arts, 1997.
Conkelton, Sheryl. Inside. Program notes. Seattle, Washington: Henry Art Gallery, University of Washington, 1997, unpaginated.
Quasha, George and Charles Stein. Viewer. Gary Hill’s Projective Installations 3. Barrytown, New York: Station Hill Arts, 1997, pp. 7 – 9, 19, 22, 29, 35, 58, 60, 62 – 64.
Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997, pp. 6, 9, 39 – 41, 45, 46, 55, 56, 60 – 63.
Liesbrock, Heinz. Gary Hill: Midnight Crossing. Münster: Westfälischer Kunstverein, 1997, pp. 14, 15.
“Imagem éloqüente. Gary Hill: O Lugar do Outro.” Revista Veredas (July 1997).
Hürzeler, Catherine. “Kann man auf abstrakte Weise surfen? Ein Gespräch mit dem Videokünstler Gary Hill.” Das Kunst-Bulletin 9 (September 1997), p. 14.
Stals, José Lebrero. Gary Hill: HanD HearD – Withershins – Midnight Crossing. Barcelona: Museu d’Art Contemporani de Barcelona, 1998, pp. 12, 16.
Der elektronische Raum: 15 Positionen zur Medienkunst. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Dueuschland, 1998, pp. 152, 154.
TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart. Program notes. New York: The Kitchen, 1998, unpaginated.
Tougas, Colette. “Gary Hill. Musée d’art contemporain de Montréal, 30 janvier – 26 avril.” Parachute 90 (April - June 1998), p. 44.
La Chance, Michaël. “Vidéognose.” Spirale, Montreal (May – June 1998), p. 12.
Helfand, Glen. “Lost in space: Gary Hill’s illuminations lodge in the memory.” San Francisco Bay Guardian (May 27, 1998), p. 63.
“Liminal Performance: Gary Hill in Conversation with George Quasha and Charles Stein,” PAJ (Performing Arts Journal) No. 58, Vol. XX, No. 1 (January 1998), p. 10, 23.
“Beunruhigende blick.” Art – das Kunstmagazin. (January 1999), p. 67.
Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, pp. 4, 5, 9 – 22, 67, 82, 114.
Murphy, Jay. “Gary Hill and the ‘New Aesthetic Paradigm.’” Paper presented at the International Association of Philosophy and Literature (IAPL) Conference “Postmodern Sites,” Hartford, CT, May 12, 1999. (Reprinted at www.thing.net/~ soulcity/ap/)
“Umfrage: Medienkunst.” Art – das Kunstmagazin 12. (December 1999), p. 51.
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 7, 8, 87, 102, 115 – 116, 123, 139 – 141, 142, 150 – 152, 155, 223, 224 – 229, 232, 251, 265, 296 – 298.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 32, 39, 44.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 23, 40, 51, 52.
Lageira, Jacinto. Des premiers mots aux derniers silences in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 19, 20, 23 – 24.
Quasha, George and Charles Stein. La performance elle-même in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 14, 15, 20, 24, 25 – 26, 27, 52 – 53, 54, 74, 79, 91, 102, 103 – 104.
Mauron, Véronique. Le signe incarné: ombres et reflets dans l’art contemporain. Paris: Éditions Hazan, 2001, pp. 175 – 178, 183, 189, 191, 203 – 204, 217, 266.
Rowlands, Penelope. “Gary Hill’s Hall of Mirrors.” ARTnews 100, 5 (May 2001), pp. 177.
Space Odysseys: Sensation and Immersion. Sydney: Art Gallery of New South Wales, 2001, pp. 14, 30 – 37, 69, 78.
Riemschneider, Burkhard and Uta Grosenick, eds. Art Now. Cologne: Taschen, 2001, pp. 68 – 69.
Odin, Paul-Emmanuel. “La syncope du regard.” Le Pavé 188 (February 27 – 13, 2002).
Bers, Miriam. “Gary Hill: Kunstmuseum Wolfsburg.” tema celeste 90 (March / April 2002), p. 92.
Gary Hill: Selected Works and catalogue raisonné. (Wolfsburg: Kunstmuseum Wolfsburg, 2002), pp. 12, 19 – 21, 28, 29, 161, 162.
Zutter, Jörg, ed. Gary Hill / Bruce Nauman: International New Media Art. Sydney: National Gallery of Australia, 2002, pp. 26. (Includes George Quasha’s essay: “Gary Hill’s Art of the Threshold.”)
Rush, Michael. “A Résumé of Surfing and Philosophy as Well as Art.” The New York Times (September 15, 2002), pp. 31 – 32.
Schnoor, Chris. “Re-Thinking the Image: Video Art by Gary Hill at Boise Art Museum.” BoiseWeekly 11, 29 (January 22 – 28, 2003), pp. 13 – 16.
Coslovich, Gabriella. “ACMI: from video village to spin city.” The Age, Melbourne (October 22, 2002), The Culture, p. 7.
Nelson, Robert. “Moving images form sensual odysseys.” The Age, Melbourne (November 9, 2002), Arts, p. 29.
Israel, Glenis. Artwise 2: Visual Arts 7 – 10. Milton: John Wiley & Sons Australia, Ltd., 2002, pp. 20 – 23.
De Volder, Geoffroy (interview with Gary Hill). “L’instant de ma mort.” DITS (MAC’s Grand-Hornu) (Spring 2003), pp. 142 – 153.
Barro, David. Gary Hill: Poeta da percepção, poet of perception, poeta de la percepción. In Portuguese, Spanish and English. Porto: Mimesis, 2003, pp. 25, 38, 44, 60.
Unfolding Vision: Gary Hill, Selected Works 1976 – 2003. Taipei: Museum of Contemporary Art, 2003, pp. 17, 32 – 44, 48 – 51.
Shaw, Jeffrey and Peter Weibel, eds. Future Cinema: The Cinematic Imaginary after Film. Karlsruhe: ZKM and Cambridge: MIT Press, 2003, pp. 308, 309.
Schnoor, Chris. “Thinking the Image: Gary Hill at ASU Art Museum.” Shade (October / November 2003), pp. 24.
Farr, Sheila. “’WOW’ intoxicates, vexes the senses.” The Seattle Times (November 5, 2004).
Perry, Gill and Paul Wood, eds. Themes in Contemporary Art. New Haven: Yale University Press / The Open University, 2004, pp. 222 – 223, 224.
Brown, Elizabeth. WOW: The Work of the Work. Seattle: Henry Art Gallery, University of Washington, 2005, pp. 10, 13, 14, 54, 56, 58, 60.
Gary Hill: Resounding Arches / Archi Risonanti. (Catalogue and DVD.) Rome: Ministero per i Beni e le Attività Culturali Soprintendenza archeologica di Roma, and Milan: Mondadori Electa S.p.A., 2005, pp. 26 – 28, 146 – 147, 148.
Ede, Siân. Art & Science. London: I.B. Tauris, 2005, pp. 111 – 112.
Daniel, Noel, ed. Broken Screen: 26 Conversations with Doug Aitken: Expanding the Image, Breaking the Narrative. New York: D.A.P./Distributed Art Publishers, 2006, p. 154, 155, 160.
Samaniego, Alberto Ruiz de. “Gary Hill and Maurice Blanchot: Dialogues at the Threshold.” Dardo magazine, 2 (June – September 2006), pp. 146 – 179.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, pp. 19, 37, 38 – 44.
Dubois, Jean. “Figures réfléchies: la rencontre en arts interactifs / Reflexive Figures: The Encounter in Interactive Arts.” Esse arts + opinions 63 (Spring Summer 2008), pp. 18 – 25.
Graves, Jen. “The 25 Greatest Works of Art Ever Made in Seattle.” The Stranger, Seattle (March 5 – 11, 2009), pp. 18 – 23.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 4, 8, 10, 24, 29, 185, 189, 194 – 205, 208, 211, 240, 244, 248, 251, 258, 263, 271, 273, 279, 282, 285, 309, 310, 330, 337, 340, 341, 395, 431, 437, 438, 444, 445, 467, 487, 513, 523, 524, 595, 605, 627, 642.
Ramos, María Elena. Gary Hill. Caracas: Centro Cultural Chacao, 2009 (in Spanish), pp. 6 – 7.
Gagnon, Jean. “Gary Hill à la recherche de la perte technologique / An Interview with Gary Hill.” artpress 2: Arts Technologiques - Conservation et Restauration (February/March/April 2009), pp. 10 – 21. (French and English)
Gary Hill: o lugar sem o tempo / taking time from place. Rio de Janeiro: Contra Capa Livraria / Mag Mais, 2009, pp. 10, 11, 13.
Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 22, 23, 32, 33.
Israel, Glenis. Artwise 2: Visual Arts 9 – 10. Second Edition. Milton: John Wiley & Sons Australia, Ltd., 2011, pp. 69 – 71.