Dr. Erin Brannigan (Lead Chief Investigator)
Erin is a Senior Lecturer in Theatre and Performance at the University of New South Wales and works as a writer, academic and curator. Erin’s academic publications include Moving Across Disciplines: Dance in the Twenty-First Century (Sydney: Currency House, 2010), Dancefilm: Choreography and the Moving Image (New York: Oxford University Press, 2011) and Bodies of Thought: 12 Australian Choreographers, co-edited with Virginia Baxter (Kent Town: Wakefield Press, 2014). She has published articles in journals such as Senses of Cinema, Writings on Dance, Brolga, Dance Research Journal, Performance Paradigm, Performance Philosophy, Broadsheet, Runway and International Journal of Performance Arts and Digital Media, alongside several book chapters. Her monographs-in-progress are Choreography, Art and Experimental Composition 1950s -1970s and The Persistence of Dance: The Conceptual and Material in Contemporary Art and Choreography. Other projects are New Paradigms for Performance Pedagogies (UNSW T&L Grant with Dr. Bryoni Trezise) and Dancing Sydney : Mapping Movement : Performing Histories (an archival project with Dr. Julie-Anne Long and Dr. Amanda Card).
Dr. Rochelle Haley (Chief Investigator)
Rochelle is a Lecturer, School of Art & Design, University of New South Wales and researcher engaged with painting, drawing, movement and performance to explore relationships between bodies and physical environments. For over ten years Haley has worked at the forefront of the intersection of visual arts and dance: an emergent area of research gaining international momentum. Her interdisciplinary approach to movement merges painting and choreography to investigate space structured around the sensation of the moving body. Haley’s work aims to re-imagine the dynamism of material surfaces of representation to discover methods that are sensory, kinaesthetic, affective and rhythmic. She has exhibited internationally and at leading national venues including UQ Museum, Museum of Contemporary Art Sydney, Hazelhurst Regional Gallery and UNSW Galleries. Her work has been profiled on ABC Radio National, The Sydney Morning Herald, The Australian, Art Monthly Australia, Artist Profile Magazine and Art Collector.
Hannah Mathews (Chief Investigator)
Hannah is Senior Curator, Monash University Museum of Art, Melbourne. Hannah graduated with a Master of Art Curatorship from the University of Melbourne in 2002 and has worked in curatorial positions at the Australian Centre for Contemporary Art, Melbourne (2008-16); Perth Institute of Contemporary Arts (2005-07); Monash University Museum of Art (2005); Next Wave Festival (2003-04); The South Project (2003-04); and the Biennale of Sydney (2000-02). Hannah’s key curatorial projects include Shapes of Knowledge, MUMA (2019): Alicia Frankovich & Lili Reynaud Dewar, MUMA (2018); The humours, MUMA (2017); Ulla von Brandenburg: It has a Golden Yellow Sun and an Elderly Grey Moon, ACCA (2016); Derek Kreckler: Accident & Process, PICA, Perth and national tour (2015-ongoing); Ryan Gander: READ ONLY, ACCA, Melbourne (2015); Framed Movements, ACCA (2014); In the Cut: Contemporary Collage, ACCA (2013); Power to the People: Contemporary Conceptualism and the Object in Art, ACCA (2011); NEW11, ACCA (2011); Johanna Billing: Tiny Movements, ACCA (2009); Primavera, Museum of Contemporary Art, Sydney (2008); and Old skool (never lose that feeling), PICA (2007).
Shelley Lasica (Primary Research Associate)
Shelley is an independent artist based in Melbourne. For more than 30 years, Shelley Lasica has pushed the confines of dance, choreography and performance. Her practice is defined by an enduring interest in the context and situations of presenting choreography. Throughout her career, she has been making solo performances that function as a means and a reason for showing work. This practice provides the basis for generating ensemble works that question the collaborative and interdisciplinary possibilities of choreography. She regularly collaborates with visual artists, including Tony Clark, Helen Grogan, Anne Marie May, Callum Morton, and Kathy Temin, in order to create dialogues between different modes and means of presentation. Lasica’s choreographic works have been shown nationally and internationally within both visual art and theatre contexts, including: Melbourne Festival; National Gallery of Victoria, Melbourne; Chunky Move, Melbourne; Artspace, Sydney; Centre Nationale de la Danse, Paris; Siobhan Davies Studios, London; Dance Massive, Melbourne; Australian Centre for Contemporary Art, Melbourne; Murray White Room, Melbourne; and Anna Schwartz Gallery, Melbourne.
Carolyn Murphy (Partner Investigator)
Carolyn is the Head of Conservation at the Art Gallery of New South Wales (AGNSW). Carolyn’s research interests include investigating the ways in which museum and conservation practices impact artists and their works held in museum collections, with a particular interest in installation and time-based artworks. Previously Carolyn has worked at several cultural institutions, including the Museum of Contemporary Art, the Canadian Conservation Institute and the Queensland Art Gallery. Carolyn undertook a Getty Fellowship at the Fine Arts Museums of San Francisco after completing a Bachelor of Applied Science in paper conservation at the University of Canberra. Carolyn has also completed a Bachelor of Arts majoring in History and Law, and postgraduate qualifications in Museum Studies and Writing.
Lisa Catt (Partner Investigator)
Lisa is Assistant Curator, International Art at the Art Gallery of New South Wales (AGNSW) where she contributes to the acquisition, exhibition and care of the contemporary art collection. Recently she has worked with artists Eko Nugroho, Julian Rosefeldt and Yona Lee. Her interest in media, performance and installation art led to her central involvement in the AGNSW TimeBased Art Project. In 2017 she was selected, with her colleague Asti Sherring, to participate in a time-based media art workshop run by the Museum of Modern Art, New York. She has held curatorial positions at the National Museum of Australia and National Gallery of Australia, and has completed a Bachelor of Media Studies and a Master of Liberal Arts (Museum Studies) from the University of Adelaide and Australian National University, respectively.
Louise Lawson (Partner Investigator)
Louise is the conservation manager of time-based media conservation at Tate. She is responsible for the strategic direction, development and delivery of all aspects relating to time-based media conservation at Tate. This requires working across a wide range of projects and programmes: exhibitions, displays, acquisition, loan-outs and collection care initiatives. She has been developing how performance artworks in Tate’s permanent collection are documented and conserved. This work is expanding to consider choreographic artworks. Her conservation practice is rooted in the care, activation, documentation and transmission of such artworks.
Pip Wallis (Partner Investigator)
Pip is Curator, Contemporary Art, National Gallery of Victoria, Melbourne. She curates exhibitions, contributes to Australian and international contemporary art collecting, and writes and edits publications at NGV, where she has organised exhibitions by Helen Maudsley and Hito Steyerl, and performances by Adam Linder and Simone Forti. Pip sits on the Exhibitions Committee of West Space and 1856, and is a member of Matter in Flux. She was previously Managing Editor, X-TRA Contemporary Art Quarterly Los Angeles; Curator in Residence, Chisenhale Gallery London; and Curator, Gertrude Contemporary where she organised exhibitions by Brian Fuata, Claire Lambe and Atlanta Eke, Kate Newby, and Tahi Moore.
