Major essays & contributions to books


2013

‘Olive Cotton at Spring Forest’, Australian Book Review, July 2013, pp.18-31

‘Photography in 1913’ in Michelle Hetherington, ed., Glorious Days: Australia 1913, National Museum of Australia, pp.169-http://www.nma.gov.au/__data/assets/pdf_file/0004/379282/Ennis_Photography.pdf

2012

‘The space of biography: writing on Olive Cotton’, Meanjin, Vol. 71, No. 3, Spring 2012: 64-76

http://meanjin.com.au/articles/post/the-space-of-biography-writing-on-olive-cotton1/

2011

‘Death and digital photography’ in Cultural Studies Review, vol.17, no.1, March http://utsescholarship.lib.uts.edu.au/epress/journals/index.php/csrj/index (peer reviewed)

‘Other histories: photography and Australia’, Journal of Art Historiography, guest editor Jaynie Anderson, no.4, June 2011 http://arthistoriography.wordpress.com/ (peer reviewed)

‘Olive Cotton and Sea’s awakening’, Journal of Australian Studies, vol.35, no. 4, December, pp.433-449 (peer reviewed)

‘Photography and the Ballets Russes: An Australian Perspective’ in Mark Carroll, (ed.), The Ballets Russes in Australia and Beyond. Adelaide: Wakefield Press, pp.105-111

‘Sue Ford’s History’, Art Journal of the National Gallery of Victoria, no.50, pp.89-98 http://publications.ngv.vic.gov.au/artjournal/sue-fords-history/#.UdE9_G329JQ

2010

‘Photography and the Ballets Russes: An Australian Perspective’ in Mark Carroll, (ed.), Art at the Frontier. Adelaide: Wakefield Press, pp.105-111

2009

‘Photography and Australia’, Grove Art Online (2500 words)

2008

‘The art of dying’ in T Chandler Halliburton and Caroline Edwards (eds.), Making Sense of: Dying and death’, ISBN: 978-1-914710-52-3 (peer reviewed)

2005

‘Portraiture in extremis’ in Daniel Palmer (ed.), Photogenic. Melbourne: Centre for Contemporary Photography [forthcoming]

2003

‘Seeing and not knowing’, Meanjin on PNG, no.3, 2003

2002

Helen Ennis, ‘A National Photographic Collection’ in Peter Cochrane (ed.), Remarkable Occurrences. Canberra: National Library of Australia, 2002

1999

‘Postwar Australian Landscape Photography’, History of Photography, vol.23, no.2, 1999, pp.136-141 (peer reviewed)

Guest editor Art Monthly. Photography now, October, no.124, 1999, including an article ‘The promised land? Photography and the market’, pp.11-14

‘Painted pictures’ in Blair French (ed.) Photo-Files. Sydney: Power Publications and Australian Centre for Photography, 1999 (first published Photofile, Autumn 1987)

1998

Helen Ennis, ‘Margaret Michaelis in context’ in Juan Jose Lahuerta and Jordana Mendelson, Margaret Michaleis. Fotografia, Vanguardia I Politica a la Barcelona de la Republica. Valencia: IVAM Institut Valencia d’Art Modern, 1998

1997

Helen Ennis, ‘Blue hydrangeas: Four émigré photographers’ in Roger Butler (ed.), The Europeans. Émigré Artists in Australia 1930-1960. Canberra: National Gallery of Australia, 1997, pp.102-119

‘Don’t look back: Helmut Newton’s Australian years’ Photofile, no.52, December, 1997, pp.10-15

‘The rise and rise of documentary photography?’ in Leica Documentary Photography Exhibition and Award. Melbourne: Centre for Contemporary Photography, 1997

Helen Ennis, ‘Subject to change’ in Anne Bamford (ed.), Viewpoints. Visual arts case
studies. Heinemann, 1997

‘Partnerships’, Photofile, no.53, April, 1997, pp.24-28

1994

Pictograms: Aspects of Contemporary Photographic Practice, Australian Exhibitions Touring Agency, 1994

1993

‘An optic parable: Surrealism and Photography’ in Michael Lloyd (ed.) Surrealism: Revolution by Night. Canberra: National Gallery of Australia, 1993: pp.156-170 [catalogue essay]

‘Sacred fire’ in Geoffrey Burke and Peter Weiermair, eds., Second Nature. Peter Peryer, Photographer, New Zealand. Zurich: Edition Stemmle and New Zealand: Wellington City Gallery, 1993

1992

‘Photography and public life’ in Juliana Engberg, Location. Contemporary photo based work from Australia. Melbourne: Australian Centre of Contemporary Art, 1992: pp.35-42  [catalogue essay]

‘Analogues’ and ‘1992’, Graeme Hare. Melbourne: Graeme Hare, 1992[catalogue essays]

‘The end of nature’, 42′ South, Hobart: Chameleon Contemporary Art Space, 1992 [catalogue essay]

‘Searching for Geoffrey Powell’ in Stuart Koop, ed., Shot. Melbourne: Centre for Contemporary Photography, 1992

1990

‘To Canada’ in Karen Love, Aurora Australis. North Vancouver, Canada: Presentation House, 1990: pp.7-14 [catalogue essay]

‘Homage to Sight : the photographs of Miriam Stannage’ in Seva Frangos and Margaret Moore, Miriam Stannage. Perception 1969-1989. Perth: Art Gallery of Western Australia, 1990: pp.17-19 [catalogue essay]

1988

‘Contemporary Photographic Practices’ in Gael Newton, Shades of Light: Photography and Australia 1839-1988. Sydney: Collins Australia and Australian National Gallery, 1988: pp.134-161

‘Photography: New Directions’ in Joyce Agee, The Thousand Mile Stare. Melbourne: Victorian Centre for Photography, 1988: pp.95-100  [catalogue essay]

1987

‘Painted photographs’, Photofile, vol.4, no.4, Autumn, 1987: pp.11-14

1986

‘1970s Australian Photographic Practice: A Homogenous View?’, Photofile, vol.4, no.1, Autumn, 1986: pp.12-15

‘Laszlo Moholy-Nagy: Photography and Film in Weimar Germany’, Photofile, vol.4, no.2, Spring, 1986: pp.30-32

‘The 1970s and Now’, Afterimage (USA), vol.14, no.2, September, 1986: pp.7-8