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Julie Higginbotham

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Julie E. Higginbotham
Born (1953-06-17) June 17, 1953 (age 73)
Coburg
EducationPrahran College of Advanced Education, Preston Institute, Phillip Institute of Technology
Known forGallery director and curator, photographer, printmaker
Styleneo-expressionist
Parents
  • Kenneth A. Higginbotham (father)
  • Margery Ellen (née Rackham) (mother)

Julie Elizabeth Higginbotham is an Australian feminist documentary and artist photographer, printmaker and painter, and gallerist. She was born to Margery Ellen (née Rackham) and Kenneth A. Higginbotham, a real estate agent, in Coburg on 17 June 1953, and spent her childhood in Ascot Vale and Essendon.[1]

Education and early career

[edit]

With a Voigtlander 35mm rangefinder camera given her by an aunt in 1970 Higginbotham made her first photographs with which she applied to enter the Diploma of Visual Arts and Design at Prahran College of Advanced Education. She studied photography and cinematography under lecturer and film director Paul Cox, later renting a room in his house in Murray Street South Yarra (1973-4). Head of photography Athol Shmith and lecturer John Cato submitted her final year work for publication by the Institute of Australian Photographers.[2]

Portraiture has been part of Higginbotham's photographic practice from her early days. While still a student she was publicity photographer for several Melbourne ‘Soul’ bands including the Hot City Bump Band, Pantha,[3] and Powerhouse, with images published in Juke and Ram, and at various live music venues photographed bands playing including Rock Granite, Renée Geyer, Marcia Hines, Chris McNulty, Dave Flett, and The Dugites, and satirist Tim McKew.[4] To augment her student allowance she also worked part time during her final year at the college's media services department from which she also borrowed equipment.[5]

She then rented a small shop residence opposite the Prahran Town Hall, and set up a studio and darkroom in a nearby space with Denise Officer, who had also attended Prahran College, and she documented events around the lively Greville Street precinct, its Saturday market and the Station Hotel music venue.[6] After seeing her first solo show in December 1975 at Faraday Gallery in Carlton, Fred Milgrom of Outback Press commissioned a book cover for its publication The Institution by Walter Adamson.[7] In 1976 her father died and Higginbotham moved with her mother to Strathmore Heights.[1]  At Preston Institute under lecturer Daniel Moynihan,[8] she trained as a printmaker in 1977.

After graduating in 1977 Higginbotham was employed as assistant to the photographer for Handbury Advertising in the McEwans building in Bourke Street. With that experience, over 1978-80 she conducted a business partnership, Double J Photographics with Julie Clark at Rankins Lane, Melbourne, and in 1981 she was employed was a scenic artist at the Melbourne commercial television station GTV 9.

Style and reception

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Higginbotham's photography, printmaking and painting has a social activist, often feminist, purpose. Museum of Australian Photography curator Stella Loftus-Hills notes of her early work that was made when "part of a lively hippie community in Prahran [where] living conditions were squalid, the cheap rents attracted artists, musicians and alternative thinkers to the area, and...the atmosphere was tribal. Greville Street at this time was one of Melbourne's key counterculture locations, known for live music, organic food and second-hand clothes shops," where Higginbotham practiced "unobtrusive street photography" popular in the mid-1970s; "making candid expressive images such as Catching butterflies, Prahran Park (1974) which records a moment of human interaction with a keen eye for composition and synchronicity."[9]

As noted by Mayhew,[10] with Lesley Baxter, Ally Black, Linda Brassel, Julia Church, Zana Dare, Deej Fabyc, Maggie Fooke, Catriona Holyoake, Barbara Miles, Kate Reeves, Linda Rhodes, Julie Shiels, Lin Tobias, Julia Tobin, Kath Walters, Carole Wilson, and 'Chaz' and Karen, Higginbotham was a member of the radical Jill Posters group and produced political screenprints with them,[11] effectively illustrated slogans that they pasted up in public sites,[12] but so striking that they attracted a following and sales in alternative bookshops.[13] Alongside works of other artists of similar convictions, Jane Crowley, Pat Bull, and Anna Liebzeit, her posters and other prints appeared in shows across several venues at the 1999 Network of Women Students Australia's Feminist Art About Women conference.[14]

Her collage images, some presented unconventionally in window frames with venetian blinds, and accompanied by text addressing the housing problem in Melbourne, were made for Condition Incorporated held at the George Paton Gallery at Melbourne University in 1979,[15] which as Vivian notes "embraced the new paradigm of art as information," citing the exhibition as one using "art practice to formulate, arrange and examine" facts and issues.[16] Higginbotham and collaborators Julie Clark and Peter Hannaford held poetry readings and discussions throughout the duration of the show. The group made school visits where they hung the work in libraries and gave introductory talks. Two of the photographs were purchased by the Australian National Gallery for the Phillip Morris Collection.[17]

Of Higginbotham's 1983 solo exhibition of 22 etchings, linocuts and painting at Bitumen River Gallery, Sasha Grishin remarked in The Canberra Times that it brought with it "all the angst, sarcasm and expressionistic frenzy of the Melbourne art scene...[in] an attack on social inequities" of capitalism. Characterising her works as "inhabited with clumsy, bulky forms arranged with a cartoon-strip-like directness, accompanied by inscriptions making simple and unambiguous statements. I felt that her principal aim was to get the message across with maximum clarity; with least possible room for misinterpretation, like a political manifesto statement, angry and vibrant, being represented in a visual form." However, his ahistoric comparison of her imagery with that of German Expressionist George Grosz's artistic protest at injustice in the Weimar Republic found Higginbotham's lacking his "richness, subtlety and beauty."[18]

A 1999 survey of her printmaking Come And See My Etchings! The art of Julie Higginbotham 1979-1995, at Kaleidoscope Cafe Gallery was reviewed in Imprint by art historian Margaret E. McGuire who taught at Prahran College, and like Grishin, comments that "like many of her peers she uses printmaking to communicate dissenting ideas about politics and Australian society (twenty years ago screenprint posters were the popular choice)...Higginbotham still prefers the workshop to the studio, shunning the isolation of the ego. As in music - a passion central to her working life - artists in a workshop have to cooperate and often influence each other. Wit and whimsy are her own characteristics - the title sends up the stereotyped sexual mastery of the cliché while keeping its invitation to seduction."[19]

Having moved after an intense period of managing art galleries to care for her ageing mother at Point Lonsdale on the Bellarine Peninsula in 2001, where she continued to exhibit her printmaking and photography,[20] Higginbotham became Borough of Queenscliffe's community representative for Recreation, and joined its Cultural & Arts Access Advisory Committee. James notes of her work of this period that "Julie's sometimes political and humorous titles compel the viewer to pause to understand the artists narrative inspiration...These facts are not necessary in order to enjoy the picture, but a little inside information certainly helps the viewer to understand the artist's message...Rebirth came after the artist's long recovery from a back injury."[21]

Gallerist 1981–2001

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Iceberg

[edit]

In late 1978 Higginbotham took on a studio at 5 Rankins Lane (off Little Bourke Street) in the Melbourne CBD with some fellow artists then made it her residence as well. Neighbouring buildings were occupied by artists,[22][23] including Mirka Mora. In 1981, Higginbotham and Richard Collis co-founded the artist-run space Iceberg Gallery in the same space. At the same time, over 1981-82, Higginbotham undertook postgraduate studies in Fine Art, majoring in printmaking and photography at Phillip Institute of Technology (an amalgamation of the State College of Victoria at Coburg and her former Preston Institute of Technology in Bundoora).

In a 1982 Age newspaper article, Susan McCulloch, later co-author of the Encyclopedia of Australian Art, describes two general ways in which art galleries were run: either with the gallery taking commission on works sold, or rental of the space to the artist at a flat fee for the duration of the exhibition. ​Most of Australia’s established galleries, she writes, worked on the commission system to cover costs, the gallery being responsible for promotion and advertising, negotiating sales, and sometimes arranging future commissions for the artist. McCulloch notes that at Iceberg, then one of Melbourne’s newest galleries, artists Collis, Higginbotham (known as “Brownie”), and Serena Nankivell rented its space to artists at A$100 per week (2025 value A$450) and usually for three weeks, for which the gallery would mail out invitations, install the work, and provide wine for the opening. Only sales exceeding $900 incurred a commission. They did not serve as artists' agents, leaving artists free to choose to show at other galleries after using Iceberg for exposure. ​The gallery was like an extension of their own studios and was ideally situated in Rankins Lane, then largely occupied by artists, and was also available for other activities such as music and performance.[22] By 1983 Holloway was noting that Iceberg Gallery had become “one of the few important alternative galleries in Melbourne.”[24]

Iceberg's calendar included performances of Not still lives. A play about Margaret Preston (1875-1963) & Thea Proctor (1879-1966) by Meredith Rogers, 25 August–12 September 1982;[25] a controversial inclusion of Craig Haire's artwork consisting of human bones for the inaugural Melbourne Fringe Festival of 1982;[26] the annual CICD Peace Art Exhibition, 15–27 November 1983,[27] and shows from interstate such as that by Canberra's Bitumen River Collective in 1983.[28][12] Artists represented in 1983 included the Fringe Network Artists, Peter Adams, Imelda Dover, Noel Hart, Lisa Roberts and Barbara Weiss, Caulfield Institute of Technology printmakers, Peter Rosson, Rosie Lugg, Richard Collis, Jill Scott, Shiralee Saul and Ann Ferguson.[29]

Sydney

[edit]

After leaving Iceberg for a study tour in the UK and Europe in late 1983, and then moving to Sydney in 1984, Higginbotham was a gallery assistant, first at Artbank, then part time at Garry Anderson Gallery, Darlinghurst, where her 1977 photograph of Peter Caddy was shown in Australian Photography in August /September1988, while she was operating a sole trader business 'Positive Negative Photographics' over 1986-88 in the Trades Hall, Sydney undertaking art documentation, including Jill Orr's performance The Digging in and the Climbing Out at Lake Burley Griffin, Canberra,[30][31] and for such magazines as Art + Australia.[32]

Brunswick Mechanics' Institute

[edit]

Returning to Melbourne Higginbotham curated an exhibition in 1990 Artzwick ARTWORX I at the Brunswick Mechanics' Institute that assembled from a recently formed collective 94 works by 48 artists, plus tapestries created out of the Brunswick Patterns of Our Lives project of 1987, thus revealing the number of artists living in the northern suburb.[33] Of the 94 works exhibited, seven pieces were purchased by the City of Brunswick, the basis of the Brunswick art collection. Those contacts made in the show, including Jo Whitelaw, Arthur Rundle and Gus Cohen, as well as encouragement from Moreland Council commissioner Dimity Reid, a lecturer in architecture at RMIT, inspired Higginbiotham's directing of Brunswick's Mechanics Institute Gallery (1993-99)[34] where she secured annual schedules of exhibitions hosting such shows as the annual Women series,[35][36] community group shows such as the Turkish Festival, Lebanese Festival, Refugee Week, Koori Festival, Chinese Children's Painting from China, Munupi Dreaming from the Tiwi Islands, performances by artists including Archie Roach,[37] and many solo and group exhibitions by local Brunswick artists.[38]

Counihan

[edit]

With support from the City of Brunswick and a Major Projects Grant from the federal government in 1993, the Mechanics Institute Gallery was replaced with a professional exhibiting space in the former town hall and the venue was rebadged Counihan Gallery (named for prominent local artist Noel Counihan) in 1999. Through her business Julie Higginbotham Arts Management (1999–2001) and casual employment by the City, she was instrumental in its establishment.[38] Her knowledge of Brunswick history was recognised in consultations such as for the film Hope.[39]

In addition, Higginbotham curated exhibitions freelance at such venues as the 1995 Stenopaeics (curated with Leonie Richardson) with examples of pinhole photography by Darren Glass, Tim Mackrell, Rhonda Stevens, Roger Skinner, Victoria Cooper, Ron Left, Mathew Cox, Andrew Craig Steinman, Leonie Richardson, Doug Spowart, Max Osborne at the Centre for Contemporary Photography.[40][41]

Educator

[edit]

Higginbotham was employed as a studio technician in printmaking over 1989-1991 at the Victorian College of the Arts, until Prahran College was amalgamated with the VCA at the end of 1991 when three tenured technicians were transferred from Prahran along with all the heads of departments within the Art School, and her position was made redundant. She directed her energy into the Brunswick art community and coordinating an annual visual arts program at the inner Melbourne suburb's Mechanics Institute. To augment her salary she then started teaching in the National Gallery of Victoria Society's summer and winter schools from 1992, and then at tertiary institutions from 1991, in visual arts courses at Victorian College of the Arts and RMIT printmaking workshops through to 1996, while also lecturing from 1993 in printmaking at RMIT and Western Metropolitan College of TAFE (1993-4), and Swinburne University School of Design 1993-95 and 1998-99 as a sessional lecturer.

Since 2000, Higginbotham has concentrated on producing art full time.

Selected exhibitions

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Solo

[edit]
  • 2001, July: Come and See my Etchings! Murston House, Geelong[21]
  • 1998, 27 July–28 August: Come and See My Etchings! the art of Julie Higginbotham 1979-1995. Kaleidoscope Cafe Gallery, Melbourne[19][42]
  • 1983, 13–31 July: Julie Higginbotham Etchings and Linocuts. Bitumen River Gallery, Manuka, ACT[43][44][45]
  • 1982, 17 November–5 December: Etchings, drawings and linocuts by Julie Higginbotham[46]
  • 1975, December: first solo show. Faraday Gallery, Carlton[45]
  • 1989: Seamans Mission Gallery, Melbourne[45]

Group

[edit]
  • 2025: Long Exposure: Legacy of Prahran College. 2025 Ballarat Foto Biennale[47]
  • 2025, 4-25 May: Beyond the Basement. Magnet Galleries, Docklands, Melbourne
  • 2025, March–May: The Basement: Photography from Prahran College (1968-1981), Museum of Australian Photography[6]
  • 2020, 24 September–8 November: Art of the Flower & Garden- The Weird World of the Imagination. Burra Gallery
  • 2001, December: Jo Voigt and Julie Higginbotham, In a Snapshot. Queenscliff Town Hall, opened by the Mayor Cr. Val Lawrence[20]
  • 2019, 2 - 17 August: Maggie Diaz Photography Prize For Women. Bright Space, St Kilda
  • 1989, Linden Gallery[45]
  • 1988, 4–6 May: Australia Illustrated: a reflection on Federation, Higginbotham with Graeme Peebles, Clive Dixon, Sally Armfield, Nicholas Nedelkopoulos, Eamonn Scott, Heather Shimmen, Barry Dickins, Mary Hammond, Geoff Faulkner, Gary James, Peter Walsh, Cathy Drummond, Richie Clendinnen, David Harley, Judith Harley, Bill Hay, Keith Looby, Steven Krahe, Alice Nixon, Bronwyn Dennis, Lewis Miller, Phillip Faulks , Gary Willis, Laurie Peterson, David Gregory, Tina Haynes, Karen Rhodes, Alex Zubryn, Debbie Mcrae, Glenn Morgan, Geoff Hogg. Brunswick South Primary School
  • 1988, 16 August–3 September: Australian Photography 1928–1988. Garry Anderson Gallery, Darlinghurst[45]
  • 1984, 7–26 May: Arts Space shopfront installation Mark Foy’s window, Sydney
  • 1980: Women and Work. Trades Hall, Melbourne (travelling 1981)
  • 1980: Australian Student Printmakers. Print Council of Australia, Melbourne[48]
  • 1979: Latrobe University Gallery Snap It -Click It with Jenni Mather. Photographs[48][49]
  • 1978, 6–23 June: Condition Incorporated. A Study of Melbourne's Planning and Housing Problems. Julie Clarke, Julie Higginbotham, Peter Hannaford, mixed media, collage, drawing, photographs, sculpture, film, poetry readings. George Paton Gallery[15]

Cinematography

[edit]
  • 1970: Mirka Prahran College of Advanced Education students, dir. Paul Cox[6]
  • 1976: Stills photographer, Illuminations dir. Paul Cox
  • 1985: Script writer, set design, camera operator, co-editor) Egami dir. Sue Ford

Awards

[edit]
  • 2019: Finalist, Maggie Diaz Photography Prize For Women

Collections

[edit]

References

[edit]
  1. 1 2 "Personal Announcements: Deaths". The Age. 8 October 1976. p. 22.
  2. ↑ "Student photography". IAP: Professional Photography in Australia. 31 (5): 36–7. September–October 1974.
  3. ↑ Magazine, C. X. (2023-03-29). "ARCA DESK TAPES # 34: PANTHA LIVE 1976". CX Network. Retrieved 2026-07-29.
  4. ↑ Rittman, Anne; Wilson, Maz (2016). Brunswick Street, Art & Revolution. Fitzroy North, Vic.: Black Pepper Publishing. pp. 34–47. ISBN 9781876044978.
  5. ↑ Buckrich, Judith Raphael; Buckrich, J; Prahran Mechanics' Institute (2007), Design for living: a history of 'Prahran Tech', Prahran Mechanics' Institute Press, pp. 96–99, ISBN 978-0-9756000-8-5
  6. 1 2 3 Museum of Australian Photography (2025). The Basement: Photography from Prahran College (1968–1981). Melbourne: Museum of Australian Photography. pp. 15, 58, 60, 70, 72, 75n2, 81, 90, 108, 114, 121, 128, 133, 136, 156, 184, 186–7, 202, 207. ISBN 9781876764883.
  7. ↑ Adamson, Walter (1976). The Institution: a novel (1st ed.). North Fitzroy: Outback Press. ISBN 9780868880389.
  8. ↑ Printmaking, Prints and. "Danny Moynihan". printsandprintmaking.gov.au. Retrieved 2026-07-28.
  9. ↑ Loftus-Hills, Stella (2025). "Finding Their Voices in the Street". The Basement: Photography from Prahran College (1968–1981). Melbourne: Museum of Australian Photography. p. 108. ISBN 9781876764883.
  10. ↑ Mayhew, Louise (1995). Jill Posters Will Be Prosecuted: Australia's women-only print collectives from the 1970s and 1980s (doctoral thesis ed.). College of Fine Arts, University of New South Wales.
  11. ↑ Allen, Traudi (2001). Cross-currents in contemporary Australian art (2nd ed.). St. Leonards, Sydney, N.S.W.: Craftsman House and Fine Art Pub. p. 121. ISBN 9781877004032.
  12. 1 2 Wawrzyńczak, Anni Doyle (2020). How local art made Australia's national capital. Canberra, Australia: Australian National University Press. pp. 158n, 130, 233. ISBN 9781760463403.
  13. ↑ Tsara, Olga (2025-03-27). "State Library Victoria – Think globally, act locally: feminist posters by Australian women artists from 1970s-1990s". State Library Victoria. Retrieved 2026-07-29.
  14. ↑ "Two decades of feminist art on show". Moreland Sentinel. 19 July 1999. p. 6.
  15. 1 2 George Paton Gallery. "Records of George Paton Gallery: Exhibitions 1978". University of Melbourne Archives. Retrieved 2026-07-29.
  16. ↑ Vivian, Helen (2008). When you think about art...: the Ewing and George Paton Galleries, 1971-2008. Melbourne, Vic.: Macmillan Art. pp. 74, 156. ISBN 9781921394027.
  17. ↑ Australian National Gallery (1984). "Appendix 11: Acquisitions". Australian National Gallery Annual Reports. Parliamentary paper (Australia. Parliament) (1982/1983, PP no. 54 of 1984): 96. ISSN 0314-9919. Retrieved 28 July 2026 – via TROVE.
  18. ↑ "ART Attack on social inequities". The Canberra Times. Vol. 57, no. 17, 471. Australian Capital Territory, Australia. 30 July 1983. p. 17. Retrieved 28 July 2026 – via National Library of Australia.
  19. 1 2 McGuire, M.E. (September 1998). "Come and See My Etchings! the art of Julie Higginbotham 1979-1995, 27 July-28 August 1998, Kaleidoscope Cafe Gallery, Melbourne". Imprint. 33 (3). Print Council of Australia: 22.
  20. 1 2 "Caption". Queenscliffe Herald Illustrated. Vol. 3, no. 1. December 2001. p. 1.
  21. 1 2 James, Cinnamon (July 2001). "Julie Etches a New Life by the Sea". Geelong Advertiser.
  22. 1 2 McCulloch, Susan (27 July 1982). "Pay-for-your-space art displays". The Age. p. 25.
  23. ↑ Lopez, Rex (20 August 1982). "Down artist's lane". The Sun. pp. 30–31.
  24. ↑ Holloway, Memory (9 November 1983). "Calmer Booth Reverses Expectations". The Age. p. 14.
  25. ↑ "Not still lives. A play about Margaret Preston (1875-1963) & Thea Proctor (1879-1966). at Iceberg Gallery. (1982) · Australian Prints + Printmaking". printsandprintmaking.gov.au. Retrieved 2026-07-29.
  26. ↑ Olszewski, Peter (November 1982). "Human bones in 'art' show". Melbourne Times.
  27. ↑ "What's On". Tribune. No. 2309. New South Wales, Australia. 16 November 1983. p. 14. Retrieved 29 July 2026 – via National Library of Australia.
  28. ↑ "Bitumed River Gallery Collective. at Iceberg Gallery. (1983) · Australian Prints + Printmaking". printsandprintmaking.gov.au. Retrieved 2026-07-29.
  29. ↑ Iceberg Gallery (1983) Exhibition Programme. Iceberg Gallery
  30. ↑ Burke, Janine (1990). Field of Vision. A Decade of Change: Women's Art in the Seventies. Ringwood, Vic.: Viking. p. 34. ISBN 9780670835867.
  31. ↑ Howe, Neil (2017). Parallel realities : the development of performance art in Australia. Port Melbourne, Victoria: Thames & Hudson. p. 241. ISBN 9780500500934.
  32. ↑ Higginbotham, Julie (Autumn 1986). "Exhibition Commentary: René Bolten (illustration)". Art and Australia. 23 (3): 329.
  33. ↑ Thompson, Scott (14 October 1996). "The cultural revolution". The Moreland Sentinel. pp. 1, 8.
  34. ↑ "News Extra: Ten Questions for Julie Higginbotham, Director: of Brunswick Mechanics Institute Gallery". Brunswick Sentinel. 1996.
  35. ↑ Uren, Kate (6 March 1995). "Institute hosts new talent". Brunswick Sentinel. p. 1.
  36. ↑ "Advertisement: Brunswick Festival of the Arts". The Age. 20 March 1993. p. 159.
  37. ↑ "Advertisement: "Bad News" Raymond Thomas". The Age. 29 September 1995. p. 50.
  38. 1 2 Penrose, Helen (1994). Brunswick: one history, many voices. South Melbourne, Vic.: Victoria Press. pp. 232–3. ISBN 9780724184538.
  39. ↑ Crow, Ruth; Kyte, Sue (2011). "Hope (video): synopsis & outline". Victoria University archives. Retrieved 29 July 2026.
  40. ↑ "Photography: Centre for Contemporary Photography". The Age. 2 June 1995. p. 46.
  41. ↑ Higginbotham, Julie; Richardson, Leonie (1995). Stenopaeics (Exhibition catalogue ed.). Fitzroy, Vic.: Centre for Contemporary Photography. ISBN 9780646243566.
  42. ↑ Borrack, Martine (August 1998). "Narrative of a rich life". Brunswick Sentinel.
  43. ↑ Higginbotham, Julie (1983). "Etchings and Linocuts - Julie Higginbotham (exhibition poster)". Centre for Australian Art: Australian Prints + Printmaking. Retrieved 28 July 2026.
  44. ↑ "ART Attack on social inequities". The Canberra Times. Vol. 57, no. 17, 471. Australian Capital Territory, Australia. 30 July 1983. p. 17. Retrieved 28 July 2026 – via National Library of Australia.
  45. 1 2 3 4 5 Germaine, Max (1990). Artists and galleries of Australia (3rd revised ed.). Roseville, N.S.W.: Craftsman House. p. 309.
  46. ↑ "Galleries". The Age. 12 November 1982. p. 42.
  47. ↑ Hathaway, Merle; Cozzolino, Mimmo (2025). McArdle, James (ed.). LONG Exposure : Legacy of Prahran College, (2025 Ballarat Foto Biennale) (1st ed.). Mimmo Cozzolino. ISBN 978-0-9872498-2-1.
  48. 1 2 3 Wood, Lilian; King, Grahame E. (1982). Directory of Australian printmakers, 1982. Melbourne: Print Council of Australia. p. 21. OCLC 1033659970.
  49. ↑ "What's On: Galleries–City". The Age. 13 July 1979. p. 36.
  50. ↑ Higginbotham, Julie (1983). "Jill Posters contributions silkscreens Advance Australia and Best We Remember: Blind Strategies". Australian Prints + Printmaking. Retrieved 2026-07-28.
  51. ↑ "Collection search: works by Julie Higginbotham". National Gallery of Australia. Retrieved 29 July 2026.
  52. ↑ "Julie Higginbotham: Australian Art and Artists file". State Library Victoria. Retrieved 2026-07-29.
  53. ↑ Higginbotham, Julie (1975). "Tony Llewellyn-Jones, Gabriella Trsek with Paul Cox directing his first feature film Illuminations". Museum of Australian Photography. Retrieved 2026-07-29.
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