Jill Orr has delighted, shocked and moved audiences through her performance installations which she has presented in cities such as Paris, Beijing, Hong Kong, Amsterdam, Antwerp New York, Toronto, Quebec City, Graz, Hong Kong, Sydney, Melbourne, Adelaide and Brisbane from the late nineteen seventies to now.


Orr’s work centres on issues of the psycho- social and environmental where she draws on land and identities as they are shaped in, on and with the environment be it country or urban locales.


Orr’s early iconic work Bleeding Trees has led to  commissions such as Marriage of the Bride to ArtRaising the Spirits, Exhume the Grave, Hunger, The Myer Windows, The Sleep of Reason Produces MonstersGoya and Ash, to name only a few works which have contributed to the contemporary cultural landscape. Orr grapples with the balance and discord that exists at the heart of relations between the human spirit, art and nature.


In 2004 Jill Orr created From the Sea about the wild shipwreck coastline of Warrnambool. This panoramic video installation was in created in collaboration with the Gunditmara Aboriginal Community from Warrnambool.


From the Sea began a body of work that traces overlapping histories of indigenous and non- indigenous relations to place. She has recently completed The Crossing, which was presented for the 2007 & 8 Mildura and Wentworth Festival.


Orr was represented in the inaugural Venice International Performance Art Week in 2012 where she presented The Promised Land to international acclaim. She has since been one of ten international performance artists to present at the Bipolar Performance Art Meeting in Sopot, Poland with the performance Trilogy 1- We create the image together, 2014. Orr has mesmerized audiences with her most recent work, Trilogy 2-Listen for the MAP Festival, Melaka, Malaysia, 2014 and Trilogy 3- To Choose, for the 2015 performance for Performance Presence, Video Time curated by Anne Marsh at the AEAF, Adelaide.

Jill Orr  received the Australia Council Fellowship and has created Antipodean Epic  which is presented as photographic, video and site specific live performance.  It was shown Mildura Palimpsest #10 , 2015 followed by Antipodean Epic- The Quarry for the Lorne Sculpture Biennale, 2016 and later to MIP 3, the Belo Horizonte Biennale, Brazil.

Jill has since created Detritus Springs, Listening, Laundry and revised Dark Night for  2019 Dance Massive Program. In 2021, MUMA ( Monash Gallery of Art commissioned This Tree for Tree Story. 

Southern Cross Reclaimed has just been exhibited by This is No Fantasy gallery, Dianne Tanzer and Nicola Stein for Art Basel Online 2022, <>   The work will also show in the gallery late March to mid April 2022. 

“Jill Orr is a fiery artist and her work expresses the beauty, power and spiritual depth that is her trade mark.” - Helen Vivian, Catalogue essay Jill Orr, Ash - Independent Curator, Producer and Publisher, Director, Artmoves Inc.  




Jill Orr





2022 Southern Cross Reclaimed, This is No Fantasy is Dianne Tanzer and Nicola Stein, 108-110 Gertrude St, Fitzroy, Melbourne  

2022  Falling & Flight, Southern Western, Mildura Arts Cantre, curated by Gareth Hart and Jane Polkinghorne

2022  Southern Cross Reclaimed, Art Basel online 2022 This is No Fantasy, Dianne Tanzer and Nicola Stein, 108-110 Gertrude St, Fitzroy, Melbourne. 

2021 -2022 Exhume the Grave, - McCubbin and Contemporary Art, Geelong Gallery, curated by Lisa Sullivan

2021 This Tree, Tree Story, Monash Museum of Art, curated and comissioned by Charlotte Day 

2020- 2021 Know My Name, National Gallery of Australia, Canberra.

2020 Australia: Antipodean Stories at PAC Padiglione d'Art Contemporanea, Milan. Curated by Eugenio Viola.

2019 Dark Night, Dance Massive produced by Dancehouse, Curated by Angela Conquet, at the Abbotsford Convent Magdalen Laundries.

2019 Laundry, Temporal Proximities, curated by Kelli Alred, at the Abbotsford Convent Magdalen Laundries. 

2018 Listening, Unconformity Festival Queenstown, Tasmania. Curated by Travis Tiddy. 

2018  Chaos and Order: 120 Years of collecting at RMIT, curated by Jon Buckingham, RMIT Melbourne

2018  Dark Night, performance commissioned for the Lorne Sculpture Biennale 2018 opening weekend. Curated by Lara Nicholls.

2017  Antipodean Epic, video installation, InExtremis, Arthouse, Melbourne.

2017  Cracks in the Seams with Christina Simons and the Arts Academy performing Arts Students, for the Ballarat International Foto Biennale

2017  Finalist in the Bowness Photography Prize, Monash Gallery of Art. Melbourne.

2017  States of Being: the elemental importance of water, curated by Anne Bennett, Hatch Gallery, Ivanhoe

2017  Every Brilliant Eye: Australian Art of the 1990’s, National Gallery of Victoria, Melbourne

2017  Freshwater, SAM, Shepparton Art Museum, curated by Anne Briers

2017  Photography 130 – Behind the Lens: 130 years of RMIT photography, RMIT Gallery curated by Shane Hulbert.

2017  Red, Green, Blue: A History of Australian Video Art curated by Matthew Perkins, Griffith University Gallery

2016-17 Birds: Flight Paths in Australian Art, Mornington Peninsular Regional Gallery, Victoria

2016   A Wallaby Sat Here Once: Small Acts of Celebration, Curated by Lyndal Jones, Avoca Projects Inc. Watford House, Avoca Victoria. 

2016  Utopia du Jour, Manningham Art Gallery,curated by Megan McEvoy, Melbourne

2016  Brazil:Antipodean Epic, performance, curated by Fernando Ribiera,  Belo Horizonte, Biennale, Brazil.

 2016 The Quarry: Antipodean Epic, performance event for the Lorne Sculpture Biennale curated by Julie Collins, Lorne Victoria.

2016 We Stand Together, We Stand Alone,  Jill Orr incollaboration with Third Year Acting Company, Arts Academy, Federation University, Mining Exchange, Ballarat.

2016 Antipodean Epic, photographs and video, Fehily Contemporary, Melbourne.

2016 Laughing Waters Road, : Art Landscape and Memoryin Eltham, Catalogue, & Exhibition of the Nillumbik Shire Artist in Residence Program.

2016 Fleurieu Art Prize. Finalist , Samstag Museum South Australia

2015 Lurid Beauty: Australian Surrealism and its Echoes, National Gallery of Victoria. Melbourne.

2015 Antipodean Epic, live performanceMildura Palimpsest Biennale #10, Mildura.

2015 Mentoring and Key Note Presentation for the Marina Abramovic: In Residence, John Kaldor Public Art Project 30, Pier 2/3, Sydney. 

2015  About Trees, Zentrum Paul Klee, curated by Peter Fischer, Bern, Switzerland.

2015  Trilogy, performance & videos forPerformance, Presence, Video Time, curated by Anne Marsh, Australian Experimental Art Foundation, Adelaide. 

2015  Mad Women in the Attic,: A Feminist Revisioning of the Archive, Plimsoll Gallery, Hobart, Tasmania

2014  Trilogy site-specific performance for the Melaka Performance and Art Festival, Melaka, Malaysia.

2014 We create the image together II, performance,SAVVY Contemporary, Berlin.

2014 Trilogy: we create the image together I, performance,II Bipolar International Meeting of Women Performance Artists in Sopot, curated by Arti Gowowski,  National Gallery of Art , Poland

2013-14 Sea of Dreams: Port Phillip Bay 1915-2013 (Part Two), Mornington Peninsular Regional Gallery, Victoria.

2013  Blake Religious Art Prize finalist and touring exhibition

2013  Biennal International De Curitiba,  Curitiba, Brazil

2013  You Carry it With You, Horsham Regional art Gallery, Horsham.

2013  80s Mixed Tape, National Gallery of Victoria, curated by Max Delaney, Melbourne.

2012  The Promised Land, Venice. The inaugural Venice International Performance Art Week, Venice, Italy

2012  The Promised Land, Melbourne, Jenny Port Gallery hosted by the John Buckley Gallery, Melbourne.

2012  Still Moving Despite the Tide, MAP, The Melaka Visual and Performance Festival Melaka , Creative Director , Tony Yap and Visual Art Director, Anthony Pelchan Melaka, Malaysia.

2012  Space, Place and Recurring History, PhD Exhibition, Faculty Gallery, Monash University Caulfield.

2011  Sleep of Reason Produces Monsters- Goya. Project: Art Gallery of Ballarat Night Projection Window, video,

2011  Between Somewhere and Nowhere, performative photographs, Jenny Port Gallery, Melbourne

2011  Song to the Sea, performance, Lorne Sculpture, Lorne.

2011  Palimsest, Mildura, curated by Helen Vivian, Mildura  

2011  Black Cube, White Box: Aspects of Performance in Australian ContemporaryArt,The Arts Centre Gallery, curated by Steven Tonkin, Melbourne.

2011 Artist’s Rooms, Vision a photographic installation, Castelmaine State Festival, curated by Jason Smith and Martin King, Castelmaine.  

2011 AfterGlow: Performance Art and Photography, Monash Gallery of Art , curated by Stephen Zagala, Melbourne.

2010 Stormy Weather, National Gallery of Victoria, performance photography, Melbourne.

 2010 Vision, photographs from Avoca Primary School, Jenny Port Gallery, Melbourne.

2010 Works From the Wimmera Faith in a Faithless Land, photographsHorsham Regional Art Gallery.

2010 Global Mind Project: an arts & neuroscience collaboration Karen Casey, Stelarc, Domenico D`Clario at Federation Square, Melbourne.

2009 Sustainable Fusion Reactions, Ash Keating, Utako Shindo & Bindi Cole, curated by Jill Orr for the Arts Academy, University of Ballarat.

2009 Sustainable Cubbies with the Avoca Primary School for the Eco- Living   Festival, Avoca, directed by Lyndal Jones, Avoca Victoria.

2009 Rituals of Engagement: seeing and believing : Installation, World Environment Day, Ballarat

2009 Faith in a Faithless Land: Photographs   Jenny Port Gallery, Melbourne

2008 Heat: Art and Climate Change. RMIT Gallery curated by Suzanne Daviesand Linda Williams, Melbourne.

2008 When You think about Art  book launch and exhibition at The Ewing a George Paton Gallery,  urated by Helen Vivian, Melbourne.            

2008 Southern Cross Reflections, Maroondah Art Gallery, Melbourne

2008 The Crossing photo/ video installation, Mildura Arts Centre, Mildura.

2008 LOOP 2008 Barcelona, video festival, Barcelona, Spain.

2007 Blake Religious Art Prize, touring exhibition, Australia.

2007 A Prayer, performance, Inter- Positions 24hr Art, Darwin Festival, Darwin.

2007 Digging in & Climbing Out, photographs at Carni, Melbourne

2007 The Crossing performance event. Mildura & Wentworth Festival, Mildura.

2006 Robert Jacks Drawing Prize, finalist , Bendigo Art Gallery, Bendigo.

2006 Land, paintings and works on paper, Gallery 25, Mildura

2005 Howl Festival, performance, video, Generation X Garden, E4th St, Alphabet City, New York

2005 Text Me, photographs, Sherman Galleries, Sydney

2005 Artist in Residence, Redgate Gallery, Beijing

2005 Drawing Dust, Altitude, paintings, Maroondah Art Gallery, Redgate Gallery, Beijing

2004 Ash, performance and paintings, Shepparton and Sale Art Galleries, Victoria.

2004  EveN photographs and video, group show, Mildura Art Gallery, Mildura.

2004  From the Sea, video installation, Warrnambool Art Gallery, Warnambool, Victoria.

2004  Altitude Art, photographs, group, Redgate Gallery, Beijing, Mass Gallery, Melbourne John Batten Gallery, Hong Kong.

2003 The Sleep of Reason Produces Monsters– Goya, performance installation, 45 Downstairs, Melbourne, City of Melbourne.

2002 / 3   The Field, Inaugural Show, National Gallery of Victoria, Ian Potter , Federation Square, Melbourne.

2002 Ash, paintings, drawings, and performance, Mass gallery, Melbourne

2002 Ash, Artist in Residence, Parks Victoria and the Nillumbic Shire, Melbourne.  

2002 The  Sleep of Reason Produces Monsters– Goya, performance installation, Artspace, Sydney.

2002 Geelong Art Prize, painting finalist , Geelong Art Gallery, Geelong, Victoria.

2002 The Fleurieu Art Prize, painting finalist Samstag Museum, South Australia.

2001 / 2  Digital Ghosts, photographic installation, curated by Tony Scott and Sally Grey, Mass Gallery,  Melbourne, Redgate Gallery, Beijing, Tin Sheds, Sydney,

1999  Mud People, paintings, sculpture, performance, Herring Island Melbourne.

1999  Artist in Residence, Cite Des Arts International, Paris

1999  Presence 1, Mass Gallery, Melbourne.

1999  Hunger 2, performance, International Performance Arts Festival, Quebec City, Canada.

1999  Hunger 3, performance, 11a / 7d/ International performance Art Festival, Toronto, Canada.

1999  Telling Tales, Trauma and Memory, Cross Cultural Perspectivesperformance photographs, curated by Jackie Dunn and Jill Bennett, Gallery Neue, Graz, Austria.

1999   Exhume the Grave, commissioned by the Geelong Art Gallery

1998    A Bundle of Papers, works on paper, curated by Tony Scott,  John Batten Gallery, Hong Kong,

1998  Telling tales, Trauma & Memory, Cross Cultural Perspectives, photographs and performance, Hunger 1, curated by Jackie Dunn and Jill Bennett, Ivan Dougherty Gallery, Sydney.  

1997  Myer Windows, performance installation, Melbourne International Festival for the Arts, curated by Maudie Palmer, Melbourne.

1996 Sound Silence and Light, commissioned   performance installation,  Brisbane Festival for the Arts, IMA, Brisbane.


1996 Women Hold up the Sky, photographs, curator, Roger Butler, National Gallery of Australia, Canberra.  

199   Lunch with the Birds, photographs, The Beach, curator Juliana Engberg, Museum of Modern Art, Heide, Melbourne.

1994  Raising the Spirits, commissioned performance installation for Persona Cognita, curated by Juliana Engberg, Museum of Modern Art at Heide, Melbourne.

 1994 Marriage of the Bride to Art, commissioned performance  for Celebrating Women, Drydocks and Slipways,curated by Jane Scott, National Gallery of Victoria, Melbourne.

1994  25 years of Performance,photo-documentation, curated by Nick Waterlow,  Sydney, Perth, Canberra, Melbourne.

 1992 Love Songs,  second performance season by popular demand, Australian Centre for Contemporary Art, Melbourne.

1991 Love Songs, performance installation IMA, Brisbane, ACCA, Melbourne, Dissonance, Frames of Reference,Artspace, Sydney

1991 Off the Wall In the Air, A Seventies Selection, performance photographs,  Australian Centre for Contemporary Art, Melbourne.

1990 Jill Orr,  Photo – Documentation from 1978 – 1989, photographs and performance, The Australian Centre for Contemporary Art, Melbourne, Geelong Art Gallery, Bendigo Art Gallery, Mildura Art Gallery, Experimental Art Foundation, Adelaide, Contemporary Art Space, Canberra.

1989 Paintings, solo show, DC Art, Sydney

1989 Paintings, solo show, 312 Lennox St, Richmond, Melbourne.  

1988 Australian Painters, 312 Lennox St, Richmond, Melbourne.

1987 Paintings, 312 Lennox St, Richmond, Melbourne.

1986 From Field to Figuration, National Gallery of Victoria, Melbourne.  

1985 The  Amsterdam Process, Christine Abrahams Gallery, Melbourne

1984 The Amsterdam Process, Performance Space, Sydney

1983 The Digging In & the Climbing Out, performance / Earthwork, Act 3, Canberra.

1982  Paintings, solo, Gallery Theeboom, Amsterdam, Holland.

1982 Headed South, performance, Salon O, Amsterdam and IMA, Belgium.

1982 Meeting the Opposites, performance installation, Eureka, Australian Artists in London, Curators Leon Parissean and Burnese Murphy, Institute of Modern Art , London. 

1981 Paintings, Gallery Theeboom, Amsterdam, Holland.  

1980 She had Long Golden Hair, performance, Experimental Art Foundation, Adelaide.

1980 Bleeding Trees, performance, Paris Biennalle,  Musee D Àrt Modern, Paris.

1980 Do You Speak?Performance, Mixage Festival, Rotterdam ,Utrect, Breda, Amsterdam.

1980 Split- Fragile Relationships, Women at work, Ewing and George Paton Gallery, Melbourne University, Melbourne.

1979 Bleeding Trees, performance, Sydney Biennalle, European Dialogue  New South Wales Art Gallery & Power House, Sydney.

1979 Pain Melts and Lunch with the Birds, photo-documentation, Institute of Modern Art, Brisbane.

1978 Response, performance earthwork, Mildura Triennalle.

1978 Map of Transition, Ewing and George Paton Gallery, Melbourne

1978 Blinding Surface & Inside Jacks Head, Ewing & George Paton Gallery, Melbourne.




National Gallery of Victoria

National Gallery of Australia, Canberra

Nillumbic Shire

Methodist Ladies College

 Griffith Artworks

 Mildura Art Gallery

Geelong Art Gallery


RMIT  collections

Ian North Collection

Redgate Gallery Beijing

The Grahame Gibson Collection

Maroondah City Council

Monash Gallery of Art

Monash University Art & Design Library    Collection

Australian Council of Education Research

City of Yarra                                                                         

  Moreland City Council

Tasco Inland      


Private collections:  Australia, Holland, England, France, USA, Belgium and China




 “Fleshing Dead Animals: Sensory Body Phenomenology in Performance” Peta Tait, Performance and Phenomenology, edited by Maaike Bleeker, Jon Foley Sherman and Eirini Nedelkopoulou, London Routledge 2015, pp:  111-120

Feminist Ecologies: Changing Environments in the Anthropocene, Stephens L. Tait P. and Varney D. (Eds)  Palgrave, Macmillan, 2018.

Tait, Peta. 'Performing Ghosts, Emotions, and Sensory Environments.’ In Stevens, L. Tait, P and Varney, Denise (eds), Feminist Ecologies: Changing Environments in the Anthropocene, (Palgrave Macmillan, 2017), 177–192.


Red, Green, Blue: A History of Australian Video Art, curated by Matthew Perkins, Griffith University Art Museum Gordon Darling Foundation, 2017.

Speak To Me, Conversations with the Flinders University Art Collections, Editor, Nic Brown, Flinders University Art Museum, South Australia, 2016.

Kiffy Rubbo Curating the 80’s, Jill Orr pp 121-122,  edited by Janine Burke and Helen Hughes, Scribe Melbourne, 2016.

Performance, Ritual, Document, Anne Marsh, Macmillan Art Publishing, Melbourne, 2014.

Art Insight, Third Edition, Lou Chamberlain, Nelson Cenage Learning, Australia, Brazil, Japan, Korea, United Kingdom, United States, 2012.

Look: Contemporary Australian Photography since 1980. Anne Marsh, MacMillan Melbourne, Australia, 2010.

Heat: Art, People & Climate Change, Jill Orr, Transdiscourse 1.: Mediated Environments, Editors, Andrea Gleiniger, Angelika Hilbeck, Jill Scott, Springer Wein, New York, 2011.

When You Think About Art: The Ewing and George Paton Gallery 1971 – 2008 . Edited by Helen Vivian published by Macmillan Art Publishing. 2008

Art in Sight: Volume 2, L. Chamberlain, McGraw Hill Co. 2006

The Darkroom Photography and the Theatre of Desire Anne Marsh, Macmillan Art Publishing 2003

At Home in Australia Peter Conrad, National Gallery of Australia in association with Thames and Hudson 2003

Australian Art in the National Gallery of Australiaedited by Anne Gray, produced by the Publications Department of the National Gallery of Australia 2003

Peripheral Vision Contemporary Australian Art 1970-1994Charles Green, Craftsman House 1996

Art in Sight   L. Chamberlain, McGraw Hill Book Co. 1996

Art Now Contemporary Art Post 1970D. Williams and C. Simpson, McGraw Hill Book co. 1994

Body and Self: Performance Art in Australia 1969-92 Anne Marsh Oxford University Press 1993

Sight Lines: Women’s Art and Perspectives in Australia, Sandy Kirby, Craftsman House 1992

Anything Goes; Art in Australia 1970-1980Ed. Paul Taylor Art & Text, Melbourne 1984

Experimental Art Foundation, Performance Week, Ed. Noel Sheridan, Experimental Art Foundation Press, Adelaide. 1980

Live Art Australia and America Ed. Jane Kent and Anne Marsh self published Adelaide 1984

New Art Three; Profiles in Contemporary Australian Art, Ed. N. Dury Craftsman House 1989

Field of Vision: A Decade of Women’s Art in the Seventies, Janine Bourke Viking Press, Melbourne 1990



2018 LandFall Lorne Sculpture Biennale 2018

2016 Laughing Waters Road, Art Landscape and Memory,Jane Woollard, Nillumbik Shire Council.

2015 About Trees, Paul Klee Zentrum, Bern Switzerland.

2012 The Promised Land, Jenny Port Gallery hosted by the John Buckley Gallery, Melbourne

 2011 Between Somewhere and Nowhere, performative photographs, Jenny Port Gallery

Black Box, White Cube: Aspects of Performance in Contemporary Australian Art, written and curated by Steven Tonkin, Victorian Arts Centre, 2011.

Stormy Weather, National Gallery of Victoria, Melbourne.2010- 2011.

Faith in a Faithless Land, 2009. Essay by Damian Smith

The Field, Australian Art 1968-2002, National Gallery of Victoria

Ash: Jill Orr, Mass Gallery Melbourne 2002, essay by Helen Vivian

Eye-deals, Griffith Artworks March 2000

Telling Tales, Ivan Dougherty Gallery, Sydney Curated and written by Jackie Dunn and Jill Bennett 1998

Festivities Issue No. 12, Melbourne Festival 1997

Pulse Fiction, October / November 1997 Plimsoll gallery, Centre for the Arts Hobart - Curated by Leigh Hobba

The Beach, Museum of Modern Art at Hiede, catalogue essay by Geoffrey Dutton 1994

Persona Cognita, Museum of Modern Art at Hiede, Essay Museum of Selves by Juliana Engberg 1994

Tony Scott and Jill Orr Looking in and Looking Out, paintings at Meridian Gallery, essay by Roger Taylor 1994

Raising the Spirits, Museum of Modern Art at Heide The Bride and the Bachelors,  essay by Anne Marsh 1994

25 Years of Performance Art in Australia, curator Nick Waterlow 1994 University of NSW College of Fine Arts

Jill Orr. Performance Documentation 1978-1988, Australian Centre for Contemporary Art, Melbourne The “I “in the Gaze: Aspects of the Body and the Self in Performance works by Jill Orr essay by Anne marsh

Women at Work George Paton Gallery, Melbourne University 1980 edited by J Annear and A Danko

Act 3: Ten Australian performance Artists, Canberra School of Art, Australian National University, Canberra Oct. 1982



2018 Dancehouse Diary 10# 

2018  Studio: Jill Orr,  video interview for ArtGuide, Sian Darling director and Producer.

2018 Mentoring of two collaborative groups for Doing Feminism / Sharing the World, in the Norma Redpath House curated by Anne Marsh

2016  Provocation, Disquisitions,  Anne Marsh, Art and Australia online, 2016.

2015  Mishka Henner and Jill Orr: Performing to the All Seeing Eye,Helen Vivian, Artlink, Performative Quarterly, Issue 35:3 September 2015. Contemporary Art of Australia and Asia-Pacific.pp52-57.

2015 Against The Grain, Andrew Stephens for Spectrum, The Saturday Age  Saturday 12thSeptember 2015, pp16-17,

2014 DancehouseDiary Issue 6/ 2014. The Body in the Raw Nudity today.Phillip Adams in Conversation with Jill Orr .

 2013 Performance Perspectives: Interviewpresented by Das Platforms, directed by Di Smith and Produced by Nick Garner Video:, and 

2013  Venice International Performance Art Week, Interview  by A.E.Zimmer   Performa Magazine, 20/02/2013.

 2012 Interview with Claire Bridge for Art World Women," and Part 2.

Jill Orr: Between Somewhere and Nowhere, In The Galleries, Dan Rule, The Age, Saturday, November 12 2011.

Whats On, Visual Art, Monash Gallery of Art, Tuesday Feb. 1st, 2011.

On My Mind, Anne Marsh, FOAM , International Photography, #25 Traces,  Magazine, Winter 2010,

Artist makes her Mark in the Theatre of Absence, Megan Backhouse, The Age 24/09/10 p 14.

Dig it! The hole in Australian Contemporary Art, Glenn Barkley, Artlink, Contemporary art of Australia & the Australia Pacific, Vol 30 no 2. 2010.p30-33.

Lyndal Jones, Jill Orr, Utako Shindo, Bindi Cole & Ash Keating: Interview by Din Heagney & Helen Hughes, un. Magazine Issue 4.1, Jine 2010.

 The Goulish art of Witchcraft , Robert Nelson, Visual Art , The Age Wednesday June 23, 2010, p 18.

Around the Galleries: Dan Rule, The Age, Saturday June 12, 2010, A2 p 23.

Water as Art, Australia Day 2010. The Age, Tuesday January 26, 2010

Greenwash #5 , Patrick Jones , Trouble Magazine, October 2009.

 Sustainable Fusion Reactions, Interventions through the Public Domain. Jill Orr AQUADS Research Report 2009 – peer reviewed

 Jill Orr: Faith in a Faithless Land and The Southern Cross – to bear and behold, Kirsten Rann ,Photophile August  Number 87, Melbourne  2009.

Extreme Acts: Live Remade & Remediated Anne Marsh, Eyeline Contemporary Visual Arts Number  69, 2009.

Greenwash, Patrick Jones, Trouble Magazine October 2009, pp63-65.

A Dreamscape of human and environmental loss. Robert Nelson The Age Wednesday May 20, 2009. P 16.

Chris McAuliffe investigates the trend of environmentally conscious art. S98522:  RMIT Heat: Art and Climate Change, ABC 1 TV,  Sunday Arts, October 12th, 2008.

RMIT Heat Exhibition: News Hour, Monday September 22nd, 2008, ABC , Australian Network.

Performance Art and its Documentation: a Photo/  Video Essayby Anne Marsh About Performance: Still/ Moving: Photography and Live Performance No. 8, 2008

Art Links Past and Present, Adrian Bernecich, Maroondah Leader, Tuesday 8th April 2008

Images of Power.Danica Harris, Maroondah Journal, Tuesday 15 April 2008

Jill Orr- Under the Southern Cross; Damian Smith. Trouble arts Traffic, April 08

Crossing draws parallels with climate change: Mildura Midweek, Tuesday Feburary 26, 2008

At Play in Public Space: Alison Gray Encounters Interpositions at the Darwin Festival: Real Time, No 81 October –November 2007

The Crossing, Kate Gerritson, Groundwork , Regional Arts Victoria ,Winter, Issue 5, 2007

Resident has Bone to Pick with Artist, Herald Sun, Sat June 21 2003

Lunch with the Birds, photo, The Age E.G. June 12 2002

The Bush Tames a Rebel, Diamond Valley Leader July 3 2003 Jan Harkin

Digital Ghosts, Imprint Autumn 2002, Volume 37, No. 1, Damien Smith

Mass gallery Closes with Jill Orr Show, The Age Wed Nov 6 2002 Megan Backhouse

An Interview with Jill Orr Rubric Cube,A medium for Young Artists, Issue 2 2003, ed. Daniel Duckworth

Blood and Death, Art Monthly April 2003 No 158 Anne Marsh

The Answer is Buried, Herald Sun sat April 24 1999 Sarah Hudson

The Beach, ABC Television, viewed April 2001, Featherstone Productions

Presence 1 This Place: Jill Orr Mass Gallery Melbourne 2000, Like Magazine No 14, Autumn 2001, Vicki McInnes

Orr Inspiring Body of Work Visual Arts, The Age, Tues Dec. 19 2000, Megan Backhouse pp48/49

The Eye of the Beholder, Real-time No 37 pp 12, June 2000 M. Lynch

Performing Histories and the Myth of Place, N Paradoxa, International feminist Art Journal Vol. 3 1999 Anne Marsh pp 10

Jill’s Glass Act, Herald Sun Arts Entertainment Mon Oct 13 1997 F. Lewis pp 84

Information, The Australian Financial Review, Fri Oct 17, 1997 Stan beer, p 59

Looking in looking Out, Spinout Jan 27 1995 M O. Donnel, p 9

Three Themes on the Art of Teamwork, The Age Wed 1st Feb. p 19, 1995 Robert Nelson

Body Art, Ritual versus SpectacleC.T. Arts 1995 M. Black

A Kiln for Firing the Imagination photo and caption, Craig Abraham The Age Fri Sept 16 1994. p 7

Meanings Spirited Out of the Body, The Age, Wed 21 Sept. 1994, p 23 A. Stephens

The Melbourne Festival, Eyeline No. 35, Summer 1997/8, p 38 Julie Cotter

Take it to the Limit, Volt Program Brisbane Festival B. Jackson Eyeline No 32 Summer 1996 p 7

The Inception of Feminism and Performance Art in the 1970’s, Agenda Contemporary Art vol no 2, special supplement; Art the Present and Recent Past of Australian Art and Criticism pp10-12, written by Anne marsh.1996 (?)

Starting with the Environment, Interact No 195, 1995

Raising the Spirits, Art Monthly, Australia April 1995, Penny Trotter

Art Attack, Black and White no 6, 1994, B. Crawford

Drydocks and Slipways, Eyeline No 24, 1994, A. King

Religion, Literature & Art, Australian International Conference 1994 ed.Michael Griffith and Ross Keating written. By Jane Magon

Re-writing the Seventies Melbourne Experience, Art monthly No 22. July 1989 p 7-8. Charles Green

Orr, Hearman, Kruger, Art Monthly No 20 1989 pp 15-16, C. Heathcote

Map of Transition, J. Orr photos and poem, LIP 1978 / 79 p 10-11

Relics and Rituals,P. Taylor (ed) Anything Goes: Art in Australia 1970-1980 Art and Text, Melbourne 1984 first published (ext cat) National Gallery of Victoria 1981. Robert Lindsay.

Adelaide performance Art and the EAF, Art network No 2, Spring, 1980 p 43. T. Reid


7a*, International Performance Art  archive, Toronto, Canada : Hunger 3 , 2002.

Youtube: Venice International Performance Art Week, Jill Orr, The Promised Land.

YouTube  Melaka Art and Performance Festival see Anne  L. Poulain and Jill Orr