Collection Online

Yellowcake
(1991)
from the Van Diemens Land to Video Land series (1991)

Medium
colour photocopies
Measurements
(a-vv) 177.0 × 336.9 cm (overall)
Inscription
(a) inscribed in brown pencil (inverted) on support reverse c.: 7
inscribed in pencil (inverted) on support reverse l.r.: 46
(b) inscribed in brown pencil and pencil on support reverse c.: 4 2
(c) inscribed in pencil (inverted) on support reverse u.l.: 52
inscribed in brown pencil (inverted) on support reverse c.: 5
(d) inscribed in pencil on support reverse u.l.: 42
inscribed in brown pencil on support reverse c.: 12
(e) inscribed in pencil and brown pencil (vertically) on support reverse c.: 18 (underlined)
(f) inscribed in pencil on support reverse u.l.: 36
inscribed in brown pencil on support reverse c.: 42
(g) inscribed in brown pencil on support reverse c.: 48
inscribed in pencil on support reverse c.: 7
(h) inscribed in brown pencil on support reverse c.: 13
inscribed in pencil (vertically) on support reverse c.: 8
(i) inscribed in brown pencil (inverted) on support reverse c.: 31
inscribed in pencil (inverted) on support reverse l.r..: 40
(j) inscribed in brown pencil on support reverse c.: 26
inscribed in pencil (vertically) on support reverse c.: 10
(k) inscribed in brown pencil (inverted) on support reverse c.: 18
inscribed in pencil (inverted) on support reverse l.r.: 38
(l) inscribed in brown pencil on support reverse c.: 44
inscribed in pencil (vertically) on support reverse c.: 12
(m) inscribed in pencil on support reverse c.: 13
overinscribed in brown pencil on first inscription on support reverse c.: 9
(n) inscribed in brown pencil (inverted) on support reverse c.: 36
inscribed in pencil (inverted) on support reverse l.r.: 35
(o) inscribed in brown pencil and pencil (inverted) on support reverse c.: 30
inscribed in pencil (inverted) on support reverse l.r.: 34
(p) inscribed in brown pencil and pencil on support reverse c.: 27 16
(q) inscribed in brown pencil on support reverse c.: 33
inscribed in pencil on support reverse c.: 17
(r) inscribed in brown pencil on support reverse c.: 38
inscribed in pencil (inverted) on support reverse c.: 5
(s) inscribed in brown pencil and pencil on support reverse c.: 2 19
(t) inscribed in pencil on support reverse c.: 29
inscribed in brown pencil (inverted) on support reverse c.: 33
(u) inscribed in pencil on support reverse c.: 28
inscribed in brown pencil (inverted) on support reverse c.: 29
(v) inscribed in pencil (vertically) on support reverse c.: 22
inscribed in brown pencil (inverted) on support reverse c.: 28
(w) inscribed in pencil on support reverse c.: 23
overinscribed in brown pencil on first inscription on support reverse c.: 34
(x) inscribed in brown pencil and pencil on support reverse c.: 25 (crossed out) 3 24
(y) inscribed in brown pencil on support reverse c.: 46
inscribed in pencil (vertically) on support reverse c.: 3
(z) inscribed in brown pencil on support reverse c.: 16
inscribed in pencil (vertically) on support reverse c.: 26
(aa) inscribed in brown pencil on support reverse c.: 22
inscribed in pencil (inverted) on support reverse c.: 27
(bb) inscribed in pencil on support reverse c.: 21
inscribed in brown pencil (inverted) on support reverse c.: 21
(cc) inscribed in brown pencil (inverted) on support reverse c.: 15
inscribed in pencil (vertically) on support reverse c.: 20
(dd) inscribed in brown pencil on support reverse c.: 10
overinscribed in pencil (inverted) on first inscription on support reverse c.: 30
(ee) inscribed in pencil on support reverse c.: 31
overinscribed in brown pencil on first inscription on support reverse c.: 8
(ff) inscribed in brown pencil on support reverse c.: 17
inscribed in pencil (vertically) on support reverse c.: 32
(gg) inscribed in brown pencil on support reverse c.: 23
inscribed in pencil (vertically) on support reverse c.: 33
(hh) inscribed in pencil (inverted) on support reverse c.: 15
overinscribed in brown pencil (inverted) on first inscription on support reverse c.: 20
(ii) inscribed in brown pencil (inverted) on support reverse c.: 14
(jj) inscribed in pencil (vertically) on support reverse c.: 6
overinscribed in brown pencil on first inscription on support reverse c.: 43
(kk) inscribed in pencil on support reverse u.l.: 37
inscribed in brown pencil on support reverse c.: 45
(ll) inscribed in pencil (vertically) on support reverse c.: 11
overinscribed in brown pencil (inverted) on first inscription on support reverse c.: 32
(mm) inscribed in pencil on support reverse u.l.: 39
inscribed in brown pencil on support reverse c.: 25
(nn) inscribed in pencil on support reverse c.: 9?
overinscribed in brown pencil (inverted) on first inscription on support reverse c.: 19
(oo) inscribed in pencil on support reverse u.l.: 41
inscribed in brown pencil on support reverse c.: 37
(pp) inscribed in brown pencil on support reverse c.: 47
inscribed in pencil on support reverse c.: 4
(qq) inscribed in brown pencil on support reverse c.: 49
inscribed in pencil (vertically) on support reverse c.: 48
(rr) inscribed in pencil on support reverse u.l.: 47
inscribed in brown pencil on support reverse c.: 11
(ss) inscribed in brown pencil on support reverse c.: 41
inscribed in pencil (vertically) on support reverse c.r.: 6 (crossed out) 9?
(tt) inscribed in pencil on support reverse u.l.: 45
inscribed in brown pencil on support reverse c.: 40
(uu) inscribed in pencil on support reverse u.l.: 44
inscribed in brown pencil (inverted) on support reverse c.: 6
(vv) inscribed in pencil on support reverse u.l.: 43
inscribed in brown pencil on support reverse c.: 39
Accession Number
PH215.a-vv-1992
Department
Australian Photography
Credit Line
National Gallery of Victoria, Melbourne
Purchased, 1992
© Courtesy of the artist
Gallery location
Gallery 19
Level 3, NGV Australia
Sue Ford visited Bathurst Island, in the Northern Territory, in 1988 where she had the opportunity to learn about the Aboriginal perspective on social and political issues relating to the Australian landscape. This work employs aerial shots of a disused uranium mine in Rum Jungle to address environmental degradation. At the time Ford made this work, the Australian Government was in the process of recognising and tackling high levels of radiation that resulted from the mine. Ford distorts and fractures the source imagery as a means of creating apocalyptic visions of a landscape that has been forever altered.