415:. Gittoes worked with another friend, Bruce Goold, to transform a two-storey building in Macleay Street, Potts Point, into a space in which artists, film-makers and performers could both live and exhibit their work. In an Australia whose culture had been seen by many as stifled and colonial, the Yellow House was a revelation. Gittoesâ own particular contribution was a psychedelic Puppet Theatre, in which he and assistants performed to enthusiastic audiences, using glove puppets Gittoes himself made. In 1971 Gittoes, who regarded his work as fine art and was not completely in sympathy with the counter-cultural communalism of others in the Yellow House, broke away from the group. He had also been very deeply affected by the suicide of his girlfriend, Marie Briebauer. He had met Briebauer in San Francisco, and eventually she followed him to Sydney. But she was facing up to difficult issues with her family, and was not completely accepted by the Yellow House community. Her death was the first great crisis in Gittoesâ life.
498:, Gittoes was never a designated Official Artist. Rather, he travelled under the auspices of and generally with the assistance of the Australian army, but remained free to express himself as he wished. On these trips he produced a large body of photographs, drawings and paintings. True to the Externalist tradition, many of the drawings incorporate written texts describing the situations which had inspired them. Many of these works are held by the Australian War Memorial, which had helped facilitate the initial contact with the army. One aspect of Gittoesâ work in this period which differentiates him from most Australian official artists is an enduring interest in and concern for the ways in which the conflict which led to the arrival of the peacekeepers had affected the local people. Gittoes did document the activities of the military personnel he was accompanying, but his vision was also consistently much broader.
888:â to be a centre of production and education in art, film-making, music, dance and performance. Inspired like the original Yellow House of 1970â71 as an artistsâ cooperative which can use culture to counteract the prevailing landscape of war and conflict, the new Yellow House has as a slogan, âDeclare love on war!!!!â, and aims to provide âa safe space where artists from all mediums meet, work and create independently of the destructive forces that not only threatens their physical lives but their inner spirit.â It also provides âa âsafe havenâ for women's arts and philosophy groups.â The Yellow House features a cinema, traveling tent circus, rainbow painting studios, Secret Garden Cafe and Rose Theatre outdoor stages. As well as activities in the House itself, the members have organized a travelling tent circus, film shows and other activities in villages in the area.
458:(1987), a film about a group of Sandinista women poets who had fought in the Nicaraguan revolution. This was a turning point for Gittoes. He was influenced by Nicaraguan poet and priest Ernesto Cardenal, whose philosophy of Externalism he later described as follows: âThe Externalist poets believed in using real life events and physical experiences in their poetry, instead of the imagery of the imagination. For them reality was more incredible than fantasy.â Gittoesâ key work from this period was the drawing, âThe captured gunâ, of a half-crippled Sandinista fighter who carried a captured American rifle adapted to use Russian ammunition, which he felt âsymbolised that particular phase in the conflict ... and became a major breakthrough in my artistic career.â
650:, using rifles, machine guns, RPGs, bayonets, machetes, and possibly mortars. Next morning the Australians counted 4,000 dead, no doubt fewer than the true number. During the massacre the Australians gave medical treatment to and evacuated as many as they could, all the while witnessing terrible scenes. All were affected by what they saw, Gittoes as much as any. He split his time between helping give direct assistance to individual victims and documenting what was happening. He later flew to New York to report to the UN on what he had seen. But Kibeho also became a powerful catalyst to his art, a subject which still haunted him and which he was still reworking 20 years later.
469:. Initially in 1989 he was invited by the Wollongong Regional Gallery to be artist in residence at the Port Kembla Steelworks in NSW. Between then and 1992 he worked in steelworks, mines, chemical plants, and a Bass Strait oil rig, in Wollongong, Newcastle, Broken Hill, Whyalla, and elsewhere, depicting the men working in these environments sympathetically against a background of industrial decline and difficult and dangerous working conditions. In doing this, he felt he was not only holding true to the Externalist idea of art, but also returning to Joe Delaney's view of art âabout a historic social struggle exuding pathos and humanityâ.
646:, which had been central in carrying out the original genocide. In April the Rwandan government announced that the camp would close, surrounded it with soldiers, and began causing panics by firing in the air and burning the refugeesâ housing. UNAMIR had a Zambian company at Kibeho, and on 19 April they were joined by 32 Australian medical personnel and infantry, to provide medical treatment and assistance evacuating the refugees. Gittoes, in the country to record the activities of Australian peacekeepers, joined them the next day. Late on April 22 the Rwandan forces began a
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drawings and paintings, eventually leading to a film, The
Rainbow Way.. These images were abstract, using ideas drawn from both Islamic and Aboriginal art (in the latter case, especially the myth of the Rainbow Serpent), but also created out of direct observation of the effects of light underwater. He also experimented for a time with holograms and with computer-generated images. His interest in Aboriginal art and performance, which began with meeting dancers from Mornington Island in 1972, led in 1977 to a trip to the Northern Territory and Western Australia.
382:, both southern suburbs of Sydney, Australia. Gittoesâ maternal grandfather, who lived in the area, was a semi-professional racehorse trainer, and was a significant influence in Gittoesâ childhood. Gittoes' father, Claude, was a public servant, who rose to be Secretary of the Department of Main Roads. His mother, Joyce, was an artist and potter. Both parents encouraged George as an artist. Gittoes completed his schooling at Kingsgrove North High School, and began an Arts degree at Sydney University. However, an encounter with the visiting American art critic
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1986 he travelled to
Nicaragua, and since then the focus of Gittoesâ work has been largely international. He has travelled to and worked in many regions of conflict, including the Philippines, Somalia, Cambodia, Rwanda, Bosnia, Bougainville, and South Africa. In recent years his work has especially centred on the Middle East, with repeated visits to Israel and Palestine, Iraq, and Afghanistan. In 2011, he established a new Yellow House, a multidisciplinary arts centre in Jalalabad, Afghanistan. Among many prizes, Gittoes has twice been awarded the
786:, were rejected â for political reasons, Gittoes believed â but later exhibited at St Paul's Cathedral, Melbourne. Later in the year, a trip to America, where the build-up to the war in Iraq had already begun, led to a turning point in Gittoesâ career. He had always been interested in popular culture, but now he saw a new importance in reaching the MTV and rap-music generation of younger Americans, many of whom would be fighting in the war. This helped lead him back into film-making.
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and professional surfers was demolished to make way for a new home by the owners. The owners of the property willingly helped facilitate the show. Gittoes hung the entire
Augustus Tower Suite in the house and Rose used the grounds to perform the accompanying Haunted Burqa performance and the back yard shed as an installation and experimental documentary film screening of the same title. Representing the faceless countless innocent victims of Gittoes' portrayed 'bad guys'.
1033:"Why do I do it? As far as choosing the roads I have travelled, I have this instinct that if I get comfortable, the work will lose its 'sting', so I go out of the comfort zones and into the wilderness to find my art. In the past it was the natural world where predators fed on gentler creatures. In the contemporary context, I go alone into a different kind of human wilderness â Rwanda, Bosnia, Afghanistan, Iraq â not to contemplate nature, but the basics of humanity..."
972:, a documentary filmed on the south side of Chicago, co-produced with partner Hellen Rose who is also the Music Director. With 500 fatal shootings a year in Chicago, and violent gangs controlling micro-territories, Gittoes found himself in as lawless and dangerous a place as any he had experienced. Gaining the trust of gang members, he was able to weave gun protests and the 50th anniversary of the assassination of Martin Luther King into his story.
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resulting works included the
Salvage series, documenting the discovery of the body of a torture victim. He also began a long friendship and collaboration with Filipino artist Nune Alvarado. As much as Nicaragua, the Philippines helped shape Gittoesâ future work: âThrough my art I can be an advocate for so many people silenced by poverty and the conflicts around them.â
929:, Stavanger, Norway. While documenting the difficulties of filming, especially with female actresses, in Afghanistan, the film articulates a positive message, that film-making and cultural production generally can be an alternative to armed force in bringing about social change. The film previewed at Documenta 13 in Kassel, Germany, before being released in 2013.
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During the Covid lockdown
Gittoes created the Augustus Tower Suite reflecting his early Kennedy Suite of etchings created in the U.S. in 1968. "This is a time when the bad guys have won." Gittoes describes today's era comparing it with a time when US President John F Kennedy and Dr Martin Luther King
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February 2020 Newcastle Art
Gallery, Premiered the National Regional Touring Exhibition 'On Being There' curated by Rod Pattenden. Focussing on the broader work done in communities like Afghanistan and South Side Chicago. This period also saw the theatrical release of White Light in Event Cinema's.
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in
Nicaragua in 1986, and continued to meet them, in Cambodia, the Middle East and elsewhere. âFor me,â Gittoes wrote, âlandmines are the most damning proof of man's inhumanity to man â while the moments spent with mine victims have given me some of the most encouraging proof of the strength of the
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A keen surfer, Gittoes travelled for a while in a caravan up and down the south coast of NSW. Eventually he settled in
Bundeena, a village between sea and bush south of Sydney. For a time abandoning the politically driven art inspired by Joe Delaney, Gittoes produced a large series of photographs,
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and since then has produced a large and varied output of drawings, paintings, films, and writings. Gittoesâ work has consistently expressed his social, political and humanitarian concern at the effects of injustice and conflict. Until the mid-1980s, this work was chiefly done in
Australia. But in
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While maintaining a base in Sydney with partner Hellen Rose, in 2011 Gittoes and Rose began a long period working in
Jalalabad, the second-largest city in Afghanistan. Jalalabad, in far eastern Afghanistan, has a predominantly Pashtun population, similar to the areas where Gittoes had been working
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in Pakistan's North-West Frontier Province. In a departure from his previous films, this one was a docudrama combining the drama and action of a Pashtun telemovie with documentary footage from the Taliban-controlled tribal belt. Like all Gittoesâ films to this date, it was co-produced by his then
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October 7â11, 2020, Gittoes and Rose collaborated on a site specific exhibition, installation and performance. Gittoes exhibited The Augustus Tower Suite in the 'Surf Shack Show' in a soon to be demolished house next door to his and Rose's residence. The ageing house once inhabited by good friends
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Meanwhile, a new direction for Gittoes has been making Virtual Reality (VR) films, using a 360-degree camera, embracing the artistic possibilities of new technology in a way that harks back to his early work with holograms. The VR films have been made in collaboration with partner Hellen Rose and
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In 2013 Gittoes suffered from serious health problems, having both surgery for prostate cancer and a double knee replacement. He was also hospitalised with internal stomach bleeding. Nevertheless, he took up a position as artist in residence in Syracuse, New York, where he developed and produced
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in Kassel, Germany. It included ten large confronting 3 v 1.5 m paintings, employing what Gavin Fry describes as âa violent, gut-wrenching expressionismâ, to depict the depths of violence and depravity reached at Kibeho; the floor was covered in rags, clothes, and plastic containers. In 2014 he
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From 1993, Gittoesâ career took a distinct new direction. Building on his work in Nicaragua and the Philippines, he made a long series of visits to war zones, initially those in which Australian military personnel were serving in multinational peacekeeping operations. Although since World War I
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In 1989 Gittoes travelled to the Philippines, intending to make a film about women political prisoners. Funding problems prevented the film's being made, but again he was brought face to face with victims of conflict, especially between government forces and the dissident New People's Army. The
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Gittoes was keen to bring art and performance to a wide audience. In 1979 he formed the environmental theatre group, Theatre Reaching Environments Everywhere (TREE), with Gabrielle Dalton (whom he married in 1980), Ronaldo Cameron, and Martin Wesley-Smith. Between 1979 and 1984 TREE presented a
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which began on 19 March. On this visit he was able to observe how Iraqi civilians were preparing for the war they knew was coming. After the invasion he visited Iraq three times before May 2004, interviewing American soldiers and Iraqi civilians and soldiers, focusing especially on the role of
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was widely screened at major film festivals and on TV in 2009 and 2010. Gittoes was not done with film-making in Pakistan, but in the meantime he travelled to Afghanistan, Iraq and Kuwait, where he once again linked up with units of the Australian Defence Force serving in these areas.
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which followed the collapse of Yugoslavia. His work, no longer particularly concerned with the peacekeepers, now focused on the plight of refugees and ordinary people living in the midst of devastation. The following year, 1997, he travelled to Northern Ireland at a time when the
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In this period, Gittoes was deeply affected by the death of his friend Ronaldo Cameron, a dancer who had been part of the TREE productions. Gittoes had painted Cameron in the advanced stages of motor neurone disease, and after his death expressed his grief with the painting,
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Gittoes had by now separated from his first wife in 2007. In 2008 Gittoes moved into his Surry Hills studio with Performance Artist and Musician Hellen Rose (married October 14, 2019). In 2009 and 2010 he rented a studio in Berlin, and had a productive period working on
592:. What he saw made him doubt the official version that the massacre was the work of a lone gunman, reinforcing his belief in the need for the artist as independent witness and as an advocate for the innocent victims of conflict. In southern Lebanon, then under Israeli
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In 2020 Gittoes received honorary membership to the Australian Peacekeeper and Peacemaker Veterans' Association Inc. (For dedicated and selfless acts to chronicle Australia's Peacekeeping operations, and for his support and recognition of that community in Australia).
863:, a long, cathartic novel which he periodically wrote up and revised. In 2010 with the aid of an international aid grant he returned to Pakistan's tribal belt to make three more Pashto films with, to help develop the Pakistan film industry. These were three dramas:
1029:. His travels have taken him to many dangerous places; he has been in serious danger on numerous occasions. He has faced traumatic events, such as Kibeho, a subject with which he is still working two decades later. He has explained the choice to work like this:
759:. The resulting wars and confusion in the Middle East were to provide the driving force for Gittoesâ career over the next decade and a half. By November 2001 the United States had invaded Afghanistan and overthrown the Taliban government, beginning a
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630:), included an Australian medical contingent and associated security and support personnel. A year after the original genocide, Gittoes visited the second rotation, once again with support from the Australian Army. By this time the Tutsi-dominated
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wife, Gabrielle Dalton. Gittoes formed a good relationship with local film-makers and actors (some of whom later worked with him in Afghanistan), and worked with them to direct and produce two films in Pashto, the Pashtun language:
638:, and the violence of 1994 had ended. Nevertheless, Gittoes was witness to a tragic epilogue to the original genocide. Huge numbers had been displaced in the 1994 fighting. The largest camp for internally displaced persons was at
521:, the town in south-central Somalia which was the main base of operations for the Australians. Rather than remaining on base, he often accompanied the troops on patrol and when protecting the delivery of humanitarian aid.
919:, directed by Neha, the first female Pashtun film-director. Another member of the Yellow House, Amir Shah Talash, has created a Pashto-language TV series. During the same period Gittoes was making a feature documentary,
816:, about a gang-based sub-culture which some of the soldiers commented was more dangerous than Iraq. Rampage featured in a number of film festivals, and had cinema releases in Australia, Britain and the United States.
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number of huge theatrical events, mostly on beaches around Sydney, involving hundreds of local people. Gavin Fry has described these as âsome of the most complete and spectacular art performances Australia has seenâ.
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Gittoes and Rose received the NSW Premiers Award in 2014 jointly for their Services to the Community, recognising the couples co founding of the Yellow House Jalalabad in Afghanistan and the Rockdale Yellow House in
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Working with Hellen Rose ( the first European woman to appear in Pashtun Films) but otherwise with an entirely Afghan and Pashtun cast and crew, in 2011 Gittoes made a trilogy of interconnected Pashto love films:
430:(1984), a film about Aboriginal children visiting sites of importance to the story of the Rainbow Serpent. Then there were a series of films about life, cultural confrontation, and art in the Northern Territory:
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led to Gittoes' abandoning his studies in order to spend time in America. Both parents supported this decision, particularly his father. In New York Gittoes came under the influence of the social realist artist,
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regime of 1975â1979. and long years of civil war between the Vietnam-sponsored government which had ousted the Khmer Rouge and various other factional groupings. Australian diplomatic leadership in achieving a
545:. Gittoes documented activities of Australian signallers with UNTAC and painted Sanderson's portrait, but was also moved in particular by the stoic endurance of the many Cambodian victims of landmines.
875:. He was assisted now by his new partner, Hellen Rose. The State Library of NSW holds a significant collection of material related to Gittoes' work in Australia and overseas including artists diaries.
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referred to above, as a new means of working through his experiences at Kibeho nearly 20 years before. In 2014, undeterred by health problems, he returned to Jalalabad to begin work on his next film,
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Gittoes continued to travel to scenes of conflict, but no longer usually with the army. In 1996 he went to Bosnia, where a NATO-led force was gradually restoring order and peace after the devastating
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771:, visiting refugee camps established after the invasion. He also had a commission from the Visible Art Foundation in Melbourne to paint three works marking the 11 September anniversary for the
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project, and quickly became engaged in the effects of this new war on the country. He has maintained this engagement ever since. In early 2002 he travelled to Afghanistan for six weeks with
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human spirit.â In 1999 and 2000 he travelled widely to mine-affected areas: Thailand, Cambodia, Afghanistan, Pakistan, East Timor, Congo and Rwanda, leading in 2000 to an exhibition,
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Gittoes is twice the recipient of the Bassel Shehadeh Award for Social Justice (awarded at Syracuse University, New York, in October 2013 for Snow Monkey and in 2019 for White Light)
1055:(1997) "for service to art and international relations as an artist and photographer portraying the effects on the environment of war, international disasters and heavy industry".
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This period saw two large scale art works created in South Side Chicago, 'Kill Kulture Amerika' and 'Renaissance Park' acquired by the Peabody Essex Museum Salem, Massachusetts.
513:), which was trying on behalf of the United Nations (UN) to restore order to a country devastated by civil war, collapse of government, drought, and famine. Gittoes worked in
596:, he visited Australian military observers with UNTSO monitoring the border with Israel, but was again moved by the plight of people spending their lives in a conflict zone.
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music on the modern battlefield. Although Australian troops were serving in Iraq, Gittoes had little contact with them. Out of this came one of his most acclaimed films,
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and the Protestant paramilitaries, but again focusing particularly on the lives of those caught up in the conflict. In 1998 he went to China, working with artists at the
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returned yet again to the Rwanda material with a series of âsynthagesâ, combinations of photograph, drawing and painting developed in collaboration with printer
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391:, whose work was influenced by his involvement in the civil rights movement. Gittoesâ art similarly veered towards the political, and in the US he began the
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to monitor the EgyptianâIsraeli border. In Israel and Lebanon he met Australian military observers serving with the UN Truce Supervision Organization (
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of the modern era. In three months between 500,000 and a million Rwandans died. The resulting UN operation, the UN Assistance Mission for Rwanda (
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as president. Mainly working in black townships, his sympathy for black South Africans led to run ins with members of the white supremacist
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The following year, 2007, Gittoes began an enduring phase of making films in Pakistan and Afghanistan by filming the third film in the
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to the conflict under the auspices of the UN meant that the resulting UN operation, the UN Transitional Authority in Cambodia (
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Gittoes was working at home in his studio at Bundeena, on the coast south of Sydney, when the world suddenly changed on
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Soon afterwards, in May and June 1993, Gittoes visited Australia's other major peacekeeping operation at the time, in
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353:(born 7 December 1949) is an Australian artist, film producer, director and writer. In 1970, he was a founder of the
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After this, Gittoes worked for a time mainly in Australia, in particular on the series of paintings and drawings,
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In 2001 Gittoes made three trips to South Africa, to link up with a retrospective touring exhibition,
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In 1995 Gittoes won the Blake Prize for religious art a second time, for one of several versions of
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In partnership with Dalton, Gittoes now turned especially to documentary film-making, first with
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with long-time assistant and righthand frontline camera man, Pakistani Waqar Alam. The first,
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in August 2015. With its searching portrayal of the lives of young people in Jalalabad,
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won the Audience Award at the Biografilm Festival in Bologna, Italy, in June 2016.
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across the Pakistan border. Here Gittoes and Rose set up a new Yellow House â the
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In 1986, the success of the Northern Territory films led Gittoes overseas, to make
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In 1994, with support from the Chief of the General Staff, Lieutenant General
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George Gittoes showed âRainbow Wayâ series of abstract colour photographs at
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1062:(2001) "for service as an internationally renowned artist". He was given an
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At the start of 2018 Gittoes began work on a new, even more ambitious film,
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between secessionist Bougainvilleans and the Papua New Guinea government.
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in the country. Gittoes had already visited Afghanistan as part of the
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in Sydney. After the Yellow House finished, he established himself in
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No exit: a Tale of Two Cities â George Gittoes in New York and Baghdad
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external links, and converting useful links where appropriate into
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Gittoes' service to Australia has been recognised by the award of
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aired on ABC on July 14, 2020, and is still showing on ABC iView.
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Gittoesâ visit to South Africa coincided with the outbreak in
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from the article and its talk page, especially if potentially
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Gittoes has travelled to many places for his art, including:
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In March 2003, he visited Iraq soon before the American-led
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Or, to put it more simply, âThe whole world is my studio.â
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1165:(2019, director, producer, screenwriter, cinematographer)
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In 2016, Gittoes published an anecdotal autobiography,
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was just getting underway, meeting members of both the
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1333:(1998), p. 28, with an illustration of the exhibition.
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A comprehensive public solo exhibition of his work,
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Returning to Australia in late 1969, a meeting with
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1268:(Broken Hill City Art Gallery, 1992), pp. 12â 13.
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1574:The Miscreants â Film Review and Video Trailer
1361:"Adlib Internet Server 5 | Simple search"
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1307:(Broken Hill City Art Gallery, 1992), p. 13.
1233:: CS1 maint: multiple names: authors list (
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1210:Fry, Gavin; Gittoes, George, 1949- (1998),
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1584:Lifelounge magazine interview with Gittoes
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316:Film director, producer, writer and artist
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94:about living persons that is unsourced or
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1419:"George Gittoes with David Levi Strauss"
1417:Strauss, David Levi (JulyâAugust 2010).
509:to the American-led Unified Task Force (
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1348:International Campaign to Ban Landmines
732:, the old headquarters building of the
716:, in aid of victims and to support the
1855:
1485:
1903:Blake Prize for Religious Art winners
1606:
1385:http://yellowhousejalalabad.com/News/
947:Melbourne International Film Festival
1133:(2005, director and cinematographer)
1119:(1982, director and cinematographer)
176:
56:
15:
1346:(Sydney, Australian Network of the
501:The first stop, in March 1993, was
13:
1488:"George Gittoes: Witness to a War"
1464:â Member of the Order of Australia
1079:Station Museum of Contemporary Art
376:Brighton-le-Sands, New South Wales
14:
1924:
1908:Members of the Order of Australia
1549:
1486:Dillon, Noah (JulyâAugust 2011).
1099:Gittoes received the prestigious
505:, where Australia had provided a
450:Australia and overseas, 1986â1992
31:This article has multiple issues.
1873:People from the Sutherland Shire
1579:NZ Herald interview with Gittoes
1053:Member of the Order of Australia
692:affected by construction of the
407:led to the establishment of the
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1913:20th-century Australian artists
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1353:
986:, was shown in 2017, a second,
489:Peacekeeping and war, 1993â2001
39:or discuss these issues on the
1831:Uluru Statement from the Heart
1591:In Conversation George Gittoes
1407:, Sydney, Pan Macmillan, 2016.
1336:
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1186:Yellow House Artist Collective
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879:Work in Afghanistan, 2011â2015
844:The Time: a season in Pakistan
678:Northern Ireland peace process
409:Yellow House Artist Collective
355:Yellow House Artist Collective
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1125:(1987, director and producer)
1068:University of New South Wales
1008:
369:
364:Blake Prize for Religious Art
1634:Sydney Peace Prize laureates
1066:Doctorate in Letters by the
686:Central Academy of Fine Arts
613:Afrikaner Weerstandsbeweging
413:Kings Cross, New South Wales
399:Work in Australia, 1970â1985
72:biography of a living person
7:
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1159:(2015, director and writer)
1153:(2013, director and writer)
1147:(2009, director and writer)
99:must be removed immediately
10:
1929:
1888:Australian digital artists
1145:The Miscreants of Taliwood
1091:Arncliffe, New South Wales
1046:
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1443:George Gittoes: I Witness
622:of the most concentrated
380:Rockdale, New South Wales
374:Gittoes was born 1949 in
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1898:Australian photographers
1597:Pacifica Radio interview
1058:He was also awarded the
773:Republic Tower Art Space
769:MÊdecins sans Frontières
761:decade-and-a-half of war
726:ban anti-personnel mines
724:took a leading role) to
1123:Las balas de las poetas
632:Rwandan Patriotic Front
1868:Australian war artists
1506:"Love City, Jalalabad"
1365:archival.sl.nsw.gov.au
1041:
957:Recent work, 2016â2020
886:Yellow House Jalalabad
848:Miscreants of Taliwood
846:, in Sydney in 2008.
826:Miscreants of Taliwood
718:international campaign
698:Peace Monitoring Group
378:and grew up in nearby
86:Please help by adding
1883:Australian filmmakers
1290:Quoted at Gavin Fry,
1277:Quoted at Gavin Fry,
1117:Tracks of the Rainbow
1031:
911:12 April 2015 at the
778:10 April 2015 at the
682:Irish Republican Army
444:Visions in the making
428:Tracks of the Rainbow
1394:(accessed 6.4.2015).
1390:4 March 2016 at the
1151:Love City, Jalalabad
741:Lives in the Balance
496:official war artists
456:Bullets of the poets
202:improve this article
92:Contentious material
1893:Wynne Prize winners
1460:4 June 2011 at the
1214:, Craftsman House,
1017:, the Philippines,
1001:were assassinated.
988:Bring in the Clowns
922:Love City Jalalabad
666:John Wesley Mannion
432:Warriors and lawmen
393:Hotel Kennedy Suite
345:George Noel Gittoes
214:footnote references
1798:Black Lives Matter
1101:Sydney Peace Prize
1077:, appeared at the
983:Fun Fair Jalalabad
902:The Tailor's Story
745:conflict over Gaza
730:Palais des Nations
634:(RPF) had won the
624:genocidal violence
578:Camp David Accords
517:and in and around
1850:
1849:
1516:– via IMDb.
1492:The Brooklyn Rail
1476:â Centenary Medal
1423:The Brooklyn Rail
1221:978-90-5703-991-1
1130:Soundtrack to War
1103:(November 2015).
1085:, in April 2011.
945:premiered at the
797:Soundtrack to War
757:11 September 2001
734:League of Nations
384:Clement Greenberg
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321:Years active
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913:Wayback Machine
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803:Fahrenheit 9/11
780:Wayback Machine
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607:on April 27 of
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1565:George Gittoes
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1550:External links
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1474:It's an Honour
1466:
1455:It's an Honour
1447:
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1377:
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1350:, 2000), p. 4.
1335:
1331:George Gittoes
1322:
1320:(1998), p. 24.
1318:George Gittoes
1309:
1305:Heavy industry
1296:
1294:(1998), p. 20.
1292:George Gittoes
1283:
1281:(1998), p. 19.
1279:George Gittoes
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1266:Heavy industry
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1255:(1998), p. 16.
1253:George Gittoes
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1075:Witness to War
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869:Starless Night
782:. The works,
752:
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609:Nelson Mandela
554:Western Sahara
543:John Sanderson
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483:Heavy Industry
475:Ancient Prayer
467:Heavy Industry
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1528:"White Light"
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1508:. 7 June 2013
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1702:Olara Otunnu
1654:Desmond Tutu
1590:
1535:. Retrieved
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1510:. Retrieved
1500:
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1426:. Retrieved
1422:
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1405:Blood Mystic
1404:
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1368:. Retrieved
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81:verification
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40:
34:
33:Please help
30:
1878:1949 births
1790:Naomi Klein
1734:John Pilger
1428:3 September
1329:Gavin Fry,
1316:Gavin Fry,
1251:Gavin Fry,
1163:White Light
1157:Snow Monkey
1111:Filmography
974:White Light
970:White Light
951:Snow Monkey
943:Snow Monkey
939:Snow Monkey
927:Piraya Film
906:Buraq Films
857:Descendance
831:tribal belt
722:Australians
673:Bosnian War
660:documenta X
644:Interahamwe
530:Khmer Rouge
481:, from the
389:Joe Delaney
307:, Australia
1857:Categories
1726:Pat Dodson
1710:Irene Khan
1537:14 January
1192:References
1009:Motivation
765:Minefields
720:(in which
714:Minefields
594:occupation
535:settlement
370:Early life
293:1949-12-07
125:newspapers
36:improve it
1834:(2021â22)
1718:Hans Blix
1532:MIFF 2020
1344:Minefelds
1070:in 2009.
1027:landmines
1015:Nicaragua
935:synthages
898:Talk Show
894:Love City
873:The Flood
865:Moonlight
829:, in the
823:trilogy,
709:landmines
702:civil war
636:civil war
550:John Grey
515:Mogadishu
507:battalion
206:excessive
77:citations
42:talk page
1512:17 April
1458:Archived
1388:Archived
1370:17 April
1229:citation
1208:in 1975
1170:See also
1064:honorary
1036:â
909:Archived
836:Servants
791:invasion
776:Archived
648:massacre
605:election
586:massacre
526:Cambodia
485:series.
479:Open Cut
438:(1985),
434:(1985),
359:Bundeena
103:libelous
1138:Rampage
1047:Honours
1019:Somalia
917:Simorgh
813:Rampage
570:MINURSO
566:Lebanon
503:Somalia
334:gittoes
329:Website
291: (
200:Please
192:use of
139:scholar
1842:(2023)
1824:(2020)
1816:(2019)
1808:(2018)
1800:(2017)
1792:(2016)
1784:(2015)
1776:(2014)
1768:(2013)
1760:(2012)
1752:(2011)
1744:(2010)
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1688:(2003)
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1672:(2001)
1664:(2000)
1656:(1999)
1648:(1998)
1218:
900:, and
640:Kibeho
628:UNAMIR
620:Rwanda
590:Hebron
562:Israel
519:Baidoa
511:UNITAF
301:Sydney
141:
134:
127:
120:
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