november 2005 subject index

print australia
CLASS 10a - AUSTRALIAN BRED BITCH
Impressions - December 2004
print exchange 2005
september subject index
October Subject Index
mirror mirror

australia
stop the cane toad
australia's greatest artist?
sculpture by the sea
northern exhibitions
city of perth award
ANU sculpture collection
antarctic photography
SAMAG - Peter Garrett
field of movement
axel poignant photography
behind the lines

printmaking
microlithography
Warringah Printmakers Studio
stencil tutorials
Print Zero Studios Print Exchange #4.
bookmarks exchange 2005
annual miniature print exchange
john cage


artists
bea maddock
anita klein
Gosia Wlodarczak
Peter Callesen
Escher's Delft
Jessurun de Mesquita
art & language
waving to hokusai
contemporary maori art
kiki smith
Imants Tillers
helen frankenthaler
John Russell & Van Gogh
Félix Vallotton
Toulouse Lautrec
Tim Storrier and Valie Export
rothko and rover thomas
happy famous artists
louise bourgeois
pisarro at AGNSW
brian dunlop
Sol Lewitt & Emily Kngwarreye
ARAI Shin-ichi
lichtenstein & arkley
damien hirst
Jacoba van Heemskerk
rainer & parr
ian friend
hear hear
olavi lanu
Jérôme Fortin

reviews & exhibitions
aboriginal art rip off?
aboriginal art ripoff? - reveiwed
Rembrandt events
rembrandt 2006

resources
reshaping the web
how to escher
more art blogs
cutting quill pens
some art blogs
utopia station
mura gadi
what's on
Frieze Art
teacheroz links

art theory
beautiful boy
Robert Hughes
authorship
multiples

books
the history of the book
Leiden Book Fair review
Book Repair
artist book

wow profiles
WOW Profiles XII
WOW Profiles XI
WOW Profiles X
WOW Profiles IX

Art Courier Service

Art of Moving Removals is an Art Courier Service plus Household and Office Removal Business. We are an Owner-Operated organisation, delivering personalised service. With 18 years experience, we are based on the Northern Beaches, catering to all of Sydney. Our service includes packing and moving household and office goods, plus specialising in Fine Arts with correct handling of paintings, ceramics, antiques, sculptures and other valuable items. We provide utmost care required of artworks to and from galleries, framers, exhibitions etc. with special deliveries and transport for single artworks to touring exhibitions.

bea maddock panorama

http://www.nga.gov.au/Landscapes/Pano2.htm

Tasmanian artist Bea Maddock’s work ‘Terra Spiritus, with a darker shade of pale’. The work in its entirety is a series of fifty-one drawings that provide a circumlittoral drawing of the Tasmanian coastline. Worked with hand ground Launceston ochre over a letter-press and finished with hand drawn script, the works include indigenous and non indigenous place names that underscore the panoramas.

In an interview with Diane Dunbar, Curator of Fine Art at the Queen Victoria Museum and Art Gallery in 1998, Bea Maddock said that Terra Spiritus was a continuation of previous work dealing with Tasmania and Aboriginal place names. But it was seeing and drawing the coastline as she returned from a trip to Antartica that really gave her the spark.


Originally she had an idea to travel around the island in a boat but it was expensive and sitting at sea trying to draw was cumbersome. So she sat with graph paper and maps and found that by calculating the height and distance and allowing for the curvature of the earth she was able to translate the coastline to paper. She spent two years doing the graph drawings and five years in total completing the work in both Launceston and her Oatlands studio from 1993 to 1998. abc

landscapes exhibition homepage

Photos of Strahan on Linden's blog reminded me of this work. I saw it installed in a small room. What was fascinating was that the panorama circumnavigated you, whilst the image it contained circumnavigated an island. A toroidal effect worthy of the the tardis or ringworld.

5th Lessedra World Art Print Annual

5th Lessedra World Art Print Annual
Sofia Bulgaria

1 January 2006 -
17 March 2006

Exhibition

5TH L E S S E D R A WORLD ART PRINT ANNUAL (MINI PRINT)
AIMS AND TASKS

An international print annual with the premise that no art form has broader implications in contemporary society than that of the print. The aim is to gather and exhibit contemporary art print works from all over the world and to contribute to the contacts and the exchange between artists, art lovers and collectors and to stimulate the research into paper, inks, and other materials used in printmaking.


ORGANIZATION

LESSEDRA Gallery & Contemporary Art Projects
25, Milin Kamak Street, Lozenetz
1164 Sofia, Bulgaria
Tel.(++359 2) 865 04 28, 866 38 57
www.lessedra.com
Email: georgi@lessedra.com

LESSEDRA Gallery & Contemporary Art Projects
Founded in 1991.
Contemporary Bulgarian and International Art. Projects, Workshops and Exhibitions.
Books/Catalogues and CDR for the Arts.
Current projects 2004/2005/2006
CONTEMPORARY ART PRINTS FROM JAPAN AND BULGARIA
ART PRINT EXHIBITION EXCHANGE WITH THE ART INSTITUTE OF CHICAGO
4th LESSEDRA WORLD ART PRINT ANNUAL MINI PRINT


CONDITIONS FOR PARTICIPATION

1. Each artist should send no more than 3 works: original prints, created in 2005/2006.
Entries may feature any type of method of printmaking and should be signed and numbered by
the artist. The maximum dimensions of a work are 29 x 23 cm. (paper size).
Please note: works exceeding the limited size shall be neglected!

2. The application (entry) form should accompany the work, including the name and the nationality of the artist as well as the title, price, year and the technique used in the work.

3. The works should be sent to LESSEDRA Gallery & Contemporary Art Projects as
PRINTED MATTER by registered air-mail in a simple packet, unframed, without mount,
bearing the declaration "No commercial value".
Please note: packages with declared amounts arrive directly in the customs so they shall be returned back from the customs for the costs of the sender.

4. Participation fee is 50 EUR for all European and 50 USD for all another countries and it covers catalogue production, organization of the exhibition, invitations, posters, advertise materials, print return and catalogue postage.
It has to be paid with the message Lessedra Annual Exhibition on the name of Lessedra Gallery


Bank transfers should be made to:

For transfers in EUR
Radi Georgiev Georgiev
First Investment Bank, 1000, Sofia, Bulgaria, 12, Narodno Sabranie Sq.
SWIFT CODE FINVBGSF, Bank Code 15091501
Account Number 1406465104

For transfers in USD
Radi Georgiev Georgiev
First Investment Bank, 1000, Sofia, Bulgaria, 12, Narodno Sabranie Sq.
SWIFT CODE FINVBGSF, Bank Code 15091501
Account Number 1106465119

Cheques, Transfers via Western Union and Cash (when legal) are accepted!!!

Participants should enclose a copy of the receipt.


CATALOGUE

1. LESSEDRA Gallery & Contemporary Art Projects will publish an exhibition catalogue including all participating artists. Every participating artist is kindly requested to send a brief biography on CD or via E-mail and a personal photograph.

2. LESSEDRA Gallery & Contemporary Art Projects reserves the right to photograph and reproduce works in the printed catalogue, in CDR, in the Internet gallery and also for advertising, commercial and publicity purposes.


JURY, PRIZES AND EXHIBITION

1. INTERNATIONAL JURY will be appointed to select the winning prints. One of the five international jury members represents LESSEDRA Gallery & Contemporary Art Projects.

2. There will be the following PURCHASE PRIZES:
First Prize (USD 500 = purchase of 3 works in edition of 2)
and an invitation for a solo exhibition of the artist during the next annual exhibition 2006
Second Prize (USD 200 = purchase of 3 works),
Third Prize (USD 100 = purchase of 2 works).
5 Special Prizes, each one equal to USD 50 (purchase of 1 work) a cheque covering the entry
fee for participation in the next print annual.
Prize For Young Emerging Artist - USD 100 (in materials for print works) and an invitation for a solo exhibition of the artist during the next annual exhibition 2006.
The Jury has the right to grant more than one Second and Third prizes and also more than one Prize for Young Artist.

3. There will be a 10 % commission payable to LESSEDRA Gallery & Contemporary Art Projects on the sales of all the works.

4. Exhibition with all the works will be organized in Lessedra Gallery in Sofia, Bulgaria in June 2006.

While the works will be handled with the utmost care, LESSEDRA Gallery & Contemporary Art Projects will not be responsible for loss or damage due to natural disasters.

The works will be returned within five months from the closing date of the exhibition at the cost of LESSEDRA Gallery & Contemporary Art Projects.

Entries should be sent to LESSEDRA Gallery & Contemporary Art Projects.
Entry Form can be downloaded from this site.
Entries are accepted from January 01st to March 17th 2006.
Packages postmarked March 17th 2006 will be accepted.

www.lessedra.com

Contact: LESSEDRA Gallery and Contemporary Art Projects
Tel: (++359 2) 865 04 28, 866 38 57
Fax:
E-mail: georgi@lessedra.com
Venue: Lessendra Gallery & Contemporary Art Projects

link

IOWA Biennial of miniature prints

The Iowa Biennial Exhibition at The University of Iowa, July-September 2004.

Beginning January 1, 2006, The Iowa Biennial Exhibition of Contemporary Miniature Prints, begins accepting entries for submissions of the 2006 edition. For current details and information visit the 2006 Exhibitions site or click here.

The purpose of the Iowa Biennial Exhibition is to both introduce the public to contemporary prints from around the world while enlarging the collection of works within the Iowa Biennial Exhibition Archive and making them available for academic research, museums, artists, and print students alike. While works within the research archives can never be sold, they will be used to promote a greater awareness of the uniqueness and beauty of the print and print mediums.

The Iowa Biennial Exhibition of Contemporary Miniature Prints 2006 will initially be exhibited at Kirkwood College’s Nielsen Hall Gallery and The University of Iowa’s Project Art Gallery and thereafter will become an international traveling exhibition for a period of up to two years. Additional venues for travel and exhibition are currently being considered and scheduled.

All jury-selected works are retained by The Iowa Biennial Exhibition of Contemporary Miniature Prints while all works submitted are retained within The Iowa Biennial Exhibition Archive.

For current details and information visit the 2006 Exhibitions site or click here.

BIMPE miniature print competition

BIMPE is a miniature print competition held every 2 years, and hosted by New Leaf Editions and Dundarave Print Workshop, both on Granville Island, Vancouver, Canada. The intent of BIMPE is to facilitate international artistic exchange and to increase public awareness and appreciation for printmaking.

• Each artist may submit up to 3 prints, and up to 5 prints in each edition may be sent.
• The entry fee is $30 CDN or $25 US
• The prints can be in any printmaking medium
• The printed area must not exceed 10 x 15 cm
• The paper size must not exceed 8.5 x 10 inches (or it must fit in an A4 plastic sleeve)
• The deadline for entries is April 30^th 2006

more information at bimpe

BIMPE III gallery

William Kentridge

Still from William Kentridge's film installation in the Italian pavilion, Venice 2005

"One of the fascinating things about William Kentridge's films is how they let the process show. Because he draws, shoots, erases and shoots again to create his imagery - rather than painting animation cells or digitally developing scenes - I am conscious of his means, even his touch. It was Kentridge's genius to show how the directness of drawing could survive the indirectness of a camera-based art."
- from "William Kentridge" by Janet Koplos, Art in America, December, 2000
- at gregkucera

gregkucera's print listing

I have never tried to make illustrations of apartheid, but the drawings and films are certainly spawned by and feed off the brutalized society left in its wake. I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures, and certain endings; an art (and a politics) in which optimism is kept in check and nihilism at bay.
— William Kentridge

Kentridge drawing in his studio, Johannesburg ©the artist

reviews


FREUD'S BODY EGO OR MEMORABILIA OF GRIEF
is a psychoanalytic study of the work of artists William Kentridge and Lucian Freud. It draws on the major exhibitions of the past decades together with interviews and includes over one hundred and fifty images in colour. There are also photographs of recent work from William Kentridge's studios in NYC and Johannesburg. The text has a coda on Barnett Newman. Sigmund Freud's letters on art (with previously untranslated passages) appear together with a focus on his clinical and theoretical writings on fetishism. Major European writers like Arendt, Balzac, Beckett, Pessoa, Rilke, Svevo, Tolstoy, Varnhagen, and Zweig, among others, constitute the intellectual horizon.

Some thoughts on painting and on obsolescence by Lucian Freud and William Kentridge

Print Australia Exchange Listing

Print Australia Exchanges

Summary List 2000 - 2003
http://www.acay.com.au/~severn/PAEx/PAExchanges.htm

-------------------------------------------------
2000

Sacred Tree
page 1 http://www.acay.com.au/~severn/tree/tree1.htm
page 2 http://www.acay.com.au/~severn/tree/tree2.htm
page 3 http://www.acay.com.au/~severn/tree/tree3.htm

Aus-Ex 2000
The Aus-Ex 2000 Exchange Prints
http://www.acay.com.au/~severn/ausex/ausex.htm

Letterforms
The Letterforms Exchange Prints
http://www.acay.com.au/~severn/lett/lf.html

Where I Live
The Where I Live Exchange Prints http://www.acay.com.au/~severn/wil/wil.htm
Colophon http://www.acay.com.au/~severn/wil/wil-col.htm

-------------------------------------------------
2001

What is a Print?
This exchange exhibition has been rehung and relocated
http://www.acay.com.au/~severn/WIAP/wiap-gall.htm
page 1 http://www.acay.com.au/~severn/WIAP/page_1.htm
page 2 http://www.acay.com.au/~severn/WIAP/page_2.htm
page 3 http://www.acay.com.au/~severn/WIAP/page_3.htm
page 4 http://www.acay.com.au/~severn/WIAP/page_4.htm
page 5 http://www.acay.com.au/~severn/WIAP/page5.htm
Eli Griggs Article http://www.acay.com.au/~severn/eli.htm

Open1
The Open1 Exchange Prints
http://www.acay.com.au/~severn/open/opgal.html

Aus-Ex 2001
The Aus-Ex 2001 Exchange Prints
http://www.acay.com.au/~severn/ausex2/aus2-gall.htm

Illustration
The Illustration Exchange Prints
http://www.acay.com.au/~severn/illust/illust.htm

-----------------------------------------------------
2002

Dreams
The Dreams Exchange Prints
http://www.acay.com.au/~severn/dream/dreams.htm
a collaboration with the Poetryetc mailing list
Dreams Exchange Poems

Digital
The Digital Exchange Prints
http://www.acay.com.au/%7Esevern/digit/dig-gall.htm

Solstice
Solstice Exchange Prints
http://www.acay.com.au/%7Esevern/pc/sol.htm
(SSNW 02) miniature print exchange

----------------------------------------------------------
2003

Open2
The Open2 Exchange Prints
http://www.acay.com.au/~severn/open2/open2Gall.htm

Metal Plate
The Metal Plate Exchange Prints
http://www.acay.com.au/~severn/met/metGall.html

SSNW03
Miniature Print Exchange
{see lyrebyrd}

(final images - under construction)

---------------------------------------------------------
2004

Nature Morte (still life)
{see lyrebyrd}
Information Page
http://www.acay.com.au/~severn/imp/still/Still.html
Exchange Terms and Conditions
http://www.acay.com.au/~severn/imp/terms.htm

(final images - under construction)

Nature Exchange
Information Page
http://www.acay.com.au/~severn/imp/nature/Nature.htm

(final images - under construction)

SSNW04
Miniature Print Exchange
http://photos.groups.yahoo.com/group/PrintAustralia/lst
click on folder SSNW04

{see lyrebyrd}(members only can view)

---------------------------------------------------
2005

Open Exchange 2005
(non toxic experimental)

Information Page
{see lyrebyrd}
Exchange prints
http://www.art-paintings.info/judy/images/printex/prinataushome2html.html

=============

Lyrebyrd Miniature Print Exchange

{current}

LSD blotter art

Blotter Art is a term that originally referred to the absorbant paper that liquid LSD was sometimes dropped onto. Artwork was printed onto "blotter" paper and then perforated into tiny squares or "hits," which could be torn apart into easy to manage quantities.

In the 1960s, when LSD was legal, it was distributed in large pills, sometimes called "barrels" because of their shape. It was also sold on anything from sugar cubes to animal crackers. Dealers began to want their "batch" of LSD to be recognizable from the others, so they began to invent ways to trademark their acid. The chemists would make the pills a certain shape or color as to set them apart from others, especially if they were packaging particularly potent dosages. This also served as a form of a validation of authenticity, proving that the dealers were not selling fake LSD. As a bonus, the dealers would get a kick out of the buzz created by their "brand" of acid. Sometime after LSD became illegal, mandatory minimum sentencing was set into place. These laws placed mandatory sentences on drug offenders based on the weight of the substances with which they were caught. Therefore a drug dealer busted with one dose of acid on a sugar cube that weighed 1 gram would get the same sentence as a dealer caught with 1 gram of LSD crystal, which would represent about 10,000 doses of LSD! It didn't take a genius to figure out that a new, lightweight, medium for distributing LSD was needed.

In comes Blotter Art:
The foremost Blotter Art historian, Mark McCloud, suggests that after Owsley Stanley's pill press was busted, that Blotter Acid began to make its way on to the streets, replacing the pills as the standardized medium. Shortly after, iconic images began to make their way onto Blotter Paper, which allowed dealers to easily put their own logo on the acid they were selling. The logo could have been professionally printed or have been a rubber stamp of some image that further served as an underground trademark. Not only did this serve to identify a brand of acid, but by using Blotter Paper, which weighed far less than other mediums, it kept drug dealers who got busted from getting as much mandatory time.

Today, the term "Blotter Art" takes on a whole new meaning. Now, Blotter Art refers to a highly collectable form of artwork. It steals its popularity from the visual similarities it shares with its' once prolific chemical-soaked cousin. Blotter Art has transcended the underground drug market and is available to art lovers worldwide. It is not illegal, it is ART! It celebrates the days gone by when we were young and our minds were blooming. Now we no longer have to use an illegal substance to take a "trip," even if it is down memory lane.

More Blotter Art Sites »
Tripatourium aka Blotter Sheets now.
Blotter Sheets
Blast
Stevee

reblogged from easybakecoven

image
The Timothy Leary Rainbow design contains smaller images from the "Leary Profile" blotter. This blotter measures 7.5 in. by 7.5 in. or 30 squares by 30 squares. That makes a total of 900, 1/4 in. squares.

on postcard art

"postcards are so last century"

from the guardian

Art-lovers and bargain-hunters were out in force in Kensington this morning as the Royal College of Art opened its annual “secret” postcard exhibition, offering the chance to snap up works by the likes of transvestite potter Grayson Perry and photographer David Bailey for just £35 a piece, writes David Batty.

This year there are a record 2,700 cards available, submitted by big-name artists and art students alike – but you only find out whose card is who's when you’ve bought them and can see the artist’s signature revealed on the back.

Lucky buyers so far include Carlito Briones, a 52-year-old currency trader from Balham, south London, who bought two Damien Hirsts, and a 50-year-old retired engineer called Austin who snapped up cards by Paula Rego and Julian Opie.

But after 12 years the exhibition has got a bit tired. After all, postcards are so last century. And with art nerds bringing along their cronies to snap up as many works by famous names as possible, it’s time for something a bit more challenging.

So how about a guess the sheets competition, where you have to pick which dirty linen was stripped off Tracey Emin’s infamous bed? Or let’s see whether you can tell a transcript of Fiona Banner’s Turner Prize-nominated Arsewoman in Wonderland from Alistair Campbell’s erotica or extracts from Black Lace books.

But perhaps the ultimate challenge would be the Kim Howells’ lucky dip, in honour of the former culture minister who labelled the Turner prize as "conceptual bullshit", where you have to find a Manzoni in a stack of unlabelled tin cans.

city of perth award

The City of Perth is proud to announce the launch of the City of Perth Art Award. This new biennial award, open to national entrants, presents cutting-edge works exhibited for the first time. The City of Perth is offering a first prize of $20,000 for the acquisitive Award for Excellence and a $5,000 Commendation Award. Twenty seven Australian artists have been invited to exhibit innovative works in the field of 2-D contemporary art.

A distinguished panel of arts professionals selected thirty of Australia's most significant professional and emerging artists to create new works for the Award. The selection panel was comprised of Rachel Kent (Senior Curator from the Museum of Contemporary Arts), Jenepher Duncan (Curator Contemporary Arts Art Gallery of Western Australia) and Professor Ted Snell (Director of the John Curtin Art Gallery and Curtin University School of Art).

The winner will be announced at the opening of the exhibition at 6pm on Wednesday 23 November 2005. The winning artwork will become part of the City of Perth art collection.

Jazmina Cininas, Simon Cuthbert, Domenico de Clario, Neil Haddon, Petrina Hicks, Bevan Honey, Anna Hoyle, Megan Keating, Mart Lebedev, Nicola Loder, Anne MacDonald, Clare McFarlane, Gina Moore, Frank Morris, Tom Mùller, Louise Paramor, Shane Pickett, Trevor Richards, Kevin Robertson, Helen Smith, Joan Nancy Stokes, Holly Story, Justin Trendall, Paul Uhlmann, Joshua Webb, Gosia Wlodarczak, Jurek Wybraniec

artist images here

opening: Wednesday 23 November, 6pm
24 November - 18 December, 2005
Perth Institute of Contemporary Arts (PICA)
51 James St, Perth Cultural Centre. (08) 9227 6144
Free Admission - Tuesday - Sunday 11am-6pm
http://www.pica.org.au/art05/PerthArtAward05.html

and the winners are



2005 City of Perth Award for Excellence
Paul Uhlmann - (Breathless)

2005 City of Perth Commendation Award
Joan Nancy Stokes - The Overseer and the Black Stockman

microlithography

Biologists say they have created a "living photographic film" from engineered intestinal bacteria, which is capable of taking high-resolution black-and-white pictures.

In a study published in British science weekly Nature today, a US team has extracted a light-sensing gene from a germ called a cyanobacterium to make the film.

They have stitched it into the cell membranes of Escherichia coli (E coli) bacteria so exposure to red light switches off a gene that controls the production of the bug's black pigment.

As a result, black-and-white images can be "stencilled" onto a mat of the engineered bacteria grown on a plate of protein-rich lab gel.

The resolution and tone scale are extraordinarily good because the screen's definition is on bacterial scale, at up to 100 million pixels per square inch.

The authors from the University of California say their invention could spur "bacterial microlithography" and the creation of new materials made from living organisms.

They say their study could also help unlock fundamental knowledge about how bacteria use gene switches to send signals to each other. abc

stop the cane toad

Cane toads have changed the biological landscape of Qld, Northern NSW and the NT in disastrous and irreversible ways.

stop the cane toad

how to help

bea maddock

aboriginal art ripoff? - reveiwed

what's wrong with this image?

Oh, I know, its the Australian aboriginal artist called Johan Helder.... mmmm

This was what I posted last week.
------------------------------------------------------------------------------
So, having my curiosity aroused, I took the opportunity to visit the gallery. Its on Sarphatistraat, next door to the Albert Hein supermarket and around the corner from an Amsterdam uni campus. Its a community run space where artists are required to make a portfolio submission to board. The gallery is then rented for monthly periods. This isnt Amsterdam's "Paddington". The gallery stable was what you would expect, student and emerging work.

In regards to Johan Helder's work, it appeared to have been directly copied from reproductions of aboriginal art. I recognised the styles of various different artists. It looked like bad copies of pretty patterns. No knowledge or understanding of technique or culture. The other paintings, acrylic abstracts, were equally poor.

What was really sad about this is that the gallery minders were very friendly and helpful and gave me one of the warmest welcomes I have received in an Amsterdam gallery. It looks like a good community space. Its just a pity that they are so uninformed about art and culture from australia and aboriginal copyright.



Here is the website, have a look at the opening photos, they give a good impression of what sort of space this is and high fashion amongst the dutch arty community....

What is our Australia Council doing to promote Australian art overseas?

anita klein

anita klein studied at chelsea and the slade schools of art. she is president of the royal society of painter printmakers (re) and has work in many private and public collections in europe, the usa and australia, including the arts council of great britain.

--------------------------------------------------------------
Australian born painter and printmaker Anita Klein now lives and works in London and has exhibited her prints and large oil paintings extensively in the UK, Australia and California. Trained at the Chelsea School of Art and the Slade School of Fine Art , she is a fellow of the Royal Society of Painter Printmakers, has been shown at the Royal Academy and the Institute of Contemporary Arts in London. Her work is held in many private and public collections including The Arts Council of Great Britain.

Anita's work is a humorous visual diary celebrating the small domestic moments we all share; having breakfast with her daughters, shaving her legs while husband 'Nige' does his exercises, catching the guinea pig and many more. These moments are encapsulated with the soft blackness of the drypoint line, and while irrelevant details are ignored, others like Nige's hairy legs, or the television remote control are lovingly described.

Anita says that 'these everyday events are what she would miss most if it was all taken away'. While family photo albums record our lives as one long round of birthdays and holidays, the very moments we should most value are almost always ignored and forgotten. Anita first showed her work at Pyramid Gallery in 1994 and has been a regular exhibitor ever since.

Drypoints at Pyramid

Gosia Wlodarczak

Book

David Bromfield
NOW (Gosia Wlodarczak, drawing 1986 - 2004)
Brown Art 96pp, $38.85

NOW is a place, the place to be, NOW.

David Bromfield's NOW is a study of the work of Gosia Wlodarczak in the context of Australian and International art over the last century. Bromfield demonstrates that her working strategy is NOW, a brilliant attempt to remain in the absolute present, together with her work. This, he argues, has long been the unacknowledged goal of art and artists from impressionism to the present day.

NOW the new millennium with its cult of false irony, debased scandal, second-degree references, careerism, and passive production, to order has reduced the experience of contemporary art to a sophisticated shopping ritual for those with too much cultural capital to spend. This has produced a CRISIS OF PRESENCE that pervades all art NOW. Gosia Wlodarczak's unique drawing and performance is NOW the most vivacious, refreshing, response to this crisis. Every work she makes adds to the substance of NOW her continuous present. Bromfield shows how she developed her approach though an analysis of her work over two decades

The artist has collaborated with the author to design a book that is itself intensely beautiful, a discreet side entrance to NOW. Forget the Future--Dismantle the Past We need art NOW.

bookmarks exchange 2005

From estampe.be (it's a pdf, I HATE pdf)

Third edition of this exchange of engraving based only on the size of the bookmark. During Bookmarks 2003, 135 artists took part in the project, coming from 27 countries.

Here are the conditions for the participation. For the good organisation of this exchange, please respect them.

Deadline : 31 December 2005

Principle : you send 11 identical bookmarks (paged and signed), the participation form filled in and a participation for the expenditure costs. By return, you’ll receive 10 bookmarks of different origins, the eleventh is kept by estampe.be. It will be scanned and exhibited on the web till 31 December 2006 at least. (a C.V. may be joined with the bookmark – as far as it is sent by e-mail).

The bookmark :
the size only is imposed : 5cm x 20 cm. No matter the theme or the type of paper.
Technique : all the techniques of printed images are accepted (as well as the printed digital image), as far as the eleven bookmarks are identical.

Are forbidden photographies and virtual digital images.

Bookmarks 2005 webpage

There are pages and pages of excellent prints on the Estampe.be website. It comes out of Belgium.

------------------------------------------------------

update:


.... thank you for the reference about the bookmarks exchange

I know .pdf files are not as friendly as it should be but it's a
practical way to have forms and document with the design you want.
Well, the rules are in html on the website.

I don't write often on Printaustralia, difficulties to write easily
in english, but I read most of the post.
Lots of informations

Regards
-------------------------------------------------------
Hugues Przysiuda

reshaping the web

"We reshape the web in our own various ways, and this should be respected and acknowledged."

marc garret

posted 22nd November on Nettime

how to escher

Wiener Dog Art


link

Peter Callesen

Peter Callesen
http://www.petercallesen.com/




korean blog entry



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Magic Castles


view of the water-castle at sunset

The anchors are fixed to the castle.
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Snow Prints


Peter Ravn Callesen

beautiful boy

The Beautiful Boy (2003) - Germaine Greer [Amazon.com] [FR] [DE] [UK]

Germaine Greer (born January 29, 1939) is an Australian academic, writer, and broadcaster, who is widely regarded as one of the most significant feminist voices of the 20th century. A professor of English literature at the University of Warwick in England, and the author of several highly acclaimed books, Greer's ground-breaking The Female Eunuch became an international bestseller when it was published in 1970, turning Greer overnight into a household name, and bringing her both adulation and criticism. Her ideas have created controversy ever since.
--http://en.wikipedia.org/wiki/Germaine_Greer [Apr 2005]

Greer has made a career of the controversial polemic, most explosively in the 1970s with The Female Eunuch, brazenly arguing for women 's sexual liberation. Decades later, the Australian-born sensualist seeks to redress another wrong: heterosexual women's insensitivity to the boy as sexual object. Considering the utter fetishization of contemporary youth culture, it's difficult to sustain the argument that nubile lads are being neglected. But the present day isn't the volume's strength; the most modern icons include Elvis, Boy George, Kurt Cobain, Jim Morrison and Robert Plant-nary a boy band member.

The more compelling passages investigate shifting representations in classical art-Cupid first depicted as sly aggressor, seducing his own mother, only to be desexualized in the more restrictive 19th century, conveniently cloaked by a drape or angel wing.

Except for a final chapter that glosses over the works of female artists, Greer hardly plunges into her initial aim "to advance women's reclamation of their capacity for and right to visual pleasure."

What does it mean for women to sexualize dewy, girlish boys created by male artists? To swoon over Caravaggio's provocative urchins, Michelangelo's languorous Dying Slave or Eakins's supple-skinned bathers? It's not clear, but then nuance has never really interested Greer.

Short on argument but long on lush reproductions of languid young men, the collection is better viewed than read. 200 color and b/w photographs and illustrations.

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Warringah Printmakers Studio

Grannies Sitting Room by Annie Day and Helen Cameron

Christmas Exhibition
Featuring the works, "Small Impressions"
by Warringah Printmakers Studio
1st to 24th December 2005
Impressions on Paper Gallery
Unit 6, 7 LONSDALE STREET, BRADDON ACT
Phone: 6161 3185
Website: www.impressionsonpaper.com .au

THE GIFT Susan Baran Photopolymer Intaglio

at the Impressions on Paper Gallery, Canberra

Escher's Delft

The Escher Museum is also in Den Haag and worth a visit if you are in the area. Besides the overexposed abstracts, there are some good woodcut landscapes like these views of Delft.















And Delft (pronounced dell-eft) is the hometown of Vermeer.