30 June, 2005
Updated: Tue, Jun 28 2005 10:52 PM
Updated Wed, Jun 29 2005 12:45 AM]
Its now Thurs June 30 approx 5.40pm
nothing since (Tue, Jun 28 2005 10:41 PM)
has come through the feed yet.
its now 12.46 am Fri and the feedburner rss feed
is still not showing anything after the antwerp post
of 9.30 am yesterday, whereas the atom feed is up to date
JULY ARTMAIL - ART GALLERY OF NEW SOUTH WALES
SYDNEY AUSTRALIA (extracts)
ON THIS MONTH
RAJPUT: SONS OF KINGS
Until 4 September 2005
The Gallery celebrates India in July with music, dance, performances,
film and school hoiliday workshops in conjunction with the exhibition
Rajput: Sons of Kings. Created in the Rajput courts of Rajasthan, north-west India, this
exhibition of over 70 intricately detailed paintings and drawings
encapsulates the vitality and sensuality of court life from the 17th to
the 19th centuries. Organised by the National Gallery of Victoria.
Janet Burchill and Jennifer McCamley
Until 14 August
Two of Australia's best-known contemporary artists Janet Burchill and
Jennifer McCamley exhibit their latest collaborative works using neon
lights and sculpture.
19th CENTURY AUSTRALIAN WATERCOLOURS, DRAWINGS & PASTELS
Until 24 July
This exhibition from the Gallery's collection provides an exceptional
opportunity to enjoy the work of Australian artists from the nineteenth
century. Familiar works by John Glover, Conrad Martens, Arthur Streeton
and Julian Ashton are exhibited alongside the less well-known and
recently acquired watercolours by Louis Buvelot and Eugene von Guerard.
UNSCRIPTED: LANGUAGE IN CONTEMPORARY ART
Until 24 July
This exhibition brings together 22 works by some of Australia's most
well-known contemporary artists who use language as part of their work.
Artists include Ian Burn, Gordon Bennett, Kate Beynon, Janet Burchill,
Adam Cullen, Mikala Dwyer, Rosalie Gascoigne, Simryn Gill, Matthew
Jones, Peter Kennedy, Robert MacPherson, Mike Parr, Rose Nolan, Susan
Norrie, Scott Redford, Imants Tillers, Peter Tyndall and Jenny Watson
MY VIRTUAL GALLERY
Online exhibition creation tool
The Art Gallery of New South Wales has launched an exciting way to
explore and interact with it's collection online. My Virtual Gallery
gives visitors insight into the role of a curator by allowing them to
assemble their own exhibitions using artworks from the Gallery's
JULY SCHOOL HOLIDAYS
Workshops, character tours & performances
4 - 15 July
The Gallery has a range of fun school holiday programs in July. Meet
the Cheeky fruit bat on a lively tour of the Indigenous Yiribana
Gallery, create Indian miniature artwork at one of the weekday
workshops, enjoy Indian dance during the free weekday performances and
NEW FUNDAYS WEBSITE
Visit the new Fundays website for information on the Gallery's weekend
and school holiday programs for all the family at http://www.fundays.com.au
a contemporary of Bruegel
14 May 2005 – 10 July 2005
Museum Mayer van den Bergh
Lange Gasthuisstraat 19
From the museum Internet site
Pieter Bruegel old are considered as of the masters of art, and Antwerp as the most important metropolis in the history of the The Netherlands in the 16de centuries reformatie and Contrareformatie, Spanish predominance and independence fight had a remarkable historical concentration in the citycity city.
In spite of and correctly because of the war, picture storm and political rotations there arts thrived and were the masters and their work shops there ongemeen productive. They developed there a broad spectrum of new schilderkunstige genres and topics, which we as a mirror can consider of the then life circumstances and belief proportions one of them were Gillis Mostaert (1528-1598), a contemporary of Bruegel old, who he some decades survived. With him and with the picture production of its zonen he stepped in competition.
Gillis were considered as a very fertile and creative artist, whose, full living koloriet work and gezocht with elegant character drawing, very products. From the inventories of Antwerp art collections of its time a rich and duration-paid oeuvre comes to for, in which the cabinet painting for private use predominated: markets, village fairs, rural faces, seasons, winter landscapes, krijgs - and, beelden brandtaferelen from living Maria and christus, as well as parabels and allegorieën.They show to taferelen full characters from the turbulent volksleven of its time, of which the political and moralising intentions comparison and attentive reading can be again discovered it are the first time that monografische a tentoonstelling to the work lives and of Gillis Mostaert is dedicated. It is placed moreover within the framework of the work of contemporaries such as the zonen of Bruegel, Lucas van Valckenborch and Hans van Wechelen.
The work is produced privé-verzamelingen and museums and covers the topics from village fair and bruiloftsfeest to farmer brawl and overval, from oudtestamentische the Sodom and Gomorra to the kruisdraging of christus. To about thirty paintings give a picture of its multi-purpose production and tevens of the new developments in the character, this way typical for its time - and landschapschilderkunst, mostly against politiekhistorische the context of Antwerp. The tentoonstelling was organised by Wallraf-Richartz-Museum in Cologne, where she has found preceding to Antwerp.
Köln, Wallraf-Richartz-Museum (15 January-12 April 2005)
translated by babelfish
29 June, 2005
**** CAMDEN PILOT STATION ARTIST RESIDENCY 2006 AND 2007
The Community Cultural Development division of the Australia Council is
seeking applications for the 2006 and 2007 Camden Head Pilot Station
Residency Program from artists throughout Australia. Residencies of 6 - 8
weeks will be taken during September October 2006 and August September
Applications must be postmarked no later than August 1 2005)
For further information: Contact the Community Cultural Development Board ph
02 9215 9161, 1800 226 912 (toll free) or go to
**** ARTIST RESIDENCY IN MALAYSIA 2006
Australian artists are invited to apply to undertake a residency at the
compound of Rimbun Dahan, outside Kuala Lumpur, Malaysia. This is a 12-month
residency, with funding provided for airfare, accommodation, studio space,
living costs, artists materials, and a concluding shared exhibition. The
residency will commence in February 2006.
Applications close: Wednesday August 31 2005
For further information: Go to
http://www.rimbundahan.org/art/application.htm or email
Van Gogh Draftsman
Van Gogh Museum, Amsterdam
July 2 – September 18, 2005
This summer (July 2 to September 18, 2005) the Van Gogh
Museum will present some of the finest drawings by Vincent van Gogh (1853-1890). This representative survey of over one hundred of Van Gogh's many drawings reveals the full extent of his remarkable talent as a draughtsman. The works have been brought together from public and private collections throughout the world with major loans from the J. Paul Getty Museum, the National Gallery of Art in Washington, the Staatliche Museen zu Berlin, the Kunsthaus Zürich and the Museum of Fine Arts in Budapest. The drawings are seldom displayed due to their sensitivity to light - some of them have not been shown in public for many years. Van Gogh's best sheets of drawings, which illustrate his capacity for artistic innovation, are considered masterpieces in their own right. He himself regarded many of his drawings as works that could compare with his paintings.
Drawing, the foundation of painting
When Van Gogh decided to become an artist in 1880, he devised his own program of training. He realized that drawing was the foundation of painting and knew that he would have to work hard to become proficient in his new profession. A number of landscape drawings of the countryside around Etten, where he lived in the spring of 1881, show the skills that he quickly developed in the genre. The drawings that he subsequently made in The Hague are also dominated by experimentation: here Van Gogh tried out an array of - mainly black - drawing materials and attempted to master subjects such as perspective and anatomy. The characteristic robust style of drawing of his Dutch period gradually emerged in 1882. Apart from drawings in dark materials, he also produced some attractive watercolors that demonstrate his feeling for color.
Drawings from Nuenen
After a short stay in Drenthe, Van Gogh moved to Nuenen, in the south of Holland, in December 1883. There he drew and painted the local weavers and the primitive conditions in which they lived. His draughtsmanship took on stunning new proportions with a series of seven magnificent landscape drawings in March and April 1884, five of which appear in the exhibition. They clearly show the artist's remarkable gift for pen drawing. However, their lack of commercial appeal prompted him in the summer of 1885 to turn once again to figure studies, resulting in over fifty works depicting farmers toiling at their work. Although these were hardly more than exercises the series, including masterpieces such as Gleaner and Woodchopper, is of exceptional quality.
Paris, a new modern style
During his two-year stay in Paris Van Gogh focused mainly on refining his use of color. It was not until 1887 that he produced a number of ambitious drawings, including urban views that reveal his attempt to apply his new skills to the world of draughtsmanship. His new, modern style can be seen in particular in a number of vivid watercolors that he painted in the summer of that year, reflecting the unmistakable influence of Japanese art.
Highlights from Arles
Among the highlights of the show are the drawings produced at Arles where Van Gogh lived from February 1888. These include a series of highly successful landscape drawings in reed pen that culminated in the so-called second Montmajour series: six large views of the shimmering Provençal countryside. The entire series is featured in the exhibition so this is a unique chance to view one of the artist's finest achievements. Van Gogh's love of country life is reflected in another highlight of the exhibition. Four versions of The harvest, a watercolor, a painting and two copies in the form of pen drawings, illustrate the artistic process that characterizes his work in Arles: an interplay between painting and drawing in which the artist explored the rhythm and cohesion of the composition in different media. Superb drawings of parks and gardens, urban views and portraits complete the survey of Van Gogh's remarkable production in this Southern French town.
Drawings from the sanatorium in Saint-Rémy
At Saint-Rémy, where he admitted himself in May 1889 to a sanatorium to recover from a form of epilepsy, Van Gogh's style took another turn. The pen drawings he made here reveal him searching for a rhythmic, almost decorative style. He took motifs from the old garden and the surrounding area of the former convent. He also experimented with color. For a group of brush drawings of the garden he used highly diluted oil paints in bright colors, and an astonishing, almost graphic style of drawing. The three famous views of the interior of the sanatorium, also drawn in oils, are all on display.
Study books, drawing materials, sketch books, illustrations and letters
To present a complete survey of Van Gogh as a draughtsman, and not just the masterpieces, the show will at various points feature other aspects of his work. Van Gogh's study books and drawing materials will be exhibited, as well as sketches and illustrations from his letters, showing how the artistic process developed. For the first time, Van Gogh's four surviving sketchbooks will be exhibited together in Amsterdam.
Van Gogh draughtsman: The masterpieces was compiled together with the Metropolitan Museum of Art in New York, where the show will be presented from October 11 to December 31, 2005.
Oceania - Australia
from the Metropolitan Museum of Art
Solar Eclipse Photos
Smoke Photos from the Sydney Bushfires 2002
Solar Eclipse 2002 - German Site
J Severn hat die partielle Sonnenfinsternis
im Rauch der Buschbrände fotografiert. (Englisch)"
Photocall: 12/06/2005, 10:00am, Il Giardini, 51° Esposizione Internazionale d'Arte della Biennale.
It's all hushed and woody inside the beach shack - bar the blandishments of the paparazzi.
"Miz Blanjet! Ova here Miz Blanjet!!" Frozen half-smile. "Cate!" "Cate!" Inscrutable but intelligent. "Miz Blanjet!" Nothing, almost completely blank, except for the raised, plucked eyebrow visible above the rim of the eyeglasses. "Miz Blanjet" today is oozing hot and brainy, and she and everybody else knows it. Our Cate is waiting with the artist, some sculptor.
From The Art Life
28 June, 2005
Australian Art 1985 - 1999
text: Professor Margaret Plant
Often the response to art at any one time pays attention to the newest art and to current trends. While activity that appears both original and cohesive is a key indicator of relevant cultural issues at any one time, the situation overall is invariably more complex. This selection of images aims to give some sense of the variety of art activity in recent years.A Monash University Web Project Link
at Princeton University
"This spring we asked the Princeton University community to submit imagery produced in the course of research or incorporating tools and concepts from science. The response was overwhelming: more than 200 entries from nearly 100 individuals in 15 departments. We selected 55 of these works to appear in the 2005 Art of Science Exhibition. The resulting assembly of images presents a fascinating and beautiful cross section of the arts and sciences at Princeton. It celebrates the aesthetics of research and the ways in which science and art inform each other."
When does a work of art achieve aesthetic resolution, and when does it fall short? Artists, collectors and theorists since the Renaissance have regarded this question as both problematic and central to understanding the artistic endeavor. For reasons inherent to the medium, prints claim a special place in this history. Over the course of several centuries artists were increasingly apt to retain and distribute prints at various stages in their making. Experiments with differing states and specially tailored impressions encouraged a fascination with degrees of finish in printmaking that challenged the very idea of aesthetic completion.
This exhibition chronicles the complex workings of the artistic imagination revealed by the unfinished print and the changing estimation of artistic process that it provoked. Despite its implication for the rise of modernism, this development has never before been considered across its full historical sweep.
Founded two centuries ago, the Royal Museums of Fine Arts of Belgium hold some twenty thousand paintings, sculptures and drawings. Located in Brussels, they consist of the Ancient Art Museum (XV - XVII century), the Modern Art Museum (XIX XX century), the Wiertz Museum and the Meunier Museum.
Drawings from Rembrandt and his pupils in the collection of Jean de Grez
8 July 2005 – 30 September 2005
In 2006, the character of Rembrandt Harmensz. of rijn (1606-69) will form the subject everywhere in the world of spectacularly set up tentoonstellingen for the commemoration of its vierhonderdjarige birth. As a prelude the royal museums of Belgium present summer already this their little confessed treasure to drawings of this 17de-eeuwse master. Also students most important are such as Gerbrand of pine Eeckhout, Ferdinand convex and Govaert Flinck step for the voetlicht with frequently never bladen earlier shown. It concerns everyday taferelen, biblical historiën, landscapes and portraits. Rembrandts drawings maintain themselves beside its paintings and engravings as independent work, and concerning style, topic choice and function they appear renewing extraordinarily several and. Since the expenditure of the argued catalogue of Rembrandts drawings by Otto Benesch in 1954/7 however numerous innovative studies had appeared which adjust the picture of Rembrandt and its surroundings serious. The time seemed ripe also the file of Brussels to a new critical can submit. Which drawings are of Rembrandts hand real? Why did he commission so many students? How in Rembrandts did the work shop go? Why do the student drawings seem this way strong on those of the master? Why were so many biblical shows and landscapes produced? On all these questions attempt the tentoonstelling an answer with the aid of renowned rembrandt experts such as peter formulate Schatborn.
Tentoonstelling = exhibition. Translation by Babelfish.
27 June, 2005
Printmaking with Photopolymer Plates by Dianne Longley
reveals the unique possibilities offered by a new printmaking medium and is designed to be used by artists, art students and art teachers. Photopolymer printmaking is printing from photosensitive plates that have been exposed in UV light and developed using water. The process is clean, easy and safe. This book describes photopolymer plates and their uses, details the process illustrating each step and also lists support information such as materials and suppliers. Photopolymer printmaking is easy to learn while being remarkably flexible as a medium. The book covers a diverse range of applications for the new technique. Photopolymer prints are illustrated and captions supply information about how the images were produced.
Listed amongst the following are a number of arts organisations that provide services to artists in Tasmania. This is not a complete list and organisations should contact Arts Tasmania should they wish to be included in future editions.
"Impressionism & the Making of Modern Art"
Were the Impressionists revolutionaries? Did Monet and Cézanne really invent a new type of painting? And why did Van Gogh cut off his ear? On the following pages, you can explore possible answers to these questions by browsing through a series of virtual exhibits designed by Princeton undergraduates for their writing seminar. These exhibits showcase a wide range of themes, such as Cézanne & Virgil, Caillebotte & Fashion, Toulouse-Lautrec at the Circus, Picasso’s Boy with a PipeMatisse in Morocco. Collectively, these exhibits explore not only the development of Impressionism but also its influence on subsequent movements such as Post-Impressionism, Neo-Impressionism, Symbolism, Fauvism and early Cubism. As Picasso noted towards the end of his life, “Cézanne was my one and only master.”
25 June, 2005
ANNOUNCING OPEN CALL [Please pass it along!]
7th International Digital Print Competition/Exhibition
Venue: The New York Hall of Science
Dates: October 1, 2005 - January 15, 2006
Organized by: Art & Science Collaborations, Inc. (ASCI)
Entry Deadline: August 1, 2005
Some people believe that all of nature is exquisite, however how often do we
examine the nature of exquisite itself? A dictionary definition of exquisite
includes: "carefully selected : choice; marked by flawless craftsmanship, or
by beautiful, ingenious, delicate, or elaborate execution; keenly
appreciative : discriminating; accomplished, perfected; pleasing through
beauty, fitness, or perfection; acute, intense."
For ASCI's seventh international digital print competition and exhibition,
Digital'05 seeks to examine the nature of the exquisite in all of its
ramifications. That may indeed have to do with "mother nature" on, off, and
underneath the Earth's surface. It also could point to our biological
nature, human products, environments, or even to the physical manifestations
of exquisite ideas. We are eager to see what the art-science community
brings to this visual investigation.
Lynn Gamwell is Director of the Binghamton University Art Museum,
Binghamton, New York, and Curator of the Gallery of Art and Science at the
New York Academy of Sciences, New York City.
We look forward to seeing and exhibiting your work!
PROSPECTUS & ONLINE ENTRY FORM:
ASCI's Previous Digital Print Online Exhibitions [1998-2004]
24 June, 2005
"We believe that the lost fresco is hidden there. Indeed, Vasari himself left an important clue. On a tiny green flag in his painting, he wrote: 'Cerca, trova' — seek and you shall find," Seracini said.----------------------------------------
The Republic of Florence, which came into being in 1494, decided to create an assembly hall for their most important political committee, the "High Council", which was suited to the requirements and pretensions of the new republic. The majority of the construction work on the Sala del Gran Consiglio in the Florentine Palazzo Vecchio had been completed shortly before 1500. The pictorial program was to include two large wall paintings intended to express the self confidence of the new republic. It was planned that two important victories from recent Florentine history should be depicted: the Battle of Anghiari and the Battle of Cascina. The choice of artist had to measure up to the importance of the commission, and the decision was made in favour of two of the most highly esteemed Florentine artists of the age, Leonardo da Vinci and the young Michelangelo.
Neither of the two artists completed his works and we only know of their projects indirectly by their being mentioned in documents, or in the form of copies or sketches that have been associated with the project. More
We all have failures and this potentially magnificent work was one of Leonardo's.
An ambitious painting, Leonardo used a type of plaster which he read about in a book by Pliny, with the unfortunate result that the work he had barely begun was irreparably ruined. Problems started as soon as Leonardo placed his brush to the wall at 9 am. The weather turned bad, the sky opened and it rained then on until nightfall. The sudden humidity liquefied the paste holding the cartoon in position; as Leonardo lifted his hand to start work the cartoon slid to the floor and tore. More
The Body is seen as an evolutionary construct that tends to extend and augment its operation in the world enabling it to perform remotely, enabling it to extend its presence to other places in the world and some of these recent performances with internet muscle stimulation systems makes it possible to connect to other places and physically to interact with them.
More on Switch
'Australia: Love it or Leave it' a group exhibition by the proppaNOW Artists Collective representing many Tribes and Language Groups from the state now known as 'Queensland'..
jenny fraser - curator online More
PRESENTATION AND PROMOTION, AUSTRALIA COUNCIL FOR THE ARTS
The Australia Council is accepting applications from organisations to
present, promote and interpret contemporary Australian visual arts and craft
in a critically stimulating way, and to broaden audiences for the work of
Applications close: Monday August 1 2005
SKILLS AND ARTS DEVELOPMENT, AUSTRALIA COUNCIL FOR THE ARTS
The Australia Council invites individuals and groups to apply for their
Skills and Development Grants, which seek to promote excellence in the arts
by providing professional development opportunities for visual artists,
craftspeople, arts writers and curators. Three types of grants are offered
through this category: Studio Residencies, General Professional Development,
and Young and Emerging Artists Initiative Grants.
Applications close: Monday August 1 2005
For further information including selection criteria:
23 June, 2005
Australia Council Webpage
Ricky Swallow is a sculptor of power, beauty and confidence. His exhibition of six new and recent sculptures--This Time Another Year--will open on Thursday 9 June in the Australian Pavilion at the 51st Venice Biennale.
About 30,000 prominent international curators, collectors, gallery directors, artists and media from around the world are expected to visit the Australian Pavilion during the three days of the Vernissage 9-11 June (preview period).
The Pavilion will be officially opened by Cate Blanchett on Thursday 9 June, and on Friday 10 June the prestigious Golden Lions awards will be announced by the Biennale authorities.
Thirty year-old Swallow is Australia's youngest representative in the 51 years that Australia has shown at the Venice Biennale. Australian Commissioner John Kaldor said: 'The buzz around Ricky's exhibition is already growing with previews in major international arts magazines. The works look sublime, working well both conceptually and physically in the space. The Biennale is a unique opportunity to showcase Ricky's sculptures and I believe his presence in Venice will be of international significance.'
The passage of time and the life span of things are at the heart of Swallow's work. His meticulously hand-carved sculptures allude to the artist's own experiences, from coastal Melbourne to the suburban blocks of LA to London where he now lives. He draws on the still-life genre, testing its resilience and relevance over time, and to 'recalibrate an old genre to suit my own purposes'.
artlife blogspot reviews the reviews
Sea Art Festival of Busan Biennale 2006 : 2006.9.16-10.7, Haeundae Beach,
etc. in Busan, Korea
Artwork Competition for the Sea Art Festival
- Number of works : 20 installation pieces in and around the beach
-Submission period : Friday, Sept. 23 to Friday, Sept. 30, 2005
Busan Biennale, which comprises the Contemporary Art Exhibition, the Sea
Art Festival and the Busan Sculpture Project, (which is a special
exhibition), is one of the most representative biennales in Korea. Owing
to great successes in 2002 and 2004, Busan Biennale has received
widespread acclaim from the global art world as one of the top four major
biennales in Asia.
As part of Busan Biennale 2006, the Contemporary Art Exhibition and Sea
Art Festival are being held from September 16 to November 25, 2006 in and
around the Busan Museum of Modern Art, Haeundae Beach. The Sculpture
Project, which is a special biennale exhibition, will be held from May 27
to August 31, 2006 in Geumgang Park.
The Sea Art Festival, which has been held since 1987, has become the most
unique and creative marine arts show in the world, as well as the largest
environmental installation art festival. The festival showcases ten
invited artists with ten works, and twenty works in the competitive
domain. The Sea Art Festival’s Artwork Competition is an especially
wonderful opportunity for artists to exhibit their creative abilities,
while activating the international exchange of experiential installation
in marine arts.
VII INTERNATIONAL BIENNIAL OF ENGRAVING 2005
ROTARY CLUB ACQUI TERME – OVADA
2030 DISTRICT – ITALY
Web Site: www.acquiprint.it
this site contains links to participants in previous years
The event intends to contribute, with a prize, to the promotion of interest in contemporary engraving as it is cultivated in its traditional techniques: burin, dry-point, etching, aquatint, xylography, soft-ground etching, mezzotint and other traditional procedures, used singly or in combination with each other while following the rules of original creativity.
This site displays the 2005 prints
Dutch Masters from the Rijksmuseum
24th June - 2nd October 2005
The most comprehensive display of 17th century Dutch masterpieces has come to Melbourne for the second exhibition in the Melbourne Winter Masterpieces series.
Following the success of The Impressionists in 2004, Dutch Masters from the Rijksmuseum, Amsterdam will offer audiences the richest survey of 17th century Dutch art ever staged in Australia. The exhibition brings together more than 100 sumptuous works and decorative objects by great artists such as Johannes Vermeer, Rembrandt, Frans Hals, Pieter de Hooch and Jan Steen.A rare treat for Australian audiences, this exhibition is only possible due to the major renovations happening at the Rijksmuseum in Amsterdam.
read the review
The Australian, 18th June 2005
"The History Painters"
by Miriam Cozic
21 June, 2005
This year over 36,000 voted in this year's People's Choice for the Archibald Prize and their favourite was Nicholas Harding's portrait Bob's daily swim.
Nicholas Harding has been an Archibald finalist every year since 1994. He won the Archibald Prize in 2001 with a painting of actor John Bell and was highly commended in 1998 for his portrait of artist Margaret Olley. In 2003 he painted Margaret Whitlam and in 2002 and 2004 submitted portraits of Aboriginal artist Rusty Peters.
Harding's subject this year is painter Robert Dickerson. Now into his eighties Robert swims, paints, weight-lifts and walks every day. Nicholas receives $2,500 for winning the People's Choice.
Archibald, Wynne and Sulman Prizes and the Citigroup Private Bank Australian Photographic Portrait Prize are on view until Sunday 3 July 2005.
Image: Nicholas Harding, Bob's daily swim, 2005 Archibald People's Choice Winner.© the artist
21 June, 2005
A Juried Exhibition
November 4, 2005 - January 17, 2006
Border Crossings is an international invitational exhibition which asks artists to comment on the making and the transgression of boundaries. Borders, whether visible or invisible, configure community and can be defined in terms of geography, politics, culture and society.
Art work may include conventional and mixed-media printmaking, as well as book arts and digitally manipulated images. Photographs, including digital photographs, will be excluded.
Founded in 1999, The Ink Shop Printmaking Center/Olive Branch Press is a non-profit print and bookmakers’ center, fine art press and gallery which offers professional facilities for the making of fine art prints and artists’ books. The Ink Shop provides equipment for intaglio, lithography, silkscreen, letter press, digital imaging, and bookmaking in addition to an extensive series of year-round workshops for artists and the general public. We host six exhibits per year in the gallery, including invitational and exchange exhibitions, one full-year Kahn family fellowship and a one-month artist in residence program. The Olive Branch Press prints editions and handmade books. Border Crossings will take place in The Ink Shop‘s three exhibition galleries.
Send completed entry form, slides or CD and entry fee ($30), payable to The Ink Shop, by July 12, 2005, to The Ink Shop Printmaking Center, 102 West State Street, Ithaca, NY 14850, USA.
Refer to complete details under Conditions of Entry
Please submit up to 3 images as 35 mm slides or digital files. Photographs will not be accepted. Paper size of finished artwork should not exceed 15” X 22.”
DEADLINE FOR RECEIPT OF SLIDES: July 12, 2005>
20 June, 2005
Go to Melbourne Museum of Printing
About the artist
Dorothy Robinson Napangardi belongs to the Warlpiri language group from Pikilyi.
This place is situated west of Yuendumu and is approximately 385 kilometers north west of Alice Springs. Dorothy paints in the traditional manner of the Kurawarri (dreaming)
Program of exhibitions CREMONA
Information in English
“IV INTERNATIONAL SMALL ENGRAVING EXHIBITION”
(April 10 - June 26, 2005)
4th edition of the International Exhibition dedicated to contemporary engraving of small size (paper size 25cm x 35 cm), with the participation (only for invitation) of about 125 printmakers, amongst the most important artists from every part of the world. Each author will donate one or both works in the exhibition to ADAFA, thus enriching the present collection of international contemporary prints kept in the Prints & Drawings section of the Museo Civico “Ala Ponzone” in Cremona.
MUSEO CIVICO “ALA PONZONE”:
(April 10 - June 26, 2005)
This exhibition will illustrate the recent developments obtained both in techniques as well as aesthetics in graphic works (prints & mixed techniques) in the GraphicStudio (Institute for Research in Art), Tampa, Florida / U.S.A., by some of the major contemporary artists such as Jim Dine, Chuck Close, James Rosenquist, Robert Mapplethorpe, Sandro Chia, and others.
Curator: Deli Sacilotto, director of research at GraphicStudio, Tampa
“ITALIAN ENGRAVING UNDER 35”
(April 10 - May 22, 2005)
The exhibition will present 50 recent prints (size 50cm x 70cm) made by 25 Italian artists under 35 years of age; these artists have been selected by an appointed committee. Now in its 2nd edition - taking place every 4 years - the exhibition will proceed (September 2005) to the ITALIAN CULTURAL CENTER in CRACOW (Poland).
MUSEO DELLA STAMPA (PRINT MUSEUM)
(April 10 - May 22, 2005)
Contemporarily, at the Print Museum (“Casa degli Stampatori”) in Soncino (CR), an important collection of “ex libris” made by important Italian and foreign artists will be held on the theme of Music. This exhibition is part of the A.I.E. (Italian Association of “Ex Libris”) collection of Ex Libris.
Curator: Mauro Mainardi, President A.I.E.
Due Date: June 24, 2005
Mobile Journeys is pleased to announce the first Australian commissioning program for mobile phone artworks. Between 10 and 15 commissions are available for works in the following areas:
- short video - sound - text based - locative - social networking
- games - performance - installation
The call for proposals closes on June 24. Applicants will be notified about the outcome of the selection process by June 30. Mobile Journeys requires most of the selected project to be completed by late July to be showcased at the d>Art.O5 Exhibition at Sydney Opera House in August. Extensions on this completion deadline will be granted on a case-by-case basis.
For more information and to submit a proposal, please visit
Mobile Journeys is a national initiative exploring the creative potential of mobile devices. The Mobile Journeys consortium consists of the Australian Interactive Media Industry Association, the Australian Network for Art and Technology and dLux media arts and is supported by the Australia Council for the Arts.
Call for works
We are now calling for works for the following categories of d>Art.O5:
- d>Art.O5 Screen: Open to Australian citizens or permanent residents only
- d>Art.O5 Sound: Open to Australian and International artists
- d>Art.O5 Web: Open to Australian and International artists
The call for entries closes on June 15th. Any entries not completed by or made after this date will not be excepted. Entrants will be notified of the selection results by July 1st.
For more information d>Art.O5
Under the sub-title "Distributed Art" d>Art.O5 will both present art forms that have an inherently distributed nature (web art, mobile phone art) and investigate new methods for distribution of digital art. (podcasting, BitTorrent, Bluetooth).
d>Art.O5 will consist of an exhibition of sound, web, and mobile phone art and a screening program of experimental film and video art. The exhibition will take place at the Sydney Opera House Exhibition Hall in August/September 2005, the screening program will be presented during this same period.d>Art
Established in 1998, d>Art is one of Australia's premiere annual digital art events. d>Art showcases new Australian and International video, sound and interactive works with an emphasis on experimentation, exploration and compositional innovation.
18 June, 2005
National Juried Exhibition "Book + Art = ?".
Accepted artwork will be exhibited in the Annex at Core New Art Space,
900 Santa Fe Drive, Denver, Colorado from Sept. 15 to Oct. 1, 2005.
Accepted works will also be displayed on the Core New Art Space website
in an online exhibition for one year beginning September 15th, 2005,
which will include links to accepted artists' web sites.
There will be cash awards based on the number of entries.
Deadline: July 21, 2005
Show Dates: Sept. 15-Oct. 1, 2005
Online Exhibit: Sept. 15, 2005-Sept. 15, 2006
This juried exhibition is open to all artists 18 and over, residing in the USA. The purpose of the exhibition is to provide artists with a venue to showcase the convergence of fine art, books, and bookmaking, to increase awareness of this growing artistic genre in Denver and via the Internet. Anything that the artist can argue is an artist book - be it a one-of-a-kind handmade book, one of a handmade limited edition, an altered book, etc. - is eligible to be entered. Books published in large editions (300 or more), by factory manufacturing, or produced without the artist's active hands-on participation (and that of his/her assistants) are not eligible.
The links provided here lead to sites directly related to Australian contemporary visual art. Athough this site is intended to be a resource for students studying contemporary art and artists, it also provides many useful links for anyone interested in the current visual art scene in Australia. Link
17 June, 2005
VII Graphic Art Biennale - Dry Point, Uzice, Yugoslavia 2005.
held in The City Gallery of Uzice, from May to June 2005.
The City Gallery of Uzice is the founder and organizer of the Graphic Art Biennale - Dry Point.
At the 7th Graphic Biennale the achievements of the graphic art, created between two exibitions shall be presented. Only the works in dry point technique with limited format to 70x100 cm shall be exibited. The works which are to be exibited should be performed at high professional level.
26th Biennial of Graphic Arts
23 June - 2 October 2005
The artistic director for the 26th Biennial of Graphic Arts is the respected Slovene art historian Jure Mikuž. The concept emphases the 50th anniversary of the event, diversity of views on contemporary graphic arts and a process as an organizational approach to staging an exhibition. He has invited eighteen prestigious institutions from all over the world to each present an exhibition that attempts to answer the question: What are the graphic arts today? Their answers will give form to the artistic criteria of the cultural and geographic settings in which these institutions operate and in this way will help to constitute a postcolonial perspective on art. This approach underscores the great variety of art today as it exists in our globalising world.
The title of this year's Biennial, Thrust, speaks to the power of the Biennial, which for fifty years has been one of the engines of both Slovene culture and international graphic arts. The title also alludes to the power of art to trigger an array of responses, thoughts, and emotions, as well as to the meaning of the local as opposed to the global.
The 26th Biennial of Graphic Arts will be addressing actual questions and dilemmas concerning the situation and development of graphic arts production in the widest sense of the word. It begins with the symposium in December 2004 at the MGLC and ends with the exhibition in June 2005 in Tobačna Ljubljana.
Opening: 23 June 2005 at 9 p.m. in front of Tobačna Ljubljana, Tobačna 5
16 June, 2005
The Australian Art Print Network is proud to present
Yilpinji - Love Magic and Ceremony
the first exhibition of thematic prints on Yilpinji,
the love magic practiced by the Warlpiri and Kukatja
people of the central and western deserts of Australia.
This exhibition has shown at the Australian Museum, Sydney
and will tour public and commercial galleries both internationally
and throughout Australia until 2005.
On 15 July 2006, the world celebrates the 400th birthday of Rembrandt van Rijn. The master is being honored on this occasion by many special exhibitions. CODART is keeping track of these events for you. On this page you will find all Rembrandt events between 15 July 2005 and 15 July 2007 of which we know. Link
Stichting Rembrandt 400
In 2006 it will have been 400 years ago that Rembrandt, Holland's greatest 17th-century painter, was born. The perfect occasion to train the spotlight on this Dutch master throughout the year. Like no other artist, Rembrandt managed to capture light and shadows in paint. In addition, his drawings and etchings are unequalled. The activities to commemorate ‘Rembrandt 400’ are concentrated in the two cities in which the artist lived. He was born in Leiden in 1606, and lived and worked in Amsterdam in the latter part of his life. The Stichting Rembrandt 400 (Rembrandt 400 Foundation) has been set up to develop ‘Rembrandt 400’. The Stichting will coordinate and stimulate exhibitions and events. It is also responsible for the promotion and publicity concerning Rembrandt 400, both at home and abroad. The Stichting expects the exhibitions and activities to attract some 1.5 million visitors, many of whom will come from abroad.
Independent chairman of Stichting Rembrandt 400 Jan Michiel Hessels: "The 400th birthday of Rembrandt is an excellent occasion for an internationally attractive theme year, both culturally and with regard to tourism. The exhibitions and activities to commemorate Rembrandt 400 will focus on the two cities in Rembrandt’s life: Leiden and Amsterdam. In Leiden, where the artist was born, the emphasis is on his youth and on what life was like in those days. The focus in Amsterdam, where he enjoyed his heyday, but also experienced difficult times, is on the master painter Rembrandt."
Two highlights of the program are major exhibitions in The Rembrandt House Museum: Rembrandt – the quest of a genius and Uylenburgh & Son. Art and Commerce in Rembrandt’s Time. The Rijksmuseum is preparing for a major exhibition on Rembrandt and Caravaggio. Stedelijk Museum De Lakenhal in Leiden will present a number of exhibitions. Some of the places in Leiden where the painter spent his youth will be redeveloped or renovated and will be open to the public. In addition to this, a large number of other activities will be organized. Visitors will also be able to admire Holland's permanent collection of Rembrandt works throughout the year.
The main parties involved are represented in the Stichting Rembrandt 400. Representatives of The Rembrandt House Museum, the city of Leiden, the Rijksmuseum and the Netherlands Board of Tourism & Conventions are on the Stichting’s board. In addition, a platform has been set up in which these and other organizations involved can exchange information and come to agreements. Hessels continues: "It is very important that preparations for theme year start well ahead of time. You must ensure that all parties involved work together closely from the very beginning. Many of the preparations are now well under way and the cooperation between parties from the cultural and tourism sectors is excellent. I do not doubt that Rembrandt 400 will be a great success, both with regard to its cultural aspects and to the numbers of visitors it will attract. Link
12 June, 2005
Gabríela Fridriksdóttir's Iceland pavilion
by Walter Robinson
The 51st Venice Biennale, June 12-Oct. 8, 2005, is the first in 110 years to be overseen by women -- Maria de Corral and Rosa Martinez, two Spanish curators -- and the gods have kindly provided dazzling blue skies and perfect spring weather for the vernissage weekend.
De Corral and Martinez have somehow managed to quiet the macho spirit that often seems so integral to such global art gatherings. In its place, we have cheerful triumph of "festivalism," to use the term for the prevailing esthetic at such international art shows, popularized a few years ago (as an epithet) by New Yorker critic Peter Schjeldahl.
note artnet.de in German
The venice Biennale website
NGA | Australian Print Workshop
This exhibition celebrates the work produced at the Australian Print Workshop between 1981 and 2002. It is a snapshot of the involvement of Australian artists in the production of prints and their concerns stylistically, technically and politically during these two decades.
In 2002 the National Gallery of Australia acquired the Australian Print Workshop second archive of workshop proofs, a collection of over 3,500 prints by artists Australia wide. The acquisition was made possible through the assistance of the Gordon Darling Australasian Print Fund.
The exhibition place made: Australian Print Workshop includes 93 works by 57 artists. It opens at the National Gallery of Australia on 31st January 2004 and will then travel nationally.
The 5th Australian Print Symposium will be held at the National Gallery of Australia on 2nd, 3rd & 4th April 2004. It will coincide with the major exhibition place made: Australian Print Workshop.
National Gallery of Australia
Landscapes in Sets and Series
More print exhibitions at the National Gallery of Australia NGA The landscape has been the prime subject matter for Australian artists, both indigenous and those who have come to Australia since 1788. Paintings and prints by artists such as John Glover, Eugene von GuÉrard, Arthur Streeton, Tom Roberts, Sidney Nolan, John Olsen and Fred Williams have formed the popular conception of the Australian landscape. It is only in recent years that the importance of Aboriginal depictions of the landscape has been acknowledged and their images have become part of the popular imagination. Landscapes in sets and series focuses on prints produced by Australian artists from 1960s to the 1990s. As well as presenting prints of the Australian landscape the exhibition also represents the work of two artists - Janet Dawson and Salvatore Zofrea, who have found their subject matter in foreign landscapes.
The landscape has been the prime subject matter for Australian artists, both indigenous and those who have come to Australia since 1788. Paintings and prints by artists such as John Glover, Eugene von GuÉrard, Arthur Streeton, Tom Roberts, Sidney Nolan, John Olsen and Fred Williams have formed the popular conception of the Australian landscape. It is only in recent years that the importance of Aboriginal depictions of the landscape has been acknowledged and their images have become part of the popular imagination.
Landscapes in sets and series focuses on prints produced by Australian artists from 1960s to the 1990s. As well as presenting prints of the Australian landscape the exhibition also represents the work of two artists - Janet Dawson and Salvatore Zofrea, who have found their subject matter in foreign landscapes.
11 June, 2005
09 June, 2005
by June Woest Updated, January 2001
"The boundaries between photography and other media--painting, sculpture, or performance--have been made increasingly porous, leaving the photographic residing everywhere but nowhere in particular." Geofrey Batchen
Although the three works by Robert Rauschenberg that follow have characteristically photographic elements, it can also be said that the singular, solitary, silver-based photograph is absent in all three of them--Untitled [Sue](1950), Dante Editions(1963), and Able Was I Ere I Saw Elba II(1986). In these works Rauschenberg might blur the realistic image, present it by layering and shifting, but never does the original quality of the photograph rest unmarred or in perfect chiaroscuro. Rauschenberg's chaotic use of the representational image, along with his methods of technical experimentation using light, solvent-transfer methods, and photo-mechanical silk-screen processes, underscore what will essentially be explained here as the photographic character found in his three mixed-process and mixed-media works. The three works are each separated by at least 10 years, stretching a span of thirty-six years of Rauschenberg's career. His disciplined experimentation with chemical materials and mechanical processes is also part of an experimental field in which the medium of photography has resided since its conception, in the late 1700's; arguably beginning with the experiments of England's physicist and chemist, Thomas Wedgewood.
Handbook of Non-Toxic Intaglio
Acrylic Resists, Photopolymer Film & Solar Plates Etching,
by Henrik Bøegh (2003, Denmark)
"This small, densely written book is a lovely source to complement the work of Keith Howard (The Contemporary Printmaker, Intaglio-Type & Acrylic Resist Etching, reviewed in the March 2004 issue of InPrint as well as Mr. Howard’s earlier book, Non-Toxic Intaglio Printmaking from 1998, which may now be out of print). Mr. Bøegh details some techniques for providing basic and readily available materials as environmentally friendly, water-soluble approaches for duplicating etching techniques. He uses both metal plates and photopolymer film/solar plates as matrices. The book is well developed, with logical and thoughtful presentations of methods, and with excellent illustrations, including many of Mr. Bøegh’s own prints that are used to demonstrate how the techniques succeed. In addition, a web site is referenced for locating Material Safety Data Sheets for each of the materials suggested.
Overall, the book is a helpful addition to a printmaker’s library. It is available from the publisher - specific book and ordering information:www.artbag.dk/ge/uk/Handbook/index.html)
The courses are about modern and contemporary art in the Tate collections. Level 1 course is free, it is self-taught and you can spend as long, or as little time, as you like to complete the course. You do not need to have special knowledge of art or of computers to do this course. The only requirement is that you have access to the Internet.
"Although the course is open to all, it is designed for people who might be new to modern or contemporary art, or new to learning in general. You may or may not have visited any one of the four Tate galleries. You may or may not have been to college to study art or any other subjects. In short, the course is for anyone, regardless of how much you know about art or about computers. The course does, however, require some interest in modern art so that you can get involved right from the start. As you work your way through the course, you will find that you will learn a bit more about modern art with every page you visit. By the end of the course you should find that you have a good grasp of some of the main talking points about both modern and contemporary art. You will also be familiar with artworks in the Tate Collection, as these are the main works that we will be looking at."
New Directions In Digital Art Syllabus for New Directions In Digital Art
N275 (Experimental Digital Arts Lab)
Analysis of visual images: Ross Woodrow
This site contains supplemental material relevant to the course Analysis of the Visual Image which is offered as a second-year and third-year elective in the Bachelor of Fine Art and the Bachelor of Education, Bachelor of Fine Art courses at The University of Newcastle Australia. Consequently, the language used and references cited are aimed at the level of undergraduate students training as artists, art professionals and art teachers.
07 June, 2005
Impact Multi-disciplinary Printmaking Conference series Impact Conference originated at the Centre for Fine Print Research and was hosted at UWE in 1999 in association with the Royal West of England Academy and the Southern Graphics Council USA. The conference was attended by over 400 delegates from more than 20 countries with presentations of academic papers, workshops, print process demonstrations, exhibitions and lectures on a multitude of contemporary and historical print practice.
Conference proceedings from the first Impact Conference Proceedings are available in hard copy or on CD-Rom, edited by Carinna Parrama
The Cerebral Versus the Retinal in Printmaking
The following article is a section from a key note address titled "In Praise of Neglected Printed Histories" presented by Beauvais Lyons, from University of Tennessee, Knoxville (USA) at the IMPACT Conference, Bristol, United Kingdom, September 22-25, 1999.
2nd International Printmaking Conference
University of Art & Design, Helsinki
2nd IMPACT is an important conference on the art of printmaking. As to its content, the conference discusses the relationship between traditional craftsmanship and modern technology; the basic working methods that are thousands of years old meet the present day image editing. Photography is part of printmaking since its birth. It is indeed hard to even imagine contemporary printmaking without the marriage of photography with the hand made print. 2nd IMPACT is however not only interested in raising issues concerning the technical aspects of printmaking, but intends also to deal with some relevant questions of content from a Northern and Nordic perspective. Art on paper, paper as a surface to print on - the space of paper - are the collective theme of 2nd IMPACT . Printmaking is a form of expression in progress.
Michaelis School of Fine Art at the University of Cape Town
in collaboration with the Rhodes University School of Fine Art, South Africa
It looks like the website is gone but it is available (very slowly) on the web-archive site here
"The previous two Impact International Printmaking Conferences have focused on the impact of technology on creative and conceptual developments in print media. Whilst this issue has importance to printmaking, the discourse around conceptual developments and theory that has taken place in contemporary practice has to a large extent been overlooked. It is the aim of this conference to explore the impact of recent conceptual and theoretical developments in contemporary practice on printmaking and map their influence on contemporary print culture.
Working Proof: The impact of prints in a social, political and cultural context
- Frontiers. Notions of exploration, boundaries and limits. The dissolution of boundaries between printed art and other media and the redefinition of new parameters.
- Conflict. Ideas of opposition and hostility reflected in printed art. The cultural hegemony of prints from the western world
- Repackaging. Looking back at notions of history, identity, race and gender through a contemporary re-interpretation of the past in prints. Towards developing a new print language in a post-colonial context.
- Traces. Looking at the traces of historical events in contemporary culture and print media, and about the ways that history is produced through the recognition of such traces. Possible areas of interpretation might include relics, ruins, monuments and memorials; the found object; histories of recording and the discourses of history, archaeology, and genealogy.
- Exile. Notions of marginalisation through political and cultural isolation, but also arrival and departure that evokes thought of exile. Possible areas of interpretation could include corruption; prison islands, military experiment, social engineering, encampments and states of siege; discourses of first contact; home and homesickness; longing and belonging."