31 May, 2006
30 May, 2006
Louis Bonaparte and the Leiden gunpowder disaster: prints and drawings from the Atlas van Stolk
From 9th June 2006 the Atlas Van Stolk exhibits exquisite prints and drawings of a quite important interlude in Dutch history: Louis Bonaparte, first king of the Netherlands (1806-1810).
The exhibition is on display from 9th June till 24th September 2006.
Exquisite prints and drawings of a quite important interlude in Dutch history. From 1806 to 1810 Louis Bonaparte, the brother of the emperor Napoleon, was king of the Netherlands, the first one to hold that title. His appointment took place in June 1806. To commemorate the event, Atlas van Stolk is showing a choice of prints on Lodewijk Napoleon, as he is called by the Dutch. Some are serious and others satirical. The main event featured is the explosion of a gunpowder magazine in Leiden in January 1807, when the king took an active part in rescue and restoration work. One initiative associated with fundraising for the survivors was the publication and sale of prints illustrating the disaster and its aftermath.
The Atlas Van Stolk is a collection of over 150,000 prints and drawings. Laid out in chronological order, they would make, as it were, a documentary showing the history of the Netherlands.
Every-day life as well as the many wars that were fought through the ages, and trade missions to exotic empires have been recorded meticulously. There are images of every spot on earth that Dutchmen set foot on. And of course there is an abundance of Dutch royalty.
Title: Print Australia
Description: Created by J Severn, this site is "an online community for printmakers, book artists and papermakers", particularly those involved in contemporary print practices. The site includes a research library, a mailing list/forum and a weblog of activities. The resource library, or catalogue, provides a listing of web sites relating to printmaking, hand papermaking & artists' books in Australia. It has categories for printmaking, other media, Australia/New Zealand, theory and the arts. Other sections of the site include the 'impressions' weblog, the mailing list and online forum. There are details of print exchange projects, plus information about the Print Australia Archive, deposited as part of the Australian Print Collection at the Wagga Wagga Regional Gallery. Josephine Severn's Studio Dalwood home page is also accessible from the site and includes images of her own work.
Author: J Severn
People: Severn, J : Artist, printmaker
Organisations: Wagga Wagga Regional Gallery
Places: Australia; New Zealand
AAT*: artists' books; Australian; papermaking; printmaking
Language(s) available on Website: English
Record Id: 1215
Country of Origin: Australia
Resource Type: Resource guide; Mailing list
Dewey Number: 769.92
Source: The Surrey Institute of Art & Design, University College, ADAM Project
Date catalogued: 2003-10-17
Date catalogue record last modified: 2006-03-22
*Keywords from the Art and Architecture Thesaurus===============
NEW: See the NEW Print Australia website here
NEW: This exhibition is now published on the NEW Print Australia website.
Letter to Print Australia Members: Forwarded
As you know, the Print Australia print archives were donated to the Wagga Wagga Regional Gallery in late 2003. In January & February of this year the gallery held an exhibition entitled "Recent Aquisitions" which included a selection of prints from the archive.
"On display during the summer is a selection from the eleven sets of prints in the Australian Print Exchange, linked by styles and subject themes such as poetry and letters from home."
The curator of the exhibition, Brendan Dahl, has also published an article in the journal of the Print Council of Australia, Imprint. Vol 41, number 1. " International Print Exchange Boosts Regional Collection." The article describes the Australian Print Collection which is held by Wagga, its past history and mentions some of the artists contained in the collection. It also renames Print Australia's print archive to "The Australian Print Exchange".
"Severn saw the exchange project as a way of encouraging dialogue between artists across Australia and the world ..."
" Severn's print exchange venture between Australia and international printmakers has seen her gather a very strong collection of technically and aesthetically outstanding prints by well known and emerging printmakers, covering all traditional relief and intaglio processes including intaglio, woodcuts, etchings and lithography and even digital prints."
"very strong collection"
"technically and aesthetically outstanding prints"
Congratulations everyone and a special congratulation to Ray Carter for the publication of his print.
29 May, 2006
The preparations and planning for this years Stencil Festival are in full swing. This year we will not only celebrate stencil art in Melbourne but for the first time also stage a Stencil Festival in Sydney!
In Melbourne the festival has moved from North Melbourne to the vibrant cultural hub of Fitzroy and [was] held at the Rose St. Artist Market (60 Rose St.) for five days from Thursday 18 to Monday 22 May 2006.
In Sydney the Pine Street Creative Arts Centre (64 Pine St.) in the inner city suburb of Chippendale will host the first Sydney Stencil Festival from Thursday 1 to Monday 5 June 2006.We are calling now for applications of artists who wish to participate in this years festivals. Please find attached the application form or download it from:
see the website for more detailsPotluck Stencil Art is a two day extravaganza during the Sydney Stencil Festival for the public to access stencil art making. This is a spectacular free event to all young people and families to stencil, swap and share designs.
So bring along your t-shirts, jackets, caps and pants for your very own design! If this is your first stencilling attempt- don’t fret! There will be templates, professional artists and designers to help you with your unique wearable art. All works can be entered into the Potluck Bid with proceeds going toward both the artist and event charity drive for ‘The Settlement’ organisation.Event Dates: Saturday & Sunday, 3 & 4 June 2006
Workshop Times: Saturday & Sunday, 11am – 2pm
Potluck Bid: Sunday 2.30pm-3.30pm. Bring your family and friends
The Podcast Network produced two features at the Melbourne Stencil Festival. See a 25 min. flic shot at the Opening Night (with interviews, heaps of paintings etc) and a second part from the live spraying with an interview with Logan Hicks.
Towards the end of the first feature is an interview with one of the organisers wherein he comments on the Melbourne stencil art scene and the impact that Melbourne's art colleges are having.
Logan Hicks comments on how the eighties teenage graffiti artists are now mid career art professionals and describes the impact that their graffiti background is having on their work and on the commercial art industry.
Two videos from Graffiti TV
Logan Hicks cutting stencils
Logan Hicks in action
27 May, 2006
Next Level - Art, Games & Reality
10.03.06 - 18.06.06
Post CS Building
Work by artists and designers who make the vocabulary of games their own, and provide us with their personal reflection on it.
Click below for an impression of the exhibition:Quicktime>>
Sometimes reality and fiction can hardly be separated, and games provide us with a contemporary variant of Lewis Carroll’s Through the Looking Glass. The artists and designers of ‘Next Level’ pick up on this element and allow the visitor, in part through interactive elements, to see reality as this can be experienced in a game. The exhibition includes work by Persijn Broersen and Margit Lukacs, Brody Condon, Joes Koppers, Geert Jan Mulder and the GameKings (in cooperation with Guerilla Games).
Born in Mexico and presently living in the United States, Brody Condon is one of the most important artists who in his work is reacting to the content and graphics of video games.
His Suicide Solution shows images from more than fifty ‘first person shooter’ games. Each time he shows the moment at which the player – the first person shooter – gets hit. The effect is both hilarious and eye-opening. The title of the work refers to the song of the same title by Ozzie Osbourne, who in 1984 was accused of being responsible for the suicide of an American teenager.
Brody Condon, Need for Speed (Cargo Cult), 2005
In the work Karma Physics Elvis he refers once again to the movements that are used in games. We see a floating Elvis Presley, gilding through space in slow motion like a curdled Barbie doll, making spasmodic movements.
Condon’s Lamborghini Diabolo is based on the ‘Need for Speed’ games. The work shows a model of a sports car and is constructed as a skeleton of cast polyester elements. Brody Condon has shown at a number of museums including the Whitney in New York, and, in early 2006, at the Pace Wildenstein Gallery (New York). The authoritative art magazine Artforum has also devoted attention to his work.The Sandberg Hall of Stedelijk Museum CS is being rebuilt into a game lounge especially for the exhibition ‘Next Level: Art, Games & Reality’. Various educational projects will be taking place there.
follow the links for the english text
Australian viewers could be excused for mistaking Condon's car for an Ian Gentle Sculpture.
It uses the same technique of jointed natural timber that Gentle has perfected over the past couple of decades. What differs is that Condon's car is manufactured into another state by being cast into polyester components.
The video above shows the works installed in the museum and gives a good visual summary of the exhibition. Condon's work stood out.
The suicide video was entertaining. He used saved clips from fifty different games, so the viewer is presented with the game of 'spotting' which games were featured. The central character dies repeatedly in a montage of virtual suicides. The viewer begins to compare the performances, raising the question of which game gives the best death experience. The death of an inexpert character is a frequently repeated event in videogaming. How well we die, and how annoying the repetition are aspects of game design that require consideration.
25 May, 2006
Belgian artist James Ensor (1860–1949) was one of history's greatest printmakers. Unable to sell his paintings in the 1880s, he taught himself etching, a form of copperplate printmaking that has the expressive potential of drawing. This exhibition unites Ensor's most important painting, Christ's Entry into Brussels in 1889 from the Museum's collection, with 33 of his prints made between 1886 and 1904 and drawn from the Getty Research Institute's collection as well as two private collections.
Maningrida Arts & Culture has organised the first exhibition of Aboriginal Art in the Middle East, presenting bark paintings, hollow logs and sculptures by leading Maningrida artists.
The exhibition took place from the March 9 to the April 12 at the La Fontaine Centre of Contemporary Art in Manama.
Artists represented in the exhibition are: Samson Bonson, John Bulunbulun, Melba Gunjarrwanga, James Iyuna, Fiona Jin-majinggal, Hamish Karrkarrhba, Crusoe Kurddal, Kay Lindjuwanga, John Mawurndjul, Ivan Namirrkki, Samuel Namunjdja, Irenie Ngalinba, Terry Ngamandara Wilson, Tommy Gondorra Steele, Anna Wurrkidj and Owen Yalandja.
Samuel Namunjdja and Apolline Kohen traveled to Bahrain to install the show, attend the opening and educate the public about Maningrida art. Samuel Namunjdja painted two works while in Bahrain and showed people how he paints and his techniques. The exhibition was a great success and Maningrida Arts & Culture will continue to exhibit overseas this year:
*In Paris in June at the ‘African Muse Gallery’
*In Singapore in November at the ‘red dot gallery’
Samuel Namunjdja's comments to a recent interview with 'Bahrain Confidential' magazine. 'There are many artists I admire but our art comes from the collected memories of family members, it grows from the life we share and our cherishing of each other. I don't buy or collect other's works. I live in the bush and create art as a way of looking after my country and showing respect to my people. Even though times have changed us, we remain the same and our traditions continue.'
Above: Part of the exhibition at La Fontaine Centre of Contemporary Art in Manama.
from Maningrida Art & Culture
23 May, 2006
The Silk Cut Award was introduced in 1995 to encourage the making and appreciation of linocut prints. The award aims to provide creative opportunity for all artists and is the only national print award to provide a special category for primary and secondary school students.
Silk Cut Grand Prize: A return airfare to Amsterdam and 10 days accommodation valued at $6000 or a monetary prize of $5000.
Acquisitions to the total value of $3000.
Further information: Sturt Bailey
due 2nd June
22 May, 2006
To be accompanied by a 2-day forum " Why Make Prints 2" a series of artists' talks , panel discussions and more formal papers looking at the future of autographic printmaking in Art Schools/Universities and amongst contemporary Visual Arts practitioners.
Target audience artists, art educators, print curators,suppliers and students.
This forum will address the continuing downsizing of printmaking facilities in artschools and universities throughout Australia in favour of new digital technologies. Is there anything that can be done about this or will these ways of making marks disappear or will they only be taught by the private sector? ? Does it matter if we throw away our stones and metal plates.
for details and further information consult our website from March
PrintEx07 has this year expanded to include an additional hall and with over 70% of exhibition space already sold, organisers are predicting a sell-out event.
Details are as follows:
Halls 4, 5 & 6
Sydney Convention and Exhibition Centre
Darling Harbour, Sydney
Thursday 24 May – Saturday 26 May 2007
Graphic Arts Merchants Association of Australia (GAMAA) and the Printing Industries Association of Australia (PIAA)
Thurain Aye, Reed Exhibitions
Ph: 02 9422 2472
17 May, 2006
Working with partners Platform Garanti Contemporary Art Center, Istanbul; Center for Contemporary Art, Tel Aviv and a venue in Switzerland (t.b.c.), the project will consider issues of cultural identity by exploring the notion of homesickness and homeland.
homesick - the blog
Founded in 1993, The Akureyri Art Museum is the youngest art museum in Iceland and the only one of its kind outside the capital city of Reykjavik.
HOMESICK II, December 2006 Turkey, Platform Garanti
HOMESICK III, Spring 2007 Israel, Center for Contemporary Art
HOMESICK IV, Summer 2007 Switzerland (venue to be decided)
UNIVERSES IN UNIVERSE - Worlds of Art
Visual arts of Africa, Asia, Latin America within the context of international art processes
Newsletter, 16 May 2006
Dear colleagues and friends,
"Universes in Universe" as a whole will be converted gradually in an online magazine. For this, we have developed a new technical structure. As the first content produced on the basis of it, we have now published an extensive Special dedicated to the exhibition "Nafas" at the ifa-Gallery in Berlin:
*** Nafas Special ***
Installations, video art, computer animations, photography by 9 artists from 8 Islamic countries. Six of them will come to the opening.
Opening: Thursday, 18 May 7 pm
Press conference: 18 May 11 am
Panel discussion "Context and Cliché":
Friday, 19 May 6 pm
Although the artists are still little known in Germany, they already enjoy international recognition. In this year, for example, 3 of them take part in the 1st Singapore Biennale, others in the Biennials of Sydney, São Paulo, Gwangju, Dakar.
Lida Abdul (Afghanistan/USA)
Ebtisam AbdulAziz (United Arab Emirates)
Vyacheslav Akhunov (Uzbekistan)
Mounir Fatmi (Morocco/France)
Amal Kenawy (Egypt)
Nur Hanim Mohamed Khairuddin (Malaysia)
Waheeda Malullah (Bahrain)
Anas Al-Shaikh (Bahrain)
Suha Shoman (Jordan)
Curators: Pat Binder and Gerhard Haupt
The project "Nafas" is funded by the German Federal Cultural Foundation
*** Online Magazine - new Website ***
The "Nafas"-Special appears on the new website of the Online Magazine
"Contemporary Art from the Islamic World". Until the end of August, all
previous contents will be transferred to the new website:
Older articles (since 2003) you can still find under the old address:
13 May, 2006
PARIS-The Employers' federation of prints says it loud and clear, France is the only country in the world that has known how to keep all of the printing techniques alive.
These include lithographs, line-engraving, xylography, lino-engraving, stencils, typography, silkscreen printing. Each one of these techniques has its followers.
A priori nothing has changed since Daumier! The Print Fair is the privileged place to control these assertions.
We will revel in checking this with some famous spreaders of the profession such as Maeght, Prouté (both parisians), Bellinzona (Milano), Boermer (Düsseldorf & New York), MMG (Tokyo), Laube (Zurich) or Sims Reed(London).
In total, some 25 exhibitors, making this an event more modest than the London Print Fair (the 21st edition was held in April), but nevertheless significant.
International Print Fair at the Tuileries Gardens, 12 to 14 May 2006, open until 9:30 PM on thursday.
We regret there is no website. But one can also look into the website of the recent London Print Fair to find the links towards some good houses."
from artof the day
more from paris
The Orangerie, walls included
PARIS – The principle that guided the renovation of the Orangerie museum was to return Monet’s Water Lilies to natural light. It took 6 years and 25 million € (of which a fourth were collected from the international tour of the master pieces of the Walter-Guillaume collection, the museum’s other treasure) to reach this point. The floor, built purposely to stage the collection (a superb group of Cézanne, Matisse, Derain, Soutine and Picasso), was demolished and the glass roof was reinforced. This allowed the museum to come back to its original f orm, which Monet himself wished to see done when he donated the White water lilies following the Armisice of 1918. But why did it take so long to implement the changes designed by the Lajus Pueyo Brochet firm? Actually, an unforseen obstacle got in the way during the heat wave of 2003, under the form of fortifications from the time of Charles IX. They were begun in 1566 and finished in 1637, and represent the last large circular wall in the history of Paris. The Ministry of Culture decided to keep them a nd the architects had to adapt their project consequently. Bringing together modern art as well as archeology and contemporary architecture shows the Orangerie museum has more than one asset to return to the attendance levels of the 90s.With peaks at 500 000 visitors per year, it was one of the most visited monuments in the capital.
The national Orangerie Museum (Tuileries gardens) will reopen on 5 May 2006 at 12:30 AM (free entrance on 5, 6 and 7 May). Open every day except tuesday from 9 AM to 7 PM (morning reserved for groups until 12 :30 AM), friday night open until 9 PM
The Orangerie website to appreciate the collection
On the EMOC website, photos and computer-generated images to understand the construction works
11 May, 2006
william blake archive
"A component of the 2006 Federal Budget announced this week, was the decision that a Resale Royalty for artists in Australia would not be introduced.
Despite other art forms such as music and writing enjoying the benefits of a royalty arrangement, the Federal Government made the decision that the visual arts sector would not gain significant benefit from a similar royalty scheme.
Despite the contribution our sector makes to contemporary society, this assertion by the Government effectively positions artists outside of a profession that deserves due recognition.
There is however an insultingly small allocation in the budget that is intended to be more meaningful. What is possibly most frustrating about this decision is the manner in which it was announced. Where is the accountability and debate that once formed the foundation of our political system?
This is not something that we should accept lying down.
To view the press release visit"
forwarded from artworkers
the press release
New Support For Australia 's Visual Artists
Attorney-General Philip Ruddock and Minister for the Arts and Sport, Senator Rod Kemp, have announced $6 million over four years in the 2006–07 Budget to support visual artists as an alternative to a resale royalty scheme.
The initiative includes a $0.5 million per annum training package to help visual artists enhance their engagement with the commercial arts market and an additional $1 million per annum to the National Arts and Crafts Industry Support (NACIS) programme to strengthen the significant Indigenous arts industry in regional and remote communities.
The Government carefully considered the issue of a possible resale royalty scheme and concluded that a resale royalty right would not provide a meaningful source of income for the majority of Australia 's artists.
This initiative will instead provide targeted support to individual artists. It will allow a broad range of artists to gain valuable business skills to help them successfully develop and manage their careers. These skills will empower artists to put effective strategies in place to obtain greater income from their work.
The Government considered the effectiveness of a resale royalty scheme following the recommendations of the 2002 Contemporary Visual Arts and Craft Inquiry and in light of submissions in response to the discussion paper it released in July 2004.
Research shows that resale royalty schemes bring most benefit to successful late career artists and the estates of deceased artists.
It would bring little advantage to the majority of Australian artists whose work rarely reaches the secondary art market and would also adversely affect commercial galleries, art dealers, auction houses and investors.
One of the main arguments put forward in support of resale royalty was that Indigenous artists are particularly disadvantaged by the secondary sales market. Research shows, however, that a resale royalty scheme would not end disadvantage for Indigenous artists.
The new initiative directly addresses the issue by enhancing the critical support Indigenous art centres provide to individual artists. This will be achieved through increased funding to the existing NACIS program. These art centres offer a place where artists are not exploited, and their skills and talents are nurtured, developed and appropriately remunerated.
The initiative builds on the Government's existing commitment of $19.5 million for the Visual Arts and Crafts Strategy as part of the $39 million partnership with the states and territories.
Now in its third year, the Strategy is making a positive impact on visual arts and craft infrastructure around the country, as well as market development activities in the Indigenous arts sector and for individual artists.
The Government has also supported initiatives that enhance the work environment for artists, including the extension of the term of copyright and the release of a public tax ruling on what it means to be carrying on an arts business.
The Government will continue to provide meaningful and even-handed support to artists. The new initiative will achieve that objective more effectively than a resale royalty scheme.
Charlie McKillop (Mr Ruddock's office) (02) 6277 7300/ 0419 278 715
Michael Christo (Senator Kemp's office) (03) 9650 7274 / 0409 040 276
What funding is the Government committing to the initiative?
$6 million over four years:
$2 million over four years for a tailored training package for visual artists to enhance their engagement with the commercial arts market; and
$4 million over four years to strengthen the promising Indigenous arts industry in regional and remote communities.
That's an additional million per annum to indigenous arts and 500,000 per annum for training programs: one has to ask who will receive this training and what proportion of all australian artists this is? Then it needs to be compared to the benefit of all artists receiving resale royalties.
10 May, 2006
Gone are the old themes — “The Landscape”, “Still Life”, “History” and “Nude” — to be replaced by “Poetry and Dream” (Surrealism and “Surrealist tendencies” — which sounds slightly pathological); “Material Gestures” (Abstract Expressionism and European Informal Art); “States of Flux” (Cubism, Futurism and Vorticism); and “Idea and Object” (before and after Minimalism)."more from timesonline
09 May, 2006
11 May - 1 October 2006
The MCA's collections are extraordinarily rich in their diversity. The Museum houses highly significant collections of Aboriginal art from the Maningrida and Ramingining communities in Arnhem Land, as well as a substantial collection of work by contemporary Indigenous artists from across the country. This exhibition will feature new acquisitions as well as works from the existing collections.
Saturday 13 May, 2.00 pm
bangu yilbara artists Bede Tungutalum, Fiona Foley, and Jeffrey Samuels discuss their works in the exhibition.
In the exhibition, bangu yilbara: works from the MCA Collection artist Fiona Foley explores history, sexuality, beauty and cultural memory—or rather, forgetting and loss—from the perspective of a Badtjala woman of Thoorgine (Fraser Island, as it is now known, the largest sand island in the world, just north of Brisbane).
Jeffrey Samuels is one of the founding members of Boomalli Aboriginal Artists’ Co-operative.
Bede Tungutalum is one of the founding members of Tiwi Design.
museum of contemporary art - sydney
05 May, 2006
04 May, 2006
Towards that proposition we provide the web's most comprehensive (multi lingual) guide to stolen art; chronicling the world's major art thefts and recovery efforts. Our intent is to bring these stories to television and new media.
This project involves the world's greatest art thefts, both solved and unsolved. If you (or your institution) have lost fine art with an appraised value in excess of $500,000 or if you have an important story to tell, please contact us via e-mail.
The purpose of this site is to enable the artists and metal work and jewellery makers who order photo-polymer film from me to get more out of their use of the product.
For instance, you can look at a gallery of images
Every year on International Women's Day (and sometimes on other days, too), groups of women gather to share posters they've made about women who inspire them, or who have been written out of his-story, or who just plain kick ass. Then they distribute these posters and break up into teams to blanket their city in them. Here are some of the many posters they've made over the years.
statistics: sales by nationality
03 May, 2006
with Solrun Hoaas
IMPRESSIONS ON PAPER GALLERY
Unit 6, 7 Lonsdale Street, BRADDON ACT 2612
The opening is on Thursday 11 May from 5.30 - 7.30 pm and the exhibition continues until the 28th.
Gallery hours are 11am to 5pm Tuesday to Sunday.
Imants Tillers is one of Australia’s most acclaimed contemporary artists, nationally and internationally. Following other survey shows of his work – at the Institute of Contemporary Art, London, in 1988 and the Museo Contemporaneo Monterrey, Mexico, in 2000 – this major exhibition will provide the opportunity to consider a substantial body of work tracing high points of Tillers’ artistic development over the last 20 years.
14 July – 16 October 2006
In recent years, Swedish art has been widely acknowledged. This Winter Moderna Museet in Stockholm opens an extensive survey of 49 artists between 28 and 99 years. With the Moderna Exhibition 2006 Moderna Museet has taken the initiative for a quadrennial exhibition, which will interpret and gauge the Swedish contemporary art scene.
01 May, 2006
Kevin Connor is one of Australia's best known draughtsmen and contemporary painters of the urban environment. His bold and expressive images of city streets and their inhabitants have been part of the visual vocabulary of Sydney since the early 1960s. He has won the Archibald and the Sulman Prize twice and is the only artist to have won the Dobell Prize for Drawing twice.Sketchbooks are the intimate diary of a visual artist. This exhibition includes 100 of Kevin Connor's sketchbooks together with a selection of drawings, gouaches, paintings and sculptures that result from them. Seeing them together provides a wonderful insight into Connor's working processes and thinking and a greater appreciation of his work as a whole.I could live without painting and making sculptures but I could not live without drawing. Drawing is the very basis of everything. I could happily take my sketchbook and draw for the rest of my life and show nobody. - Kevin ConnorKevin Connor's sketchbook-drawings are not as well known as his other larger drawings and gouaches, yet they are an integral part of his practice. In them are his almost daily observations of people on the street, in cafes, and at railway stations - or wherever we live, work and congregate. He draws swiftly and un-selfconsciously, mostly in pen and black ink. Connor has travelled extensively in Europe, America and the Middle East since the 1950s, experiences he has drawn upon for paintings and numerous works on paper. Paris and London in particular feature in the works included in this exhibition - Gare du Nord, London's National Gallery and Tavistock Square are favourite haunts, as is the Paris Metro.The sketchbook he prefers is one that is small enough to hold in one hand, though he usually draws across both pages when it is open. His paintings are big, developing his images in charcoal or gouache on large sheets of paper beforehand. Throughout, there remains a close association, between his sketchbook-drawings and his gouaches, large drawings and paintings. The loose pages of a number of Connor's sketchbooks will be displayed pinned on the gallery walls, to provide a panoramic feast of small drawings, wallpaper-style, emphasizing the importance that drawing from observation in sketchbooks has for him.A remarkable book is being published by the Gallery to accompany the exhibition with a selection of 80 of Kevin Connor's sketchbook-drawings reproduced actual size. Included is a transcript of the artist talking about drawing to Hendrik Kolenberg, senior curator of Australian prints, drawings and watercolours at the Gallery and curator of this exhibition.
Kevin Connor: sketchbooks, drawings and studies On view:2
8 April to 25 June 2006