31 August, 2006
PhotoStatic was a magazine, a periodical series of printed works that focused on xerography as the source of a particular visual language that was widely used by graphic artists in the various art and music underground scenes of the 80s and 90s. During this time, the publication served as a forum to collect and redistribute artworks that originated in these scenes. Eventually, its scope extended to embrace not only graphic works, but also concrete poetry, correspondence art, ephemera from works in other media, essays, fiction, reviews, and reports on various cultural scenes, including Neoism, the home taping community, the zine community, and mail art.
Value: $20,000 (acquisitive)
Medium: Unique work on paper or other suitable support in any medium or combination of media. This includes those media and materials traditionally associated with the practice of drawing (pencil, pen and ink, charcoal, etc.) and those which are part of contemporary drawing practice, including pastel, watercolour, collage etc.
Other information: Applicants must have been born in Australia or hold Australian citizenship, and have been a resident in Australia for a period of 12 months prior to the closing date. Works are to be completed during the 12 months preceding the closing date.
Download Dobell Prize Application Form 2006 (PDF, 48 Kb)
30 August, 2006
June subject index
july subject index
Lyrebyrd Miniature Print Exchange #4
Art Blog links
Queensland Bookbinders' Guild
Books 06 workshops - Noosa
The Blue Notebook = uk
The Artbooks list
The Japanese Paper Place
Aotearoa Digital Arts - NZ
Miniature Book Society
Posters of Conflict - Imperial War Museum
Australian Women's Art Register
Creative Paper - Tasmania
photogravure - Baldessin Press
8th Silk Cut Award for linocut
Cheap screen printing tutorial
Printmaking for Ceramics
pictures on walls - L0nd0n
Prints Now - V & A L0nd0n
SGC Conference 2007 - Kansas City
Lyrebyrd Miniature Print Exchange #4
The Artists' Press - Johannesburg
Hand-Pulled Prints International XIII
Art SA's magazine Artstate
ARTISTS TALK ARTSPACE
An oz in the Square
Tracey Moffatt @ Roslyn Oxley9
artmob - tasmania
artists & exhibitins
Anita Tjermsland - Norway
SEEKER - ADELAIDE
the 2006 Walters Prize - Auckland
Daniel Mafe - Brisbane
Colin McCahon - Auckland
Cassandra Schultz - Alice Springs
Jim Brodie - brisbane
Alicia King - Melbourne
Italian Futurists -Getty Center
ART FORUM BERLIN 2006
Busan Sculpture Project
Gosia wlodarczac - canberra
wooloo - Seoul
Tracey Emin - Venice Biennale
call - American Print Alliance
transversal on critique
We have been receiving and collecting links for Art Blogs on
furtherfield for a little while now. And we thought that it might be a
good idea to see who else is out there currently creating 'Art Blogs'.
We are particularly interested in finding 'art blogs' that are created
as 'art objects/pieces/works of art', and blogs observing, writing about
net art & meda arts culture.
Art blog links section:
28 August, 2006
27 August, 2006
Artist Tracey Emin is to represent Britain at the world's longest-running international art exhibition.
The British Council has chosen the controversial artist to produce a show of new work for the British Pavilion at next year's 52nd Venice Biennale.
She will be the second woman to produce a solo show for the UK at the Venice Biennale, following Rachel Whiteread in 1997.
25 August, 2006
LEON CMIELEWSKI & JOSEPHINE STARRS
25 AUGUST-23 SEPTEMBER 2006 | OPENS 6PM THURSDAY 24 AUGUST
GALLERY TALK 4PM FRIDAY 25 AUGUST
Leon Cmielewski and Josephine Starrs' visual art practice focuses primarily on the relationship between society, the machine and the individual, often using play as a strategy for engaging with the social and political contradictions inherent in contemporary society. SEEKER uses a series of large projected screen-based artworks to explore migration, territorial boundaries, conflict commodities and human displacement.
"SEEKER not only traces the global movement of people and resources, but also illustrates the ongoing process of translation from the physical to the virtual in the way we perceive the world. Translation implies a desire to communicate; each person who engages with SEEKER will be prompted to consider what is lost and what is gained, what is repressed and what is discovered in the process" [Fiona Trigg, Contemporary Commonwealth 2006 catalogue eassay]
Cmielewski & Starrs are artists that have been collaborating off and on for the past decade or more, doing new media work, video and animation.
Formerly from South Australia and now residing in Sydney, their works have been shown extensively in Australia and internationally. Their collaborative projects include "Trace" mixed media installation commissioned by the Sydney Records Centre in 2002, "Dream Kitchen", an interactive stop-motion animatioin published on CD-ROM and their digital video "a.k.a.".
In 2003 their work "Bio-tek Kitchen", a computer game modification, was included in the "House of Tomorrow" exhibition mounted by Experimenta, Melbourne, and was also exhibited in Chicago and Germany.
Cmielewski & Starrs also exhibited at ISEA2004 with "Floating Territories", a site-specific mixed media installation.
Leon Cmielewski lectures at the School of Communication, Design & Media, University of Western Sydney, and is a current recipient of a New Media Art Fellowship from the Australia Council.
Josephine Starrs lectures at the Sydney College of the Arts, University of Sydney, and was awarded an Asialink grant to undertake an artist residency at Sarai, the Centre for the Study of Developing Societies in Delhi, India, in 2005.
Further information: http://lx.sysx.org
EXPERIMENTAL ART FOUNDATION
LION ARTS CENTRE, NORTH TERRACE [WEST END] ADELAIDE SOUTH AUSTRALIA
11-5 TUES-FRI; 2-5 SATURDAY | +61 8 8211 7505 | firstname.lastname@example.org | www.eaf.asn.au
24 August, 2006
Over 40 linocut artists represented - a wonderful display of extraordinary
Rona Green was selected as the winner with her indiosyncratic tattooed dog
Other wonderful works by John Ryrie, Jodie Heffernan, Annette Cook, Brigid
Hillebrand, Clare Humphries, Annabel Webb - to put names to a handful of the exceptional artists represented.
This is a biennial art prize and can be seen at the Glen Eira Gallery,
Melbourne until 3 September 2006.
Check also - www.silkcut.com.au for images from previous events.
We are fortunate to have such a prize specifically for linocut printmakers -
the diversity and scale of the work displayed is breath-taking.
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.
18 August�3 September
2006 Silk Cut Award
The 8th Silk Cut Award for linocut prints opens on Friday 18 August 2006, with the announcement of winners in both the open and student sections. The award and exhibition is an exciting opportunity to see the best in contemporary printmaking.
23 August, 2006
A photogravure is a hand pulled photographic print made from a printing plate. The original photograph becomes a beautifully textured and individual Intaglio etching, that results from the combination of fine art papers, archival inks and the etching press. Silvi Glattauer's photogravure prints are the combination of the 19th century traditional photographic process, with 21 st century technological innovations. Silvi combines digital media and photo sensitive photopolymer printing plates with traditional etching techniques. Where the original process of photogravure required hazardous acids, asphalt and environmentally unfriendly copper, contemporary photogravure is a non toxic friendly technique that gives the photographer / printmaker safer work practices. Silvi offers photogravure workshops at the Baldessin Press in St Andrrews, Victoria. Refer to the workshops page for full details on upcoming programs.
The Auckland Art Gallery has announced the four works by the artists who have been shortlisted for the 2006 Walters Prize.
The finalists are:
Stella Brennan for Wet Social Sculpture 2005, first shown at St Paul St Gallery, Auckland
Phil Dadson for Polar Projects 2004, first shown at Dunedin Public Art Gallery
Peter Robinson for The Humours 2005, first shown at Dunedin Public Art Gallery
Francis Upritchard for Doomed, Doomed All Doomed 2005, first shown at Artspace, Auckland
Each finalist will receive $5,000 thanks to major donor Dayle Mace. The finalists were selected by a jury of four experts appointed by the Auckland Art Gallery.
22 August, 2006
critique | kritik | crítica
To the extent that it does not withdraw to the balconies of academic theory or the bunkers of art criticism, critique is not simply a practice of judging. The meanings of critique, developed over the course of centuries, as a faculty of distinction, a critical attitude, or as a practical critical activity are assuming new forms today: as atopical critique, embodied critique, affirmative critique, criticality. The texts of the current transversal issue seek to update this kind of constant renewal of critique on the basis of shifted or newly invented concepts and exemplary experiences.
Judith Butler: What is Critique? An Essay on Foucault's Virtue
Alex Demirovic: On the Re-Formation of Critical Knowledge
Marina Garcés: To Embody Critique
Hakan Gürses: On the Topography of Critique
Irit Rogoff: From Criticism to Critique to Criticality / 'Smuggling' - An Embodied Criticality
Loïc Wacquant: Critical Thought as Solvent of Doxa
eipcp - european institute for progressive cultural policies
a-1060 vienna, gumpendorfer strasse 63b
a-4040 linz, harruckerstrasse 7
Tumultuous Assembly: Visual Poems of the Italian Futurists
August 1, 2006–January 7, 2007
The Getty Center
Words become machines, dancers, and explosions in the visual poetry of the Italian Futurists. Dedicated to freeing language from the bonds of the old order—syntax, punctuation, the horizontal—these polemicists of the new unleashed their "words-in-freedom," broadsheets and prints meant to scandalize, incite, and amuse.
See their tumultuous typography in this exhibition in the Getty Research Institute Exhibition Gallery.
My artworks are inspired by the diverse Australian landscape as I find the process of seasonal change fascinating. My hope is for more understanding of the necessity to conserve our unique environment for all.
Helen Clarke is a fine art printmaker who spent her childhood on a farm in the wheatbelt of Western Australia and was surrounded by bush rich in unique flora and fauna which she explored on a daily basis. It is not surprising that, as an adult and an artist, she is intrigued with the diversity and minutiae of the landscape.
21 August, 2006
Noosa Regional Gallery, Queensland
Workhops September 23rd and 24th
Cost $132 per workshop
BOOKS - UP CLOSE AND PERSONAL
with Judy Barrass
Bend it, tear it, shape it, colour it, add text. Book sculptures,
pop-ups, pop-outs, tunnels and more. An irreverent and relaxed look at
artists books. There are no rules in this workshop.
WOVEN AND INTERLOCKING STRUCTURES
with Elizabeth Steiner
Using no sewing or adhesives, these structures rely on interlocking of
the binding strip to keep the pages in position.
PERSPEX ENGRAVING, INTAGLIO AND MONOPRINTING
with Martin King
Suitable for beginning or experienced printmakers
For information,enrolments and for the full programme of Books 06
exhibition, forum and workshops:
the feminisation of the world
Digital Media and Film - News - aus
blank_generation - sydney
Brücke Museum returns painting
latin am - vide0 links
Welcome to #404
THE REAL BIG BROTHER
Australian University art depts
paper at pica / Kate Cotching
Adi Weizmann Aharoni
Exhibition: 18th August - 9th September
Daniel Mafe lived and exhibited in London from 1979 until 1990 when he then returned to Brisbane. He completed postgraduate studies in Painting at the Royal Academy in 1983-6 and in 1986 was the winner of the Europe Prize for Painting in Ostende, Belgium. In 1987 he completed a Painting Fellowship at the Gloucestershire College of Art & Technology in Cheltenham. He has continued to exhibit regularly since his return to Australia and is represented in public collections including the Museum of Fine Art, Ostende, Belgium, the Queensland Art Gallery, Artbank, and Bailleau-Myer Collection in the Museum of Modern Art at Heide Park.
In 2003 he as recently completed a large scale floor commission for the atrium of the Royal Brisbane Herston Hospitals Art Built-in Project, as well as a book entitled Working Spaces: Arts Practice in Progress which focuses on the nature of arts practice through the work of four Brisbane artists. He has recently returned in early 2006 from five months in Europe, which included an Australia Council residency in Milan. Daniel is currently employed as a lecturer of Visual Arts in the Faculty of Creative Industries at QUT.
20 August, 2006
lyrebird - video
world cup suspension
world cup - frankfurt
artists & exhibitions
Theo van Rysselberghe - the hague
2006 Biennale of Sydney
youth of today - press release
Anthony Harper Award 2006 - NZ
gaffa - sydney
ben frost at blank space - sydney
Marrianne Collinson Campbell
happy famous artists
5th lessedra miniprint
call - Compact Prints 2006
baldessin - sydney
duckprint press - port kembla
Bernie Meyers - sydney
rory obrien - sydney
oswaldo goeldi - brazil
James Rosenquist - canberra
Prints and books at AGNSW
abor iginal art & culture blog
Aboriginal Art Museum - Paris
Aboriginal Women Painters - washington
machine at raw space
Incoming Touring Exhibition Grants
gallery guide - frankfurt
what's On - Frankfurt
art & sedition
Soap Box Prints:
For a Cleaner Environment
An Open Portfolio Exhibition and Sale to Benefit the American Print Alliance
The American Print Alliance is organizing an open portfolio of prints, paperworks and artists’ books by artists who are 2006 subscribers to Contemporary Impressions or members of our allied councils.
Theme The environmental theme will be interpreted broadly to include landscapes, cityscapes, seascapes, fauna and flora, conservation and preservation, consumption, pollution, global warming, genetic diversity and endangered species, etc.
Non-toxic and less-toxic methods and materials are highly encouraged. Work must fit the theme but will not be rejected even if it does not reflect the views and opinions of the Alliance's director and board of representatives.
However, the Alliance will not accept any work that incites people to break the law. Political discourse, speech protected by the U.S. Constitution and First Amendment, is very welcome, but as a non-profit 501(c)(3) organization, the Alliance may not campaign for or against candidates for elected office
In this issue youll find theres great news for youth arts with the BHP Billiton Youth Arts Fund, which will provide $1m over 4 years.
An interview with Brian Chatteron tells us why, after 15 years at Co-opera its still NOT over till the fat lady sings and theres even a quick chat from London with Teddy Tahu Rhodes who is headllining the Bundaleer Forest Weekend in March 2007.
Download the latest issue of Artstate magazine
19 August, 2006
Stenciling is the poor persons��� printmaking. It is the easiest and cheapest way to print the same image over and over on different surfaces and in different places. To start off, the three most important things for making a stencil are an idea, something to cut with, and something to cut the stencil out of. I cant��� help with the idea part, but you should���t feel like you have to be an artist to do this. One of the great things about stencils is that since each print looks the same and consists of only a positive and negative, it makes almost all designs look really sharp and good.
This is a quick way to use photoshop to create that semi-trendy, two-tone silhouette effect.
Materials needed: a t-shirt, yucky/cheap paint brushes, an embroidery hoop, screen printing ink (I use Speedball brand), a glue that isn't water-soluble (I use Mod Podge), curtain sheer material/tulle/old nylons, and a computer with a printer (or a good hand for drawing things).
In the print media department of the Tasmanian School of Art, Launceston, Jim Brodie has confronted `techno‑fear' with studio course work that allows students to engage with computer digitised formulas and creatively manipulate laser copier hardware.
Brodie himself commenced experimentation of this type in his own printmaking in the late 1980s. He scanned photographs of the Gold Coast into an Amiga, manipulating them through a `paint program', then translated the results through the Mackintosh system to give higher resolution, printed them out as laser prints before taking the images a stage further by processing them on photo‑sensitised screens or plates. Jim Brodie's CAD or `computer‑aided design' screenprints and etchings are but a further demonstration of the interface between art practice of the past and new technology. They prove that there does not need to be a disjunction between past and present but that a more fruitful way of assessing the type of prints I've described is that techno‑creativity often relies upon both. The products of Baraki, Hoffie, Mantzaris, Vidins and Brodie extend our understanding of the aesthetic impulse and necessarily have forced the narrow guild‑based definitions of printmaking to expand. Work produced with the domestic computer and the photocopier celebrates the accessibility and democratisation of the technological process. Technology is a tool for artists to articulate with greater precision, a language commensurate with the present.
Alicia King will be showing current works at the Linden Centre for Contemporary Art in Melbourne from the 17th of August until mid-September 2006.
Alicia King's installation I'm Growing To Love You in gallery 4, suggests forms both internal and external to the body, in which life may exist, disguised, or in un-recognizable form. Nature is made strange by combining elements of the body, composed of cultured human tissue with fragments from a nature unknown, in an innate metamorphosis between body and environment. This work opens up extended locations and perspectives for subjectivity; a morphosis between fixed form and formlessness; object, body, and space.
... Alicia King just wants people to debate the technology of biology.article
Artist-in-residence at the University of Tasmania School of Medicine, King, 25, has grown a cell "membrane" over her sculptural forms, using a stock line of human tissue cells.
The uni's ethics committee has given her permission to use her own and consenting patients' discarded tissue.
'i'm growing to love you' - March 4 - 24, 2006
An installation by Alicia King
Alicia King is currently studying her PhD (Fine Art) at the University of Tasmania, and is also Artist in Residence at the UTAS School of Medicine, where she is learning tissue culture techniques for growing semi-living sculptural forms from human tissue. Her interests lie in the potential of biological technologies to influence the human perception of 'self' within the natural world. Her practice sits within a broader field of endeavour currently undertaken by artists internationally, which confronts new concepts of life and self in response to developments in the biomedical field. Contemporary art has an influential role to play addressing these issues within the public realm, and generating critical cultural discussion.
18 August, 2006
The Centre for Fine Print Research at the University of Western England is
publishing The Blue Notebook: a new journal for artists' books which aims
to "provide a platform for the discussion of worldwide, contemporary book
The Blue Notebook will launch with Volume 1 No. 1 in October 2006 as a
peer reviewed journal, published twice yearly. the journal will consist
solely of essays and artwork on artists' publishing.
Volume 1 will include The case for failure in artists' bookworks by Nola
Farman (Aus) Justice is Beautiful: expanding the paradigm of the artists'
book by Marshall Weber (USA) Reader by Sarah Jacobs (UK) Shelf Life: in
consideration of new pages turned, fresh narratives and unexpected
characters by Mike Nicolson (UK) and Reading as Prwoling, Furtive Roaming:
how touch is connected to seeing by slowing down the animal locomotion of
reading artists' books in search of soemthing human in teh link between
hands and eyes by Tate Shaw (USA) and Tim Mosely (Aus) on papermaking.
Artists pages by Lucy May Schofield, Kurt Johannsessenn, Roy Voss...
The journal will be published in two formats: an electronic colour version
to be accessed at any time online and a paper, black and white version
(print) ISSN 1751-1712 (online) ISSN 1751-1720
Subscription covers both formats at 10GBP per annum - UK and
The CFPR welcomes submissions of writing on contemporary artists' books
for The Blue Notebook, deadline for submission to issue 2 will be 10th
January 2007. For more information about submissions and subscriptions
Centre for Fine Print Research
UWE Bristol School of Art, Media and Design
Further information available in Book Arts Newsletter No.28 Summer 2006
available from CFPR website at www.bookarts.uwe.ac.uk
17 August, 2006
TUESDAY 22 AUGUST
Yuken Teruya (Japan)
Roslisham Ismail a.k.a. Ise (Malaysia)
Lucas Ihlein (Sydney)
ARTISTS TALK is the first in a series of informal events developed by Artspace
to provide a point of contact between the Gunnery studios
and the local art community,
and to facilitate
discussion on issues important to artists operating today.
Yuken Teruya introduces his practice
in the context of the forthcoming program of exhibitions,
residencies and public events
Rapt! 20 Contemporary Artists from Japan.
Ise discusses his participation in artist networks and
collaborations across South-East Asia,
while Lucas Ihlein presents a narrative of his recent two-month
residency in his home suburb of Petersham.
Admission is free and refreshments will be served.
43-51 Cowper Wharf Road
Woolloomooloo NSW 2011
T +61 2 9368 1899
F +61 2 9368 1705
GALLERY HOURS Tuesday - Saturday 11am - 5pm
ARTSPACE is a member of CAOs – Contemporary Art Organisations Australia
ARTSPACE is a member of Res Artis – International Association of Residential Arts Centres
Students enrolled in both undergraduate and postgraduate educational information technology units at Southern Cross University have the opportunity to produce a teaching and learning resource in the form of a web site.
This site provides access to a selection of these resources produced for use in secondary classrooms (see also the resources for primary schools). The sites are representative only... they are not necessarily the best sites, but are a cross section, demonstrating in particular the range of ways the online medium can be utilised in learning and teaching. Sites are arranged by broad curriculum area.
1 -14 September 2006
An exhibition of works by local artist Cassandra Schultz, that reflect upon a non-indigenous sense of connection to the land and the role of women in the Australian landscape.
@ Watch this Space,
4/9 George Crescent,
Opening Friday 1 September at 6pm
For most non-indigenous Australians, the sense of a connection to this land rests somewhere within an uncomfortable relationship between experiences of here and memories of elsewhere. Both exploration of this difficult relationship and my interest in the role of women in the Australian landscape have formed the basis for this body of work.
Darwin - 24HR Art Exhibition 6
When: until 22 October 2005
Where: 24HR Art, Northern Territory Centre for Contemporary Art
Vimy Lane, Parap
Pouch - Cassandra Schultz
...a 747 jumbo jet modelled from felted kangaroo fur... “pouch” investigates what a sense of connection to place may hold as a signifier for identity, culture and personal history.
In placing photographs of domestic workers and their employers onto white domestic objects and displacing them into the gallery space my intention is to explore the relationship between the worker and her employer and to re-evaluate the status of domestic labour and those who perform it.
SafetyNET is a global cyber cafe project that uses the power of new technologies to help stop violence against women and children.
14 August, 2006
Australian SJ knows how to pull a man's strings. All it takes is a flick of her blonde hair and a wink of her eye. Armed with this piece of knowledge, SJ's found that it's a pretty easy life.
Occupation: Exotic dancer
Its racial stereotyping at its very worst. She's blonde and an airhead, and just in case you were in any doubt about her morality, she's a stripper out for what she can get.
The latest serving, offered tonight, addresses the sterling question "what have the Australians ever contributed/acheived?" - A the only thing they could come up with was Kylie: and then the discussion led straight on to "convicts".
The fourth Liverpool Biennial runs from 16 September to 26 November.
13 August, 2006
The Artbooks list is for artists, curators, librarians, students and researchers interested in the artform of artists' books within Australia. Members of the list receive information about exhibitions, events and opportunities relating to artists' books. The list will also provide a forum to discuss issues, share information and help and support each other.
Print Australia's Lyrebyrd Miniature Print Exchange #4 is well underway.
These are photos of some stencil samples I have been playing with.
how to from Visual Resistance
Lyrebyrd Miniature Print Exchange #4
Curator: J Severn
Due Date: midsummer/midwinter's day - June 22nd or thereabouts
Exchange Size: 21 participants, 2 archive prints, total 23 prints
Size: 4 x 6 ins or 10 x 15cms in envelope
Colophon: print is to be accompanied by explanatory text and colophon
stating title, content, materials and method.
Subject: open & experimental
Media: any print media editioned
Directions: To be mailed directly to participants in envelope. Each
participant will receive a list of names and addresses.
Requirements: All particpants must complete the exchange or return
prints received. Participants must be members of the lyrebyrd
mailing list and take an active part in the administration and
discussion of the exchange. The prints must be newly made for the
Archive: One archive set is for the Australian Print Collection at Wagga Wagga
NEW : Now published on the NEW Print Australia website. View a slideshow of the images here.
12 August, 2006
ADA was born of the observation that although new media artists were often highly networked in terms of both their own practice and their professional relationships, there was no national organization drawing together those with a common interest in digital art. This recognition suggested the irreversible importance of place against the frictionless communication enabled, in theory, by network technologies.
ADA is a network by the simplest of means: it is open, un-moderated and self-defining. Members of ADA are artists, curators, writers, and teachers with some kind of affiliation to New Zealand.
In material terms ADA is an email-discussion list, a website, and three face-to-face symposia: the first, in 2003, at Waikato University, Hamilton, the second at Auckland University of Technology, the third at Otago University in Dunedin, and the fourth, in 2006, hosted by the Western Institute of Technology, in New Plymouth.
In the absence of a dedicated physical space for development of new media projects, ADA enables the sharing of practices, and contributes towards a very real sense of a digital media community in New Zealand.
11 August, 2006
10 August, 2006
Prints Now: Directions & Definitions
24 May to 26 November 2006
Room 88a and the Julie and Robert Breckman Prints & Drawings Gallery, Room 90
All these innovations prompt the question: what is a print? The term now encompasses everything from the stencilled guerrilla graphics of graffiti artists such as Banksy, to museum-sponsored billboards, appropriated or found material which is then modified, a cake iced with a laser-jet printed image, printed MDF floors, wallpapers and soft furnishings designed for installations. In recent years printmaking has co-opted painting and sculpture, dress and domestic furnishings, commerce and cyberspace. Dynamic and democratic, the world of printmaking now includes the billboard and the badge, the masterpiece and the multiple, the priceless and the give-away. Prints are a vital and vibrant link between the museum and the marketplace, the elite and the everyday, and this display (and the accompanying book) is intended to explore some of the new directions in printmaking today, and to show a selection of the many original and innovative works of art that fall within the ever-expanding definition of 'print'.m0re
Prints Now: Directions and Definitions
Gill Saunders and Rosie Miles