31 October, 2006

Käthe Kollwitz

the virtual tour of the Käthe Kollwitz Museum Köln

Käthe Kollwitz was born in 1867 in Königsberg, East Prussia, as Käthe Schmidt, the granddaughter of Julius Rupp, the founder of the liberal Protestant Free Religious Congregation and the daughter of Karl Schmidt, a member of Germany's Social Democratic Party.

Encouraged by her father to become an artist, she trained with private teachers (since women were not admitted into the official art academies) and at seventeen went to Berlin to study at the Berlin Women's Art Union. Her teacher in Berlin, Karl Stauffer-Bern, recognized her exceptional talent for drawing and encouraged her to focus on drawing and printmaking.

In 1891, she married Karl Kollwitz, a medical doctor and social democrat. The couple moved into a tenement district of Berlin, where Karl Kollwitz worked as a physician for a health insurance concern for the tailors' guild, and Käthe Kollwitz observed at first hand the lives of the urban poor, especially women.

She showed her work publicly in Berlin for the first time in 1893, at the Berlin Academy's annual Great Berlin Art Exhibition. In 1898, she returned to this exhibition with her print series A Weavers' Rebellion. The jury voted her a gold medal, which the Minister of Culture and Emperor Wilhelm II subsequently refused to award, on the grounds that her work was objectionable in its unsentimental subject matter and gritty style, and that she was a woman.

Kollwitz won increasing recognition over the next years, receiving a commission in 1903 from the Society for Historical Art for the series Peasants' War, winning the Villa Romana Prize in 1907 for study in Florence, and making drawings in 1909 and 1910 for the satirical magazine Simplicissimus.

In 1919, after the establishment of the Republic, she became the first woman to be appointed a professor at the Berlin Academy of Art, which admitted female students by that time.

But she had been profoundly affected by the First World War, which had claimed the life of her son Peter, and throughout the 1920s she devoted much of her energy to making art that addressed immediate social and political issues. As a memorial to Peter, she created sculptures of mourning parents, which were installed in 1932 in Belgium, where he had died.

With the rise to power of the Nazis, Kollwitz was forced out of the Berlin Academy and threatened with deportation to a concentration camp. She began her last print series, Death, in 1934.

Her husband Karl died in 1940; her grandson Peter was killed in combat in 1942. Kollwitz left Berlin the following year and ultimately found refuge outside Dresden in a small house that was offered to her by Prince Ernst Heinrich of Saxony. She died there in April 1945, only a few weeks before the Nazi surrender.

"Some day a new ideal will arise and there will be an end of all wars," she said at the time of her death. "People will have to work hard for that new state of things, but they will achieve it."

Selected Bibliography
Käthe Kollwitz



30 October, 2006

Richard Serra

Richard Serra Limited Edition Prints

GEMINI G.E.L. AT JONI MOISANT WEYL was established in 1984 as the New York gallery exhibiting and representing the publications of the Los Angeles-based artists' workshop, Gemini G.E.L.

The gallery shows new editions as they are published, and has mounted many historical survey exhibitions, including Ellsworth Kelly: Diagonals and Panels 1970-1990; Claes Oldenburg: Editions in Two and Three Dimensions 1969-1995; Robert Rauschenberg: Booster and 7 Studies; Frank Stella: Prints from the 1960's & 70's; and Artists at Gemini G.E.L.: In Celebration of Gemini's 25th Anniversary.

The gallery frequently schedules special events in conjunction with its exhibitions, such as "Q & A"'s with the artist and private docented tours through related museum retrospectives.

Book Studio Blog

The Book Studio is a small quiet corner of the Printmedia & Drawing Workshop within the Australian National University School of Art, Canberra.


October Subject Index

Print Australia
patently referenced
Miniare: 2004
september subject index

The Secret Life of Type
Chinese Printmaking Today
Hamilton Press Interview
Paint, Dye, and Ink Recipes
freezer paper stencil tutorial
screen printing basics
build your own Etching Press
Prints as Decoration
Edvard Munch - prints
Printmaking in Maine

Australian imprints in the British Library
The White House: A Pop-Up Book
guide for book artists
Middle Eastern Manuscripts - Melbourne

Annual IFPDA Print Fair
Café Culture
fast and loose (my dead gallery)
Show Off - Paris
Alan Uglow - Belgium
Lorna Simpson
New Photography 2006
Dutch Resistance Museum
moon for sale
Licht Blau Art Group - Belgrade
8th International Digital Print Exhibition

Guan Wei - Powerhouse Museum
burnt to a Crispe
Peter Kingston and Martin Sharp
Jonas Mekas - Sydney
Tracy Cornish - Adelaide
Judy Parrott - Brisbane
contemporary art collection
Gosia Wlodarczak - Melbourne
gins_leap / dubb_speak - Moree
Melbourne International Arts Festival
The Autopsy - Melbourne
Prints and Multiples - MCA Sydney
Dennis Nona - Darwin

the0ry & criticism
art criticism
holey picasso
Gablick Paradigm Spinning
Art Conservation
professional practice II
Internet gang attack
blogging libel
translate or perish
Artist's Resale Rights -uk
judging the turner prize

South Park
women press builders

call - Soap Box Prints
Burnie Print Prize 2007
Megalo Printmaker In Residence - Canberra


28 October, 2006

Guan Wei - Powerhouse Museum

11 October 2006 - 27 April 2007

The inspiration for this exhibition is one of the Powerhouse Museum’s most mysterious objects: a small figure of the Chinese God of Longevity unearthed in Darwin in 1879. The Museum acquired a plaster cast of the object in 1889 and the original in 1950. From the time of its discovery, the figure has been the subject of much speculative and scholarly enquiry. Many writers and historians have suggested that the God of Longevity may be evidence of the arrival of a Chinese vessel from the voyages of Zheng He (1371-1432) in the early 15th century, more than 350 years before James Cook landed at Kurnell.


International Conservation Services (ICS) is undertaking the conservation of the 15,000 artefacts frozen in Shackleton's 1908 hut at Cape Royds and Scott¹s 1911 hut at Cape Evans in the Antarctic. ICS is sourcing conservators internationally to be part of this project, which involves up to eight months through the Antarctic winter secluded at New Zealand¹s Scott Base.

The London Natural History Museum has recently interviewed Julian Bickersteth (ICS Managing Director) on this project, as part of the ³Nature Live² program (webcast soon to be available for download).

To view the Museum¹s resources on Antarctic heritage and conservation, including conservation project details, history, webcast and details of the daily life in Antarctica published within the conservators¹ blog: Go to http://www.nhm.ac.uk/nature-online/earth/antarctica/index.html

For further information on ICS and the Ross Sea Artefacts Conservation Project: Go to: http://www.icssydney.com.au/index.php?id=116,


Marius Alexander Jacques Bauer (1867-1932).

Printmaker and painter, Bauer was one of Holland�s most famous early twentieth century etchers and illustrators. In 1879 he went to the Akademie van Beeldende Kunsten in The Hague, where in 1884 he was awarded the silver medal for life drawing. In 1888 The Hague dealer, Elbert J. van Wisselingh, helped him to travel to Constantinople -- the first of many journeys Bauer was to undertake to the Middle East (Palestine, Egypt), Indo-China and the Indian subcontinent, Spain, Venice, Morocco and Algiers. In 1902 he married an Amsterdam artist, Johanna Stumpff, and they settled in Aerdenhout. His art is found in public museums in London, Amsterdam and Paris.


[144 prints]



27 October, 2006

Annual IFPDA Print Fair

Each year in New York, the IFPDA's member galleries as well as numerous museums and nonprofits organize special exhibitions and events to celebrate printmaking and its significance as an artistic practice through the ages. The Annual IFPDA Print Fair is the nexus for this rich and varied schedule of receptions, openings, talks, expositions, auctions, and demonstrations. Attendees expand, enrich and refresh their knowledge of fine prints, discover new projects, and connect with the community of collectors, artists, curators, critics, master printers, dealers, and scholars in New York for the Print Fair.

Please bookmark this page and return often for updated listings.

Print Week Exhibitions | Print Week Events

Café Culture

Café Culture in Fin-de-Siècle Vienna and Weimar Germany

The café and its evening offshoot, the cabaret, have come to assume near-legendary status in the history of European modernism. While the first European cafés date back to the mid-seventeenth century, industrialization and the growth of bourgeois capitalism in the nineteenth century transformed these once humble institutions into grand establishments in which members of an increasingly diverse society could meet, not just to drink coffee, but to read, write, play cards, chess or billiards and to discuss the burning issues of the day. The café thus helped establish the public face of “bohemia”: that self-selected cadre of intellectuals whose mission in life was to oppose and undermine the philistine values of their elders. Paris, which gave us the word “café,” was in some respects the birthplace of café and cabaret society, but the Viennese paradigm of the Kaffeehaus was equally important, especially in Central Europe.


Artists in Exhibition

Peter Altenberg
Max Beckmann (German, 1884-1950)
Lovis Corinth (German, 1858-1925)
Josef Diveky
Otto Dix (German, 1891-1969)
B.F. Dolbin
George Grosz (German, 1893-1959)
Erich Heckel (German, 1883-1970)
Karl Hofer (German, 1878-1955)
Josef Hoffmann (Austrian, 1870-1956)
Emil Hoppe (Austrian, 1876-1957)
Karl Hubbuch (German, 1891-1979)
Moritz Jung
Grethe Jürgens (German, 1899-1981)
Ernst Ludwig Kirchner (German, 1880-1939)
Gustav Klimt (Austrian, 1862-1918)
Oskar Kokoschka (Austrian, 1886-1980)
Käthe Kollwitz (German, 1867-1945)
Alfred Kubin (Austrian, 1877-1959)
Berthold Löffler (Austrian, 1874-1960)
Adolf Loos (Austrian, 1870-1933)
Jeanne Mammen (German, 1890-1976)
Ludwig Meidner (German, 1884-1966)
Emil Nolde (German, 1867-1956)
Emil Orlik (Austrian, 1870-1932)
Egon Schiele (Austrian, 1890-1918)
William Sharp
Gustav Siegel (Austrian, 1880-1970)
Bruno Voigt (German, 1912-1988)
Erich Wegner (German, 1899-1980)

25 October, 2006

art criticism

Germany - die tageszeitung
The dwindling influence of the art critic
The editor in chief of Vogue magazine can make or break the careers of fashion designers, but when it comes to art critics there's no such authority, Isabell Graw notes with regret. "The last time there was such a direct influence on art production was in the 1950s, embodied in the figure of the legendary critic Clement Greenberg, whose exacting standards still represent a theoretical challenge today. During his legendary visits to Jackson Pollock's atelier he would pass judgement on the artist's work with a mixture of accuracy and arbitrariness, giving some pieces his seal of approval while others were deemed in need of work... However since those glorious days, art critics have lost much of their former authority and influence. When you flick through international art journals nowadays you can't help getting the feeling that art criticism has indeed taken on some of the features of advertising. Art reviews resemble press releases and have many of the features of fashion stories. (24/10/2006)
» full article (external link, German)
» further articles on the theme (Culture/Global)

Australian imprints in the British Library

Some notable early Australian imprints in the British Library

Thomas E. Wells
Michael Howe, the last and worst of the Bush Rangers of Van Diemen's Land. Narrative of the chief atrocities committed by this great murderer and his associates during a period of six years in Van Diemen's Land. From authentic sources of information.
Hobart Town : Andrew Bent, [1818]
(The first unofficial book printed in Tasmania and one of only two known copies)
Shelfmark: C.58.d.12 (3)

Barron Field
First fruits of Australian poetry
Sydney : Printed for private distribution, 1819
(The first book of poetry published in Australia)
Shelfmark: C.59.i.15

Henry Savery
Quintus Servinton: a tale, founded upon incidents of real occurrence
3 vol. Hobart Town : Henry Melville, 1830, 31
(The first Australian novel in book form)
Shelfmark: 838.c.25

Victoria illustrated. From drawings by S.T.Gill.
Melbourne & Sydney: Sands & Kenny, 1857
Shelfmark: 1789.a.31


Chinese Printmaking Today

The British Library 2003

This introductory essay by Dr Frances Wood on the Political and Literary Context of the works on show in the exhibition is reproduced by permission of the author from Chinese Printmaking Today: Woodblock Printing in China 1980-2000 by Anne Farrer.

The 108 prints selected for the exhibition are by 90 artists. Artists in their 20s contrast with an older generation, who lived through the political upheavals of 20th-century China. Each artist responds creatively to the expressive potential of the woodcut.

If you are interested in learning more about Chinese printmaking today and other aspects of contemporary Chinese culture, try these links:

24 October, 2006

Show Off - Paris

Show Off is open: 28 galleries of strictly contemporary art, from eight different countries. Apart from the French ones, galleries from Germany, Belgium, Canada, Cuba, Italy, USA and Switzerland, with their 200 artists. All practices are represented: painting, photography, sculpture, video and new technologies. Its goal is to make contemporary art more accessible to the general public and to offer a more relaxed alternative to the established art fairs. It is an art fair with artistic discoveries, seeking to promote contacts between all those interested in truly contemporary art - artists, collectors, art critics, curators...
Site : www.showoffparis.com

23 October, 2006

fast and loose (my dead gallery)

'fast and loose (my dead gallery)' is an exhibition of 15 artist-run or alternative spaces which existed in London over the past 50 years

. New Vision Centre (1956-66)
. Signals (64-66)
. London Free School (66)
. Indica (65-67)
. Arts Lab (67-69)
. Gallery House (72-73)
. The Gallery (72-78)
. 2B Butler's Wharf (75-78)
.Fantasy Factory (75-96)
. Art Meeting Place (74-76)
. B2 (79-84)
. NeTWork 21 (86)
. The Women's Art Library/Make (82-2002)
. BANK (91-2003)
. workfortheeyetodo (92-98)


21 October, 2006

The Secret Life of Type

Typography is something that we encounter every day of our lives; it is one of the most pervasive elements in an entire spectrum of human activities. And yet typography is usually invisible or barely noticed; it is supposed to be transparent; it is not supposed to draw attention to itself.

In this illustrated lecture, Richard Wendorf explores the nature and history of the type faces by which we live, ranging from Roman capitals to the experimentation of William Morris at the Kelmscott Press.

The Secret Life of Type is one of ten essays collected together in Richard Wendorf's new book The Scholar-Librarian: Books, Libraries, and the Visual Arts, published by Oak Knoll Press and the Boston Athenaeum.

Richard Wendorf became the eleventh director of the Boston Athenaeum in 1997. An expert on eighteenth-century British art, literature, and cultural history, he lectures widely on issues concerning rare book and manuscript libraries, and on the relationship between literature and the visual arts. His book Sir Joshua Reynolds: The Painter in Society won the Annibel Jenkins Biography Prize.

20 October, 2006

burnt to a Crispe

Raized @ Watch this Space

An exhibition of burnt objects, damaged drawings and books, lino cut prints salvaged from the Art Shed - Crispe St.

This fundraisre/exhibition celebrates the creative spirit of artists who, even in their darkest hour, can discover an ironic beauty in their smoke and heat damaged possessions. Raized is not about pain. It is about hope, imagination and the spirit of creative people.

There will also be an archival display of cuttings and photographs which illustrates the history and aims of our organization which has been alive for 43 years. Halcyon Lucas, our oldest active member will speak at the opening. She took up painting 40 years ago and hasn’t stopped since.

20 – 27 October @ Watch this Space, 4/9 George Crescent, Alice Springs
Opening Friday 20 October 2006 6pm

Burnie Print Prize 2007

Civic Centre Precinct Burnie TAS 7320
Ph: 6430 5875 Fax: 6431 4114
E-mail: gallery@burnie.net
Opening hours: Mon-Fri 10-4.30, Sat, Sun & Pub Hols 1.30-4.30

Burnie Print Prize 2007
Selected exhibition and acquisitive award: 21 March – 6 May 2007

A new print award, the Burnie Print Prize, is being launched by the Burnie Regional Art Gallery, which, in 2006, opened The ‘Printmakers’ Gallery dedicated to the display of its growing contemporary print collection.

The prize is being established as an acquisitive award to:
develop the Gallery’s print collection;
bring the best of contemporary printmaking to public view;
support artists who work with the print medium;
foster innovation in the print medium;
and promote an appreciation of the fine art of printmaking, recognising and celebrating its immense craftsmanship and exploring the expressive and aesthetic possibilities of the medium in the contemporary art world.

The selected entry exhibition will open on 21 March 2007 as part of ‘Ten Days on the Island’ (23 March – 1 April 2007).

All works selected for exhibition will be eligible for purchase through a $7000 Acquisitive Award for the winning entry. An additional Acquisition Fund of up to $4000 is available for the purchase of selected works for the permanent print collection.

The award is supported by the Friends of the Burnie Regional Art Gallery and the Burnie City Council. Judges will be Kirsty Grant, Curator - Prints and Drawings, National Gallery of Victoria, Craig Judd, Senior Curator of Art and Decorative Arts, Tasmanian Museum and Art Gallery and Milan Milojevic, Head of Studio for Printmaking at the Tasmanian School of Art in Hobart.

Entries are currently being sought from artists around Australia and entry is by the submission of slides or CD images for pre-selection. The closing date for entries is 3 November 2006.

Entry forms are available from the Burnie Regional Art Gallery. Phone: 6430 5875; email: gallery @burnie.net or check the website: www.burnie.net

19 October, 2006

Peter Kingston and Martin Sharp


Sydney's first true Pop exhibition was held at Clune Galleries in 1966. Oz Supa Art Market was Australia's answer to The American Supermarket, held at New York's Bianchini Gallery in 1964, and which featured work by Pop masters Andy Warhol, Roy Lichtenstein, and Tom Wesselman. Like its American prototype, Oz Supa Art Market displayed and sold works in an installation devised to resemble the garish atmosphere of a supermarket.

Two of the exhibition's artists, Peter Kingston and Martin Sharp, had studied in the 1950s under the esteemed painter and art master at Cranbrook School, Justin O'Brien. Encouraged by their teacher, Sharp and Kingston followed their creative instincts - Sharp studying art at East Sydney Technical College while Kingston tackled architecture at the University of New South Wales. Their paths crossed again in 1961 when their cartoons were published by the student newspaper Tharunka. However, it wasn't until 1963 that the artists' careers collided spectacularly with the appearance of Oz magazine. Oz epitomised the anti-establishment era of the 1960s, with its irreverent, satirical and usually controversial take on topics as diverse as police brutality, censorship, homosexuality and abortion.

Sharp and 'Kingo' were two of the magazine's most sardonic humorists, and their idiosyncratic approach to popular culture, coupled with their inventive genius, reached the peak of expression during the early 1970s at the Yellow House, a collective enterprise established in Kings Cross by Sharp in 1971. Sharp had returned from 'Swinging London' with a reputation as a brilliant graphic artist, designing posters and album covers for musicians and bands including Bob Dylan and Cream. Kingston was creating experimental films, completing Brett and Butter with Brett Whiteley in 1970.

In 1973, a singular passion for Luna Park brought them together again. Commissioned by the management of Luna Park to restore the funfair and recreate its whimsical spirit, Sharp called upon his old friend to assist. This collective spirit has continued until the present day, and is exemplified in the collaborative tour de force of this display. Remnants from the 20th century - a large pharmacist's cabinet filled with Luna Park memorabilia, witty new constructions, and other objects from the artists' collections - attests to the abiding friendship and unique vision the artists have shared for over four decades.

This display brings together a selection of prints, drawings, paintings and sculptures, which span forty years of imaginative brilliance by two of Sydney's most exuberant artists.

contemporary art collection

The Art Gallery of New South Wales has one of the finest collections of contemporary art in Australia. The collection is truly international and includes Australian, Asian and Western art in all media. It is focused on a series of key developments since the 1960s in order to tell a particular story of the art of our time. The collection has strengths in abstract painting, conceptual and performance art, and appropriation, 'popism' and other post-modern practices. Further key strands include art that reconsiders landscape and place, and objects and installations that foreground memory and the associations evoked by particular materials. Recent acquisitions have included video installations influenced by media culture, new directions in painting, and sculpture either assembled from modest found materials or highly finished and hyper-realistic.

The full contemporary collection can be explored at www.artgallery.nsw.gov.au/collection.


Artist Books on Travel by Alex Arcus and Liz Jeneid

7 September - 25 November 2006 (Mon - Fri only)
Research Library

This exhibition of artists' books examines the process of notation by two artists of their travels in Australia and overseas. There is a questioning of the forms such books may take and the many approaches to expressing content using both text and image.

The books range from collections of drawings or prints of a journey or place, to the ephemera of travel, or to images which the artist associates with a particular place. Both artists use a variety of materials and print techniques, ranging from intaglio and embossing by hand to computer printing, often on paper specifically made by hand for a particular book. A variety of bookbinding techniques will be used and considerable thought given to the display of the books with several presented in slip cases or sculptural boxes.

This exhibition follows on from the Undercover exhibition of artists’ books, by students and staff of the South Australian School of Art, University of South Australia and the School of Creative Arts, University of Wollongong, 2004.

Alexander Arcus is an artist working in paint, textiles and paper. For many years he was Head of the Textiles Studios at the South Australian School of Art, University of South Australia, where he introduced the teaching of papermaking and artists’ books. He has studied papermaking and printed textiles in Japan and undertaken consultancy work with a paper mill in the Philippines. He has consistently exhibited his work in Australia and overseas with ten solo and more than thirty group exhibitions.

Liz Jeneid is a practising artist with a deep interest in the medium of artist books, which she has been making since 1989. The books are sometimes part of a larger body of work, as well as a visual process of recording impressions and responses to place. Having taught visual arts for over twenty years, she is now an Honorary Fellow in the Faculty of Creative Arts, University of Wollongong. Liz is a great traveller and has spent time in the polar regions, Europe, Asia and the USA, and is always invigorated by the freshness of vision that comes with visiting an unknown place.

holey picasso

When dream turns to nightmare.

"Anyway, while we were eating, Steve and Elaine Wynn stopped by the table. Wynn was in a very good mood because, he told us, he had just sold a Picasso for $139 million. I was surprised he'd sold it, because the Picasso in question was not just any old Picasso but the famous painting Le Reve, which used to hang in the museum at the Bellagio when Wynn owned it, and no question it was Wynn's favorite painting.

Steve Wynn launched into a long story about the painting -- he told us that it was a painting of Picasso's mistress, Marie-Therese Walter, that it was extremely erotic, and that if you looked at it carefully (which I did, for the first time, although I'd seen it before at the Bellagio) you could see that the head of Marie-Therese was divided in two sections and that one of them was a penis. This was not a good moment for me vis a vis the painting. In fact, I would have to say that it made me pretty much think I wouldn't pay five dollars for it.

Wynn went on to tell us about the provenance of the painting - who'd first bought it and who'd then bought it.his brought us to the famous Victor and Sally Ganz, a New York couple who are a sort of ongoing caution to the sorts of people who currently populate the art world, because the Ganzes managed to accumulate a spectacular art collection in a small New York apartment with no money at all. The Ganz collection went up for auction in 1997, Wynn was saying -- he was standing in front of the painting at this point, facing us. He raised his hand to show us something about the painting -- and at that moment, his elbow crashed backwards right through the canvas.

There was a terrible noise.

Wynn stepped away from the painting, and there, smack in the middle of Marie-Therese Walter's plump and allegedly-erotic forearm, was a black hole the size of a silver dollar - or, to be more exactly, the size of the tip of Steve Wynn's elbow -- with two three-inch long rips coming off it in either direction. Steve Wynn has retinitis pigmentosa, an eye disease that damages peripheral vision, but he could see quite clearly what had happened.

"Oh shit," he said. "Look what I've done."

The rest of us were speechless.

"Thank God it was me," he said."

full st

18 October, 2006

Paint, Dye, and Ink Recipes

Transfer Ink

2 tablespoons soap powder, like Ivory Snow (not detergent) or scrapings from a bar of soap
1/4 cup hot water

1 tablespoon turpentine

Dissolve soap powder in hot water. Add turpentine. Use when cool.
To use, dip a brush into the ink and brush over the picture to be transferred, wait about ten seconds then place a piece of paper over the picture and rub the back of it with a spoon. The picture will be transferred to the paper. If the ink solidifies in its container, set the bottle in a pan of warm water to melt, then shake well before using.



freezer paper stencil tutorial

Non reuseable stencils for fabric printing.


17 October, 2006

Jonas Mekas - Sydney

Jonas Mekas The Destruction Quartet 2006

Darren Knight Gallery is pleased to present The Destruction Quartet, a new 4 monitor, video installation by one of the leading figures in the history of avant-garde filmmaking, Jonas Mekas.

Jonas Mekas was born in 1922 in Lithuania and migrated to New York in 1949. Arriving with a keen interest in film, poetry and philosophy, Mekas would eventually establish himself as a seminal figure in the history of twentieth century filmmaking. His profound influence on the development of independent cinema is recognized by filmmakers and visual artists worldwide and is embodied in the central role he played in the establishment of the Filmmaker’s Cooperative in 1962, the Filmmaker’s Cinémathèque in 1964 and the Anthology Film Archive in 1972. He also launched the magazine Film Culture in 1954 and started writing a weekly column for Village Voice in 1958. Mekas’ extensive oeuvre includes such films as Guns of the trees 1961; The brig 1963; Walden 1969; Lost lost lost 1975; Reminiscences of a journey to Lithuania 1972; Zefiro torna or Scenes from the life of George Maciunas 1992; Happy birthday to John 1996 and As I was moving ahead, occasionally I saw brief glimpses of beauty 2001.

The Destruction Quartet features four films, each presented on a separate monitor, which bring together fragments of symbolic and real acts of destruction. Each film, of varying duration, is played on a continuous loop. The first documents a 1997 Nam June Paik performance in which he destroys a piano, the second observes the demolition of the Berlin Wall in 1990, the third is Mekas’ footage of Danius Kesminas’ fire sculpture, (New York) Consequence presented in New York in 1991 and the last graphically records the September 11 destruction of the World Trade Center. Mekas filmed 9/11 from the roof of his SoHo apartment building.

While the soundtracks in the first three films create an ambient backdrop to the filmed events, the increasingly incredulous comments by a fellow observer in the 9/11 footage bring a chill to the whole installation. In an attempt to comprehend the incomprehensible Mekas has, with the addition of a title page quoting the 19thCentury German poet Heinrich Heine (Ein Marchen aus alten Zeiten) and an old photographic image of a young child, presented 9/11 as a fairy tale, as if passing on the story as folklore; disconnecting it slightly from its defining date and introducing a sense of timelessness and metaphor.

Mekas has for most of his life celebrated the beauty and wonder in life’s small and everyday events, making The Destruction Quartet all the more potent.

The Destruction Quartet was developed for the exhibition Jonas Mekas: Celebration of the small and personal in the times of bigness, at the Monash University Museum of Art, Melbourne, 13 July - 16 August 2006. The exhibition Celebration of the small and personal in the times of bigness was originally presented in the Lithuanian Pavilion at the 51st Venice Biennale in 2005 and was curated by Liutauras Psibilskis & Lolita Jablonskiene.

The Destruction Quartet is accompanied by an illustrated catalogue that includes an essay by Jan Verwoert and a personal reflection on Jonas Mekas and The Destruction Quartet by Danius Kesminas.

For more information please contact Darren Knight Gallery, Telephone +61 2 9699 5353 Email info@darrenknightgallery.com, Website www.darrenknightgallery.com
Gallery Hours: Tuesday – Saturday, 11:00 am – 6:00 pm

Tracy Cornish - Adelaide

"Istanbul: Visual Operative / Crawling Carpets", 2005 is a double screen work made during the artist's stay in Istanbul, a city on the border between West and East, straddling two continents.

The artist assumes the persona of an 'operative' gathering data on behalf of the European Union, in this still exotic, but changing city. His mission is to evaluate the visual environment of Istanbul ahead of Turkey's negotiating process for accession to the EU. Always on the alert for visual irregularities, the operative shows us images of familiar landmarks, Westernised shops, and street bazaars, set to a voiceover which conveys the operative's findings.

Boyadjiev is addressing the different cultural expectations and attitudes that lie at the heart of the difficult relationship between Europe and Asia. The artist suggests, with dead-pan irony, that perhaps Turkey should be integrated into the EU in three stages, gradually and progressively extending Europe's standards and systems ever Eastwards .

Luchezar Boyadjiev was born in Sofia, Bulgaria, and trained as an art historian and theorist at the National Art Academy, Sofia. He started exhibiting in 1989. Luchezar was the founding member of the Sofia Institute of Contemporary Art and has exhibited and lectured internationally, including Manifesta 4, Frankfurt, Germany, 2002; Roma in Sofia Bologna, Italy, 2004; Memory Lane 9th Istanbul Biennial, 2005; Belief 1st Singapore Biennale, 2006, and The 45 Minute Retro-Spection in Bucharest. His performances include Pearl Guided Tour at the 7th International Sharjah Biennial, United Arab Emirates, in 2005. In 2006 he is artist-in residence at the MuseumsQuartier, Vienna.

Intertwingularity explores photography as a system of complex connections, processes and technologies. This exhibition presents new modes of making and thinking about photography by linking unconventional/experimental photographic processes with new media technologies. It highlights photography's interconnectedness with other representational media; and examines the levels of abstraction that accompanies digital translations of photographic information. Intertwingularity not only explores photography's contemporary context, it offers possibilities for photography's future.

Tracy Cornish is currently completing a PhD by Research and lectures in Photography at the University of South Australia. Her exhibitions include Festival Attitude, Magaza Bitola, Macedonia (2005), World Year of Physics Art Prize, Macquarie University, Sydney (2005), National Museum of Australia, Canberra (2004), and Australian Centre for Photography, Sydney (2002).

11-5 TUES-FRI; 2-5 SATURDAY | +61 8 8211 7505 | eaf@eaf.asn.au | www.eaf.asn.au

Judy Parrott - Brisbane

Antarctica, A Place in the Wilderness
An exhibition of photography by Judy Parrott from an Australian Antarctic Division Arts Fellowship

Opens 8 November at 7pm
Showing 9 November to 3 December

Visy Foyer - Brisbane Powerhouse
119 Lamington Street
New Farm Qld 4005

Monday to Friday 9am to 5pm
Saturday to Sunday 10am to 4pm
Having spent several months on an Arts Fellowship in Antarctica, Brisbane photographer Judy Parrott¹s exhibition of photographic works presents a rare glimpse of life on Australian research stations.

After initial training in Tasmania, where Parrott learned knots, navigation, radio communication and rescue methods, she travelled to the Antarctic on board the Aurora Australis. During the journey south and once in Antarctica, she reviewed her training and underwent blizzard training.

"We were well prepared to meet any challenges we might face out on the field," Parrott said.

During her fellowship, Parrott spent time in each of Australia¹s three stations documenting the work and community life at the station and in the field. The result is a series of dramatic photographs of this extreme environment that provide an experience of Œbeing there¹.

"Walking on the Antarctic plateau is like floating on a giant, white disc suspended in space," she said.

As part of the exhibition, Antarctica, A Place in the Wilderness showing from 9 November until 3 December at the Brisbane Powerhouse, Parrott will include found objects (for which she was granted a permit to collect), materials provided by the Australian Antarctic Division and a collaged audio recording.

The recording includes ambient sounds, such as the cracking of ice during the boat voyage and the slicing of bitter winds, as well as the station inhabitants talking about their work and their environment.

Antarctica, A Place in the Wilderness will tour to the Tasmanian Museum and Art Gallery in Hobart and then to Parliament House Gallery in Canberra in 2007 with a more extensive national tour in planning for 2008, the International Polar Year (http://www.ipy.org).

Judy Parrott was awarded the Arts Fellowship by the Australian Antarctic Division and supported by Brisbane City Council Creative Sparks funding. She is a Brisbane-based photographer whose work focuses on people in their communities. Her recent bodies of work explore West End (A Sense of Place) and Bolivia (A Place in Bolivia). In 2007, she travels to Scotland to undertake a six-month residency.

Alan Uglow - Belgium

Alan Uglow
Sept 15 – Oct 22,2006

Center for Contemporary
Non-Objective Art
Boulevard Barthélémylaan 5
1000 Brussels, Belgium

The Center for Contemporary Non-Objective Art (CCNOA) is pleased to present an exhibition by British-born, New York-based artist Alan Uglow. A series of recent photo silk-screens and a freestanding painting continue Uglow’s practice of isolating and abstracting elements from a primary context and representing them through analogous forms.

While best known for monochromatic paintings concerned with the edge and the literal frame of the picture-support, Uglow’s body of work also includes photography and site-specific installations. Along with an emphasis on structure, materiality, and the reducing of forms to their constituent elements, his diverse artistic practice is marked by a lifelong fascination with the game of football. The spatial arrangement of the football pitch is partly the source for the rectangular, bisected fields in his Standard paintings, for example--a syntactical similarity present in his work since the late 60s.

Uglow’s recent work continues this connection through forms drawn from stadium architecture and re-presented through a rigorous process of abstraction. A photograph of a tunnel from the Müngersdorfer Stadion in Cologne (Germany), which players use to enter and leave the pitch, is turned into a site-specific photo-silkscreen. Uglow subjects this image of a functional, built structure to a myriad of painterly choices about color, flatness, and tonality, turning it into a minimal still-film.

Similarly, Uglow turns a “Goal Wall”, an object used by footballers for shooting practice into a freestanding painting, the aluminum panel is stabilized with metal supports behind the panel. Toward the top left corner and the lower right corner two circles, slightly larger than a football have been cut out, this emphasizes the built quality of the painting an aspect of Uglow’s best-known Standard paintings. In both cases, as in the bulk of Uglow’s work, the emphasis on framing and materiality highlights the object’s relationship to a context beyond its purely formal boundaries.

16 October, 2006

Gablick Paradigm Spinning

Paradigm Spinning: Artists as Agents of Social Change
Suzi Gablick, artist, art critic, cultural philosopher

Suzy Gablik is an artist, art critic, cultural philosopher, and expert on Western modernism. Departing from what she calls 'the faded ethos of modernism,' Gablik sees artists as agents of social change. Her books include Has Modernism Failed?, The Reenactment of Art, and Conversations Before the End of Time.


15 October, 2006

guide for book artists

Artists' Books Creative Production and Marketing

This is an AHRC-funded guide for book artists. Downloadable as a PDF file, it contains advice on producing, marketing and distributing artist's books, supported by a detailed survey of artists, buyers and institutions.

Chapters include: establishing a relationship between artist and purchaser; collections and collectors; approaching bookshops and dealers; pricing your work; the importance of artist's book fairs for marketing and networking.

There are varied case studies and further reading/useful websites.


Intute is a free online service providing access to the very best web resources for education and research. All material is evaluated and selected by a network of subject specialists to create the Intute database.

The service is created by a network of UK universities and partners. Subject specialists select and evaluate the websites in our database and write high quality descriptions of the resources. The database contains 113454 records.


Print Australia

Created by Josephine 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 websites 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.


The White House: A Pop-Up Book

Starting with the design by Irish-born architect James Hoban in 1792, the White House history spans more than 200 years.

In The White House: A Pop-Up Book, Chuck Fischer brings to life not only the architecture, furnishings, and fine art of America's First Home, but also the history of Washington, DC, the National Mall, and America's First Families.

A movable diorama of the Mall gives a 3-D view of America's national monuments; a pop-up of the White House provides a look at the mansion's exterior; a standing 'carousel' reveals interiors of the Red Room, Cross Hall, Blue Room, Green Room, and Lincoln Bedroom; a removable map of Washington, DC details the city's layout; and a gallery of the presidents combined with a fan that opens to portray the first ladies illustrates America's leading families over the centuries.

In addition, numerous pull-outs and pop-ups surprise the reader with interesting details, such as holiday traditions at the White House and the antics of more than one White House child (roller skating across polished floors or bombarding a cabinet meeting with a toy cannon!).

Chuck Fischer is one of the most talented and sought-after artists in America today and is the author and illustrator of the acclaimed Great American Houses and Gardens: A Pop-Up Book and Wallcoverings: Applying the Language of Color and Pattern, both published by Universe. His wallcovering and fabric designs are in the permanent collection of the Cooper-Hewitt Museum, and he has recently been a visiting artist at the American Academy in Rome.


Art Conservation

The Lunder Conservation Center of the Smithsonian
presents 22 video interviews of leading art conservators
on their work

Hamilton Press Interview

Hamilton Press Interview : with Ed Hamilton, Ed Ruscha, & Will Mentor
[filmed on June 4, 1998]





Interview by Lyn Kienholz, © Netropolitan.org

[ please note: dowload time is determined by connection speed ]

14 October, 2006

patently referenced

Providing customized text and imagery on organic products

United States Patent 7089860

The present invention features various systems and methods for providing an image on an organic product to provide a communication to the recipient or otherwise individualize the organic product. Notably, the present invention features an organic product printing system comprising at least one organic product; a support structure that secures one or more organic products therein for printing upon them, wherein the support structure comprises a stabilizer bar for supporting one or more printing assemblies; and at least one printing assembly supported within the support structure, wherein the printing assembly comprises a printing device that prints an image onto the organic product.

Harris, Blaine; Terrell (Bountiful, UT), R
odriguez, Rene;

Other References:
Severn, J, "Handmade paper", pp. 1-7, 1999.


pdf http://www.freepatentsonline.com/7089860.pdf


screen printing basics

This is a very basic site to demonstrate screen printing


Gosia Wlodarczak - Melbourne

Gosia Wlodarczak
31 October - 18 November 2006
Preview: Tuseday 31 October 5.00 - 7.30pm


Arc One Gallery
45 Flinders Lane

SHARED SPACE investigates the social
environment in which we live and engages with the
recently growing awareness, anxieties and fears
concerning safe/unsafe human relationships. The
series is the outcome of several meetings and drawing
sessions with a group of people with whom I have
interacted within the course of my art practice. They
responded to my invitation to be part of this project
which explores a mutual relationship, friendship and

Works in the series are multi-panelled with a uniform
height of 162 cm, which is my body height selected as
a personalising symbol. The first stage of each work
was prepared in my home / studio space and became
an integral background for the shared space. The
second stage involved working and socially interacting
with the participant over a period of several sessions.
The working sessions took place either at my home or
in the home / workplace of the participant.

The linen was placed on the floor, and became the
shared personal space. I set or stood on the linen
in order to draw, whilst the participant stood, sat,
or reclined on the linen in their most comfortable
position. I drew around us both for several hours at a
time. Drawing around another person’s body can be
discomforting and requires a degree of trust, openness
and willingness by the participant to share one’s
personal space. The finished work becomes a linear
record of a number of interactions while the voids
imprinted on the work reflects the presence, an outline
of the time experienced together.

The interactions were photographed in progress by
Longin Sarnecki.

Kindly participated:
Carl Altmann artist, Perth, WA
Dr Jan Altmann writer, theorist, Perth, WA
Angela Chaplin artistic director Deckchair Theatre, Fremantle, WA
Dr Christopher Crouch artist, art theorist, Perth, WA
David Forrest CBE director Gallery East, Fremantle WA
Emma Kranz director ARC One / Span Gallery, Melbourne, Victoria
Derek Kreckler artist, Perth, WA
Dr Geoffrey Lancaster AM concert pianist, chief conductor La Cetra
Barockorchester Basel, professor of music ANU, ACT Australian of
the Year 2006
Dr Sarah Miller curator, formerly director Perth Institute of
Contemporary Art, WA
Janis Nedela artist, director Gallery East, Fremantle WA
Robert Owen artist, Melbourne, Victoria
Gregory Pryor artist, Perth, WA
Longin Sarnecki artist, Melbourne, Victoria
Saba Skaberne artist, Perth, WA

13 October, 2006

Internet gang attack

A Florida woman has been awarded $11.3 million in a defamation lawsuit against a Louisiana woman who posted messages on the Internet accusing her of being a "crook," a "con artist" and a "fraud."

Scheff says she wanted to make a point to those who unfairly criticize others on the Internet. "I'm sure (Bock) doesn't have $1 million, let alone $11 million, but the message is strong and clear," Scheff says. "People are using the Internet to destroy people they don't like, and you can't do that."

Even with no opposing counsel and no defendant there, $11 million is a huge amount," says Pollack, adding that Scheff is considering whether to try to collect any money from Bock. "The jury determined this was a significant enough issue. It's not just somebody's
feelings are hurt; it's somebody's reputation is ruined."

full article

The case reflected how blogs — short for web logs, the burgeoning, freewheeling Internet forums that give people the power to instantly disseminate messages worldwide — increasingly are being targeted by those who feel harmed by blog attacks. In the past two years, more than 50 lawsuits stemming from postings on blogs and website message boards have been filed across the nation. The suits have spawned a debate over how the "blogosphere" and its revolutionary impact on speech and publishing might change libel law.

Legal analysts say the lawsuits are challenging a mind-set that has long surrounded blogging: that most bloggers essentially are "judgment-proof" because they — unlike traditional media such as newspapers, magazines and television outlets — often are ordinary citizens who don't have a lot of money. Recent lawsuits by Banks and others who say they have had their reputations harmed or their privacy violated have been aimed not just at cash awards but also at silencing their critics.

A key principle that courts use in determining whether someone has been libeled is what damage the offending article did to that person's reputation in his or her community.

Susan Crawford, a professor at Cardoza Law School in New York who specializes in media and Internet issues, says the ease with which false postings can be corrected instantly, among other things, will force judges to reconsider how to measure the damage that is done to a plaintiff's reputation.

"Libel law depends on having a reputation in a particular town that's damaged," she says. "Do you have an online reputation? What's your community that hears about the damage to your online reputation?



A Rudimentary Guide
to the Little-Known Art of