Happy New Year 2009

At midnight tonight the world's largest phallic symbol will ejaculate in a frenzy of fireworks.

We will be there.

Wishing you all a Happy New Year and great creative endeavours in 2009

Blakkbyrd

=========
footnote: Due to the economic recession the 2009 display was 120 seconds long......

Multiplicity - AGSA

Multiplicity: Prints and Multiples
17 October – 1 February 2009

Multiplicity explores the development of prints and multiples in art from the 1960s through to the current day. Drawing on the permanent collections of the Museum of Contemporary Art, Sydney and the University of Wollongong, the exhibition tracks the history of innovative prints, photographs and objects, from the studio-made to limited editions and the mass-produced, which have been at the core of contemporary art practice. Multiplicity features the work of artists including Andy Warhol, Ed Ruscha, Joseph Beuys, Redback Graphix, Deborah Kelly, Fiona Hall, Ricky Swallow and others.

Curated by Glenn Barkley, Curator, University of Wollongong

Education Resource kits available online at www.artgallery.sa.gov.au/education

Media release
Multiplicity:Prints and Multiples

Printmaking Subject Index 2006

Print Australia
print australia website
Print Australia catalogued
print exhibition - wagga wagga
water
Sacred Tree - Bulgaria
Lyrebyrd Miniature Print Exchange #4
Print Australia Activities
Intute
patently referenced
Print Australia Projects
Lyrebyrd
Print Blog history

Europe
ARTIST'S DAY OUT
call - biennial of engraving
polish prints
french prints
Bonaparte Prints - Rotterdam
Lessedra
Norwegian Printmakers
Swedish Printmakers
Miniprint Finland 2007
Anita Tjermsland - Norway
estampa madrid
Café Culture
Licht Blau Art Group - Belgrade

Artists
Rose Nolan
Kruger & Holzer get political
Neil Emmerson
franck gohier
goya's caprichos
mike parr prints - MCA
blek le rat
swoon on blakkbyrd
Nic Coviello
sally dyas - photopolymer
Damon Kowarsky
baldessin - sydney
rory obrien - sydney
Damon Kowarsky
severn - amsterdam
Flora Parrott - canberra
Thomas Bayrle
Fred williams
Helen Clarke
Nick Bleasel
Jenny LeBlanc
Angela Cavalieri - Melbourne
Sol LeWitt goes native
Russell Lilford - Darwin
Sean Star Wars
Milan Milojevic - Tasmania
Käthe Kollwitz
Richard Serra
Bauer
Peter Kingston and Martin Sharp
Alan Uglow - Belgium
Dennis Nona - Darwin
Edvard Munch - prints
Katsutoshi Yuasa
Josephine Severn
Swoon
Emil Nolde
Deborah Cornell - Buenos Aires

Australia
yirrkala prints
Latrobe Printmaking Conference
barkly regional arts
Banduk Marika
calls: print media
basil hall editions
print auction - brisbane
kenneth tyler collection NGA
otto dix at nga
banksy on oz
south coast print workshops
stencil art - sydney
call - silk cut
woodblock exhibition - melbourne
PrintEX07
call - Compact Prints 2006
duckprint press - port kembla
Prints and books at AGNSW
PCA Prints - QUT
Waringarri Arts
Sydney Stencil Festival
8th Silk Cut Award for linocut
photogravure - Baldessin Press
printmaking CAE - Melbourne
exhibitions
burnt to a Crispe
Burnie Print Prize 2007
Prints and Multiples - MCA Sydney
Megalo Printmaker In Residence - Canberra
Sydney Printmakers
Megalo’s 25th
Prints and printmaking Australia Asia Pacific
Irrkerlantye

uk
The Centre for Fine Print Research
London Type Museum
william blake archive
Crossflows - Edinburgh
The Blue Notebook = uk
pictures on walls - L0nd0n
Prints Now - V & A L0nd0n
Posters of Conflict - Imperial War Museum
Damien Hirst Limited Edition Print Portfolio

canada
infidelitie
bimpe reminder
Miniare: 2004

asia
Japanese Prints
Chinese Printmaking Today
cultural exchange exhibition - China
Modern Chinese Prints - Sydney

Resources
non-toxic printmaking
How to Screen Print a Poster
collotype & porchoir
5th lessedra miniprint
stencil tutorials
Cheap screen printing tutorial
Printmaking for Ceramics
Multilayer Photoshop Stencil Tutorial
Screen printing
Aquarelle crayon monotype
Palm Press Tutorial
Solar Plate
Polymer photogravure
stencil notes
the Ukiyo-e technique
Masters of the Poster
A Brief History of the Poster
THE PHOTOCOPIER AS A WEAPON OF SUBVERSION
comprehensive silk screening tutorial
The Secret Life of Type
Paint, Dye, and Ink Recipes
freezer paper stencil tutorial
screen printing basics
Photo-silkscreen
build your own Etching Press
Prints as Decoration
print links & comments

usa
ensor at the getty
culture jammed
Italian Futurists -Getty Center
call - American Print Alliance
Hand-Pulled Prints International XIII
SGC Conference 2007 - Kansas City
Annual IFPDA Print Fair
Hamilton Press Interview
Printmaking in Maine
8th International Digital Print Exhibition
Kiki Smith at Crown Point Press
INK Miami 2006

Since 2000 Exhibition
Since 2000: Printmaking Now
Sarah Morris
Paul Chan
Richard Tuttle
John Armleder
Nicola Lopez
John Currin
Kelley Walker

books
PhotoStatic - xerography magazine

International
The Artists' Press - Johannesburg
Printmaking in Mexico
Exhibition - Bulgaria/Chicago
Eye on Europe - Moma

New York Graphic Workshop

The New York Graphic Workshop: 1964 – 1970
September 28, 2008 - January 18, 2009

Blanton Museum of Art
The University of Texas at Austin

http://www.blantonmuseum.org
http://blantonmuseum.org/works_of_art/exhibitions/nygw/index.cfm

Interactive Feature
http://www.utexas.edu/cofa/bma/interact/NYGW/

The Blanton Museum of Art at The University of Texas at Austin is pleased to present The New York Graphic Workshop: 1964 – 1970, the first comprehensive presentation of a crucial, yet little-known episode in the history of American and Latin American Conceptual art. The Blanton is recognized as a leader in the scholarship and presentation of Latin American art, and building on the museum's 2007 exhibition, The Geometry of Hope, this exhibition further explores the contributions of Latin American artists to the modern and contemporary art historical narrative.

The exhibition examines the Conceptualist movement of the 1960s and '70s through the printmaking practices of the New York Graphic Workshop (NYGW). Founded in 1965 by three young Latin American artists in New York—Luis Camnitzer, José Guillermo Castillo, and Liliana Porter—the group's mission was to redefine the practice of printmaking, focusing on its mechanical and repetitive nature as opposed to its traditional techniques and aesthetics. Moreover, the group employed radical printmaking practices—printing, for example, on the side of a ream of paper- exploring the idea of what actually constitutes a print. The NYGW examined the ideas and conceptual meaning behind printmaking, and sought to utilize the medium in both alternative and accessible ways. As stated in the artists' first manifesto, "The printing industry prints on bottles, boxes, electronic circuits, etc. Printmakers, however, continue to make prints with the same elements used by [Albrecht] Dürer. The act of printing in editions, the act of publishing, is more important than the work carried out on a printing plate."

In the 1960s, The New York Graphic Workshop established a cooperative space that promoted an exchange of ideas between artists and served as a collective center for professional printmakers to teach, exhibit and experiment. One of the most interesting aspects of the NYGW was its unusual printmaking practices, and means of presenting new artworks—holding exhibitions by mail, distributing a cookie as a multiple, exhibiting in a safe deposit box on 57th Street and announcing a non-existent exhibition as part of Information, a show at the Museum of Modern Art in 1970.

Showcasing over 70 prints, drawings and mixed media works, The New York Graphic Workshop: 1964 -1970, examines the philosophies of the group's founders and explore the theoretical possibilities of printmaking through examples by Camnitzer, Castillo and Porter, along with leading contemporary artists of the period—Max Neuhaus, José Luis Cuevas and Salvador Dalí—whose works were produced by the Workshop on the artists' behalf. On view in the Blanton's Butler Gallery on the first floor, the exhibition design and installation reflects the mission of the NYGW.

Art Market Reviewed

Four Corners explores these two ends of the art industry – the big money auction rooms and the production chain of Aboriginal art – and finds both open to abuse.

Art for Art's Sake? Reporter: Quentin McDermott Broadcast: 28/07/2008

What is the public supposed to make of it when an auction room owner buys a painting, sells it, buys it again and then re-sells it - all through his own auction room? Or when an artist's value suddenly hits the stratosphere for no apparent reason? Or when an auctioneer plucks out false bids – a practice now regulated in the real estate trade? Most members of the public – derided by some in the trade as "wood ducks" for their naïveté – are supposed to neither know nor care.

full story & links

http://www.abc.net.au/4corners/content/2008/s2314182.htm

View Video - What's a painting worth? Quentin McDermott tells how Australia's booming art market is open to manipulation – and artists and buyers to exploitation.
[Win Broadband] [Win Dialup]

Program Transcript
Read the program transcript from Quentin McDermott's program.

Transcripts and Resources
Read extended interviews, reports, news and papers related to Quentin McDermott's report.

RealTime Arts

RealTime is Australia's critical guide to international contemporary arts. Our focus is on innovation in performance (live art, experimental theatre, dance, music, sound), photomedia, film, video, interactive media and hybrid arts.

The RealTime website offers a comprehensive view of Australian contemporary art with an international perspective, combining the current print edition of RealTime, online exclusives and updates; the RealTime archive (currently under development); new works on show in our studio; featured events (forums, festivals) and arts issues; and a portal that will guide you to the best sites in innovative contemporary art.

http://www.realtimearts.net/

Art Auctions Australia

Australian Auction Houses

Australian Art Sales Digest, List of Auction Houses
http://www.aasd.com.au/using01.cfm

Sydney and Melbourne

Sotherbys, Sydney and Melbourne
http://www.sothebys.com/

Vickers & Hoad
Kensington and Mascott, Sydney
http://www.vickhoad.com/v2/page.asp?pg=Contact

Shapiro, Sydney
http://www.shapiroauctioneers.com.au/

Mossgreen, Melbourne
http://www.mossgreen.com.au/index.asp

Leonard Joel, Melbourne
http://leonardjoel.com.au/

Menzies, Sydney and Melbourne
http://www.deutschermenzies.com/index.html

===========
The Australian Art Sales Digest is a database of past auction results of over 300,000 works by more than 11,400 artists who have either lived or worked in Australia or New Zealand, offered for sale in Australia and New Zealand over the last thirty-five years. Our data covers over 1,500 auction sales from over 50 auction houses, and extends back to the early 1970s.

http://www.aasd.com.au/index.cfm

Subject Index - December 2008 part 1

The Aviary
Editorial
Happy New Year 2009
Urban Art/Graffiti Subject Index 2005
Urban Art/Graffiti Subject Index 2006
Urban Art/Graffiti Subject Index 2007
Urban Art/Graffiti Subject Index 2008
Printmaking Subject index 2005
Printmaking Subject Index 2006
Printmaking Subject Index 2007
Printmaking Subject Index 2008

Graffiti
Above
Studiocromie
Urban Uprising - Sydney
ZEDZ - Prague
Gordon Bennett & Basquiat

Art Scandal
Man tries to pay bill with spider drawing.

Theory
Art Market Reviewed

Christmas
Happy Holidays
Jesus was English

Printmaking
Art for Humanity - Africa
Beyond A Memorable Fancy - NY
Printmaking Philadelphia
Tony Ameneiro - Mittagong
New York Graphic Workshop
Multiplicity - AGSA

Books
Book Art of the Russian Avant-Garde, 1910–1917

Australia
ANAT - Australian Network for Art and Technology
Australian Culture and Recreation Portal
Collaborative Projects Showcase
Australian Edge
Curatorial Practices Conference
'Save the Net' II
'Save the Net'
RealTime Arts
Art Auctions Australia

Feminism
Women's Studio Workshop

New Media
*transmediale.09 DEEP NORTH*

Art for Humanity - Africa

Art for Humanity...'the art of human rights'

is a non-profit organisation based in Durban, South Africa which specialises in producing fine art print portfolios, exhibitions, billboards and research projects that advocate various human rights issues in South Africa and internationally. The Art for Humanity website serves as an online resource for those interested in human rights, art and social development. Click on link to view the AFH Blog.

http://www.afh.org.za/

Women for Children

AFH and partners have invited 25 women artists and 25 poets primarily from South Africa and the developing world, but also from the international community, to create art and poetry with the intention to inspire moral ownership of the rights of the child. We aim for each poem to be translated into any other South African language, to promote multilingualism and diversity.

About

Images

See website for more info and reviews

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

This concept of combining poetry with prints reminds me of the collaboration between Print Australia and Poetryetc in 2002 entitled Dreams

Dreams Exchange
Dreams Poems

Jesus was English

From the 1972 Till Death us do Part Christmas special.




http://tw.youtube.com/watch?v=LWKy4RHf5tQ

more Alf Garnett
http://tw.youtube.com/results?search_query=alf+garnett&search=Search

Book Art of the Russian Avant-Garde, 1910–1917

Tango with Cows: Book Art of the Russian Avant-Garde, 1910–1917

http://www.getty.edu/art/exhibitions/tango_with_cows/

Tango with Cows takes its title from a book and poem by the Russian avant-garde poet Vasily Kamensky. The absurd image of farm animals dancing the tango evokes the clash in Russia between a primarily rural culture and a growing urban life. During the years spanning the revolutions of 1905 and 1917, Russia was in spiritual, social, and cultural crisis. The moral devastation of the failed 1905 revolution, the famines of 1911, the rapid influx of new technologies, and the outbreak of World War I led to disillusionment with modernity and a presentiment of apocalypse.

This exhibition explores the way Russian avant-garde poets and artists responded to this crisis through their book art. Often working collaboratively, poets and artists designed pages in which rubber-stamped zaum' or "transrational" poetry shared space with archaic and modern scripts, as well as with primitive and abstract imagery. The Russian avant-garde utilized such verbal and visual disruptions to convey humor, parody and an ambivalence about Russia's past, present, and future.

Page through books (opens new window)
Read translations and hear poems spoken aloud in Russian.

View selected digitized books
(PDF downloads)

Download exhibition brochure (PDF, 305KB)
Curator's essay

Timeline

Beyond A Memorable Fancy - NY

Print, Perception and the Artist’s Intervention
October 30 - December 13
Curated by Michelle Levy

EFA Project Space presents Beyond A Memorable Fancy, an exhibition about print, perception, and artistic intervention.Focusing on the transformative aspects of printmaking, Beyond a Memorable Fancy explores the current trend of artists experimenting with print techniques in order to appropriate and manipulate information—be it from text or image sources, cultural symbols, or nature. The art in the exhibition spans a range of unconventional formats, including experimental film, laser stencil graffiti, vinyl signage, cast shadows, and boat-making paraphernalia. Even the more common print techniques present are used to achieve an unexpected result.

EFA Project Space, 323 W 39th Street, 2nd Fl, 212-563-5855, projectspace@efa1.org

http://efa1.org/2008/10/11/beyond-a-memorable-fancy/



http://www.flickr.com/photos/30850902@N08/sets/72157609063578286/

ANAT - Australian Network for Art and Technology

Australian Network for Art and Technology

• generating new creativities
• bridging art, science & technology
• enriching culture & industry

ANAT is Australia's leading cultural organisation working at the intersection of art, science & technology; networked & emergent art practices; experimental music & sound arts; and mobile & portable platforms.

Operating nationally and globally for two decades, ANAT has been delivering initiatives which enable connection, collaboration, research and development, fostering enterprise, sustainability, dialogue and exchange across art, culture, science and technology.

By creating opportunities for enrichment & inspiration, ANAT supports emerging and established artists in the fields of media and hybrid arts, networked and distributed practices, sound and performance to develop new concepts and work. The majority of Australia’s prominent media artists, curators and producers have benefited from ANAT’s innovative programs.

http://www.anat.org.au/

Australian Culture and Recreation Portal

http://www.culture.gov.au/

Women's Studio Workshop

Women's Studio Workshop was founded in 1974 by four women artists, Ann Kalmbach, Tatana Kellner, Anita Wetzel, and Barbara Leoff Burge. They were committed to developing an alternative space for artists to create new work and share skills. Programs were centered on the artistic process and often informed by feminist values. In the early years, the studios were located in a two-story single-family house. Etching was in the living room, papermaking was in the attic, and screen printing was in the basement. Public programming included a regular workshop series, as well as special programs that featured the work of women artists. Women's Work in Film and Video, a long-standing series of topical films made by women film makers, and Outskirts, a series of 2-dimensional art exhibits, were initiated in 1976. These seasonal series were housed alternately at bars, dance studios or libraries—any place where we could access a new audience. The intention was to exhibit the work of women artists as well as provide professional experiences for the artists themselves

http://www.wsworkshop.org/_about/history.htm

blog
http://blog.wsworkshop.org/

sitemap
http://www.wsworkshop.org/sitemap.htm



http://www.youtube.com/watch?v=sOtaghs9Mtk&eurl=http://blog.wsworkshop.org/&feature=player_embedded

Printmaking Philadelphia

Philagrafika was originally known as the Philadelphia Print Collaborative. Founded in 2000, the Print Collaborative came together in recognition of a growing convergence in Philadelphia of artists, educators, curators, non-profit arts organizations, galleries, print workshops and museums that needed a central organizing body for cooperative initiatives.

http://www.philagrafika.org/mission-and-staff.html

blog
http://philagrafika.blogspot.com/

Collaborative Projects Showcase

The Collections Council launched the Collaborative Projects Showcase on 18 November 2008.

The Showcase promotes projects run collaboratively by collecting organisations in Australia such as archives, galleries, historical societies, Indigenous keeping places, libraries and museums.

The aim of the Showcase is to inform and inspire people who are considering their own collaborative project. It also provides an opportunity for organisations within the collections sector to share their experiences. It will evolve over time, expanding to represent the wide variety of collaborations that are developing across the collections sector.

http://www.collectionscouncil.com.au/Default.aspx?tabid=633

Australian Edge

The idea is simple: to promote Australian creativity in all forms. Australia has no shortage of talent, and we aim to help show off the awesome and diverse stuff Aussies are up to.

http://www.australianedge.net/

Curatorial Practices Conference

Conference
16 -18 April 2009
Artspace

Spaces of Art
An international conference on institutional / post-institutional curatorial and related practices in contemporary art
Convenors: Reuben Keehan and Blair French

In April 2009 Artspace will bring together key figures in current debates on institutional / post-institutional practices in contemporary art from Asia, Europe, North America, Australia and New Zealand in a two and half day conference at Artspace and the Art Gallery of New South Wales.

Within recent curatorial debates, the term ‘new institutionalism’ has described a tendency toward the incorporation of the principles of institutional critique into institutional practice. Particularly visible in Europe, the new institutionalism has its origins of the shift of key independent curators into directorial roles in the late 1990s, but also in the perceived need for galleries and museums to provide a more sympathetic platform for the increasingly participatory, process-based and self-reflexive practices of contemporary art. With its emphasis on transience, open-endedness and social experiment, and its placement of discursive activities such as education and publishing on equal footing with the more conventional exhibition function of galleries, the new institutionalism draws as much from the working methods of artist-run initiatives as it does from social and cultural theory.

The past few years have seen this tendency widely discussed and just as widely critiqued, resulting in emergent discourses that might be characterised as ‘post-institutional’. Rather than simply rehearsing these accounts of the new institutionalism, however, Spaces of Art will instead seek to use it as the platform from which a series of questions about current institutional practices may be asked at three overlapping levels—globally, regionally and locally—with a specific focus on their potential to inform artistic and curatorial strategies in Australia and the Asia-Pacific.

Participants include: EMMA BUGDEN (Director, Artspace, Auckland); CLAIRE DOHERTY (Curator and Senior Research Fellow, Situations Program, University of West England, Bristol); ANTHONY GARDNERHEEJIN KIM (Curator, International Projects, Insa Art Space, Seoul); LEE WENG CHOY (Co-artistic Director, Substation, Singapore); MARIA LIND (Director, Graduate Program, Center for Curatorial Studies and Art in Contemporary Culture, Bard College, New York); SIMON MAIDMENT (Director, Satellite, Melbourne); HANNAH MATHEWS (Independent Curator, Melbourne); NINA MÖNTMANN (Hamburg-based independent curator; Professor and Head of Department of Art Theory and the History of Ideas at the Royal University College of Fine Arts [KKH] in Stockholm); AARON SEETO (Artist, Director Gallery 4A, Sydney); and SIMON SHEIKH (Berlin-based critic, curator; Assistant Professor of Art Theory and a Coordinator of the Critical Studies Program, Malmö Art Academy in Sweden). More to be confirmed.

Full conference details and registration forms available from Artspace and online at www.artspace.org.au from late February 2009.

Printmaking Subject Index 2007

Print Australia
Profile J Severn
SOLSTICE Postcard Exchange Archive
DEDALO update
educational use
Dedalo Exhibition Italy
New Year Card Exchange
International Printmaker's exhibition
BELLEBYRD printmaking subject index 2005

Australia
Community Printmaking Project (1985)
australian art prints
Impressions on Paper - Canberra
Australian Etchings & Engravings - AGNSW
The story of Australian printmaking 1801-2005
Australian printmaking 1801-2005
australia - prints
SIXTH AUSTRALIAN PRINT SYMPOSIUM
Sydney Prints: 45 years of the Sydney Printmakers
Compact Prints
Northern Editions Gallery
The Museum of Printing
Printmaking and the Artists Book
Birth of the Modern Poster


Europe
Moving Targets
27th Biennial of Graphic Arts
Newes from Scotland
The London Original Print Fair
Contemporary Bulgarian Printmaking
Wheel printing
6th international Biennial of Engraving
The Impact 5 International Printmaking Conference
Swedish national Print Triennial

USA
printmakers info
50 Years at Universal Limited Art Editions

Resources
screenprinting
print biennials
BELLEBYRD printmaking subject index 2005
Nik Semenoff's palm press
Contemporary Photogravure
printmaking videos on technorati
Cuts & Caps

Asia
ukiyo-e

Artists
Nik Semenoff
Raymond Arnold
Erik Desmazières
Louise Weaver
Amanda Watson Will
Julianna Joos
Swoon Interview
Mikhael Kihlman
Richard Anuszkiewicz
Mark Rowden
Damon Kowarsky


Humour
linoleum

Tony Ameneiro - Mittagong

"The Gib"

December 19 2008 - February 15 2009

Sturt Gallery

Range Rd Mittagong Ph 02 4860 2083
Open seven days l0 - 5 www.sturt.nsw.edu.au

The show is based on the iconic "Mount Gibraltar" which separates and defines the two towns of Mittagong and Bowral in the Southern Highlands of New South Wales.

My work for “The Gib” exhibition continues my interest in ‘markers’ or features that define the landscape and the possibilities of alternative surfaces for drawing which connect with the subject at hand. The white ink drawings on varnished local “Gib Trachyte” stone follow through with this idea. The large scale etching “ Gib N.W. Face” in common with my previous ‘Location’ works, borrows the contour lines from topographic maps of the landscape. In this work the closely gathered contour lines from the map of the Gib are gouged into the etching plate, printing as drypoint marks in the deep shadow areas of the image. In essence the map is drawn back into the landscape.

http://www.tonyameneiro.com/webpages/exhibitions.html

========

Tony Ameneiro is an artist and educator who uses both drawing and printmaking to develop and extend his ideas and images. His work reveals a sense of condensed observation with references to art history and is executed with great attention to detail. In series such as LOCATION and PARK EDGE, there is often a focus on symbols of place and the layering of culture and geography. Some of the more recent prints combine colour multi-plate printing and chine collé techniques, overlapping ideas and images with the use of Japanese papers and tissues.

Twice chosen by the Print Council of Australia as their commissioned print artist, and winner of the 2007 Fremantle Print Award, his prints are held in several State and Regional Gallery collections including the Art Gallery of New South Wales, the Queensland Art Gallery, the Art Gallery of South Australia and the State Library of Victoria.

Printmaking Subject Index 2008

Print Australia
Print Australia Index
Sacred Tree Print Exchange 2000
Dedalo - May 2007
Projects - Print Exchanges
Lyrebyrd 1999 - 2008
Lyrebyrd
Print Australia 1999 - 2003
Print Australia
Print Australia
Lyrebyrd Miniprint #2 SSNW03
Lyrebyrd Miniprint #3 SSNW04
Lyrebyrd Miniprint Exchange #4 - Miniprint 2006
Lyrebyrd Miniprint #5
Adelaide Fringe 2004
Nature Print Exchange 2004
Non-Toxic Exchange 2005
The Aviary on Inkteraction

Resources
The World's Most Important Print Rooms
Old Master Print Links
Build an Etching Press
Demo of Block Printing
(Un)Safe Practices

Australia
Modern Australian Women
Travel Posters 1930's - 1950's
This is Not a Print Show - Wagga Wagga
Printed 2005
Six Ply - Megalo Canberra

Europe
Rietveld Academy Posters 2004
Two in One Miniprint
Politically Committed Poster Art
London Original Print Fair
PrintFest 2008 Annual Print Fair UK
Non Toxic printmaking Gent
Paris 1968 Posters
May 1968 Protest Posters
Prints Santa Croce, Florence
Venetian Cityscape Prints
Print Basel 2008
Printmaking Norway

USA
Junin-Toiro - Ten People, Ten Colors
New Year Card Exchange 2000 - 2007
American Prints - British Museum
Southern Graphics Council Conference 2008
New Prints NY
IFPDA Print Exhibits
2008 IFPDA Print Fair
IFPDA Print Fair

Asia
Chinese Printmaking - London
History of Chinese Seals
History of Chinese Printmaking
Woodblock Taiwan
Printmaking Singapore
Singapore Tyler Print Institute

Artists
Wendy Murray - Minigraf
Fierce Pussy - Posters
Henrik Boegh
Mark Andrew Webber
Friedhard Kiekeben - Non-toxic printmaking
Martin King
Willem Witsen (1860-1923)
Horst Janssen
Patricia Mado
Otto Dix
Rona Green

'Save the Net' II

The Australian Federal Government is pushing forward with a plan to force Internet Service Providers [ISPs] to censor the Internet for all Australians. This plan will waste tens of millions of taxpayer dollars and slow down Internet access.

Despite being almost universally condemned by the public, ISPs, State Governments, Media and censorship experts, Communications Minister Stephen Conroy is determined to force this filter into your home.

ANAT urges all Australians to join in the protest against the plan.

NATION-WIDE PROTESTS: Sat Dec 13

ADELAIDE 12 Noon @ Parliament House
http://www.facebook.com/event.php?eid=39343300875

Brisbane 11am @ Brisbane Square
http://www.facebook.com/event.php?eid=42526399601

Melbourne 12 Noon @ State Library
http://www.facebook.com/event.php?eid=46838735931

Sydney 11am @ Town Hall http://www.nocensorship.info/forum

Hobart 11am @ Parliament Lawns
http://www.facebook.com/event.php?eid=39329861995

Perth 12 Noon @ Stirling Gardens
http://www.facebook.com/event.php?eid=42526399601

ANAT supports the safety of children online, but calls for the
Australian Government to listen to the concerns of the Australian
people. There are technical issues. There are free-speech concerns.

For more information visit Australians Against Internet Censorship
(AAIC) http://www.facebook.com/group.php?gid=35119201737&ref=mf

'Save the Net'

ANAT is partnering with GetUp to prevent the Australian Government's proposed internet censoring scheme.

GetUp's 'Save the Net' campaign is gaining momentum faster than allexpectations, as the Government's ill-considered plans to slow down and censor the internet is facing backlash from communities and organisations - it has even been slammed by children's welfare groups, who say the filter is "fundamentally flawed" and simply will not work.

ANAT's Executive Director Dr Melinda Rackham comments "Australia's creative content and intellectual property is at risk if the Government implements this flawed and undeveloped scheme. ANAT urges all Australians to take a stand by signing this petition".

Only a massive public outcry will make the Government see sense on this issue. That's why we're taking a moment to ask you help build an unprecedented community movement to save the internet from being slowed and censored.

Please show your support and add your signature to the petition:

www.getup.org.au/campaign/SaveTheNet&id=463

More than 55,000 fellow Australians have already signed!

Without an immense reaction from the community, the Government will claim they have the green light to begin limiting our freedoms - and who knows where that slippery slope will end? Already euthanasia, gambling, anorexia and legal adult content are being discussed.

Be part of the solution by letting your friends know about this campaign, and ask them to join you, children's welfare groups, internet providers, consumers, engineers, network administrators, and 55,000 everyday Australians in defense of our freedom and in defence of our internet:

www.getup.org.au/campaign/SaveTheNet&id=463

Help build a movement today in defence of our rights, to prevent Australia joining Iran, China, Saudi Arabia and Burma in an undemocratic club of governments who view the internet as a threat.

Thanks for being part of the solution, ANAT and the team at GetUp

___________________________________________________________________

ANAT is assisted by the Australian Government through the Australia
Council http://www.ozco.gov.au its arts funding and advisory body, by
the South Australian Government through Arts SA
http://www.arts.sa.gov.au and the Visual Arts and Craft Strategy, an
initiative of the Australian, State and Territory Governments.