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Here’s an opportunity to exhibit a body of work or a large print in the Northern Territory. There’s not much time to enter your work, however.
From Mats Unden:
You are invited to participate in priNT2020 – a printmaking exhibition at Northern Centre for Contemporary Art in Darwin 13th – 28th March 2020.
The aim of the show is to highlight the important role printmaking techniques play in many visual artists practices. The aim is to create a nationally (and internationally) recognised annual print exhibition, while generating support towards establishing an open access print workshop in the Top End.
We are looking for big prints, suites, or bodies of work, as well as artist books and other ‘print’ works. Interdisciplinary and experimental works are encouraged to showcase the variety and diversity of the art-form, as long as the core technique is printmaking.
NCCA takes no commission on sales, but please consider donating a portion of the sale towards the aims and goals of priNT.
How to enter:
- Send an email requesting a copy of the entry form to Mats(see address below). You will need to email the completed form back to Mats before March 1st.
- Please make sure your works are at NCCA in Parap by 6th March, and a copy of the form is enclosed.
- There is no entry fee, but all freight and insurance costs are covered by you.
Works can be framed or unframed. Unframed works will be pinned or hanged using magnets. Unfortunately at this point there are no funds for freight or artist fees. If your work is for sale NCCA will direct any enquires to you, and no commission will be taken.
Postal Address:
NCCA PO Box 82 Parap NT 0840 or NCCA Vimy Lane Parap NT 0820
Please contact Mats for further information on mats.unden@hotmail.com.
Three: Sandi Rigby Exhibition at Art Gallery on Darling.
Call for Papers: 2020 Nara Mokuhanga Conference
SUMI-FUSION:
Mokuhanga & Nara
墨-フュージョン 木版画と奈良
We are pleased to announce the 4th International Mokuhanga Conference, IMC2020 NARA, which will take place from November 18 to 22, 2020, in Nara, Japan, at the Nara Kasugano International Forum IRAKA.
Still renowned today as a center of production for the finest sumi ink, Nara is an ideal site for IMC2020. This fourth convening of the conference, titled Sumi-Fusion, will celebrate the versatility of sumi in woodblock printing, both historically and in contemporary applications across Japan and abroad. Additionally, it will explore the presence of black, and how it relates to
Submissions for proposals for academic papers / illustrated talks* are now open.
We are accepting proposals for both academic papers and illustrated talks. Please familiarise yourself with the information and guidelines below before starting the submission process. The deadline for submission of proposals is January 31, 2020.
Results will be published on March 15, 2020, and applicants will be notified. Deadline for submission of the full paper is September 18, 2020.
Note: Once a submission has been accepted, presenters will be required to pay the conference fee and register in order to present their paper or illustrated talk at the conference.
Checklist for Paper / Illustrated Talk Proposals:
- Papers/Talks* should connect to one of the listed topics suggested by the umbrella theme Sumi-Fusion, and its sub-themes Histories, Aesthetics, Intersections, and Futures. For full details, see Nara2020 Theme.
- A proposal for a paper/illustrated talk in English or Japanese, limited to 3000 characters (300 words).
- Up to five images (if relevant) in support of your proposal.
- Applicant’s biography limited to 1000 characters (100 words).
- Applicant’s passport-size portrait, approximately 1MB jpeg
- The oral presentation of a paper/illustrated talk will be limited to a maximum of 20 minutes. Extensions will not be allowed.
- The full paper/talk must be approximately 2000 words and must be submitted by September 18, 2020.
- Non-compliance with the conference guidelines will result in rejection of the proposal/paper/illustrated talk.
- All paper submissions will be reviewed by a selection committee and by independent reviewers.
* An illustrated talk can be about an artist’s work as long as it addresses how their practise links to one of the suggested conference themes, or adds to the field of mokuhanga today. An academic paper should also address one of the suggested themes, and may include reference to (rather than be mainly about) an artist’s own work, discussing it within the broader framework of mokuhanga and contemporary art.
Submit Your Proposal Here
Before submitting a proposal please review the checklist above, then fill in the form carefully. Please click SUBMIT HERE to access the online form. Note:
- to fill in the form, you need to sign in with gmail
- the form cannot be edited after submitting
- applicants may only submit once
- if you do not have a gmail account or have any trouble with the submission, please contact: submissions@mokuhanga.org
Water: Call for Artists
Call for Artists
International Collaboration and ExhibitionsWater
Works on PaperWater is a collaboration between Artery Co-operative, Melbourne (Artery) and Scuola Internazionale di Grafica Venice, Italy (Scuola di Grafica).
There will be two exhibitions in 2020. The project will explore water in all its complexity through works on paper. All works submitted will be exhibited at Artery’s ‘Project Space’ in Northcote, Melbourne. A selection of works will also be exhibited at the Scuola di Grafica in Venice. A portion of the funds raised from the exhibitions will be donated to create opportunities for artists through Artery and the Scuola di Grafica.
To express your interest in participating, please complete the registration form, HERE, by no later than 20 December 2019.
Exhibition guidelines and conditions can be found HERE.
acoop.com.au scuolagrafica.it/enImage: Helen Kocis Edwards, Skater girl, bilby and the winged lion, drypoint etching on giclee print
Acquisition by Maitland Gallery
River Crossing triptych
282 x 216 cm
unique state print on 6 sheets of Chinese paper using waterless lithography and woodcut
2009
a collaboration by Geraldine Berkemier and Gary Shinfield
installation in Maitland Regional Art Gallery 2009
This work was recently acquired by Maitland Gallery. It is the key work from the exhibition River Crossing 2009, about the Hunter River, which was exhibited in Maitland Gallery.
On Paper 2020
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Splendacious at Neospace
Helen Mueller and Gary Shinfield have work in this show.
Helen Mueller @ May Space
Peter Lancaster: Fijian Dreamin’ from Pine, Copper, Lime.
Written by Miranda K. Metcalf Published 23rd October 2019
This article is significant in a number of ways. One is that it marks the one year anniversary of pine|copper|lime. An undertaking which is the very definition of a passion project born out of my love for printmaking. My love, and well, a little bit of panic. In late 2017 I was informed by then-employer that after six years as the director of contemporary printmaking at his gallery, he’d be downsizing and neither I, nor my co-director could expect to have a job the following June. How many jobs are there in contemporary printmaking in the world, and how many of those are outside of teaching? I am going to go out on a limb and say between 50 and zero.
I studied printmaking during my master’s in art history and loved every minute of it, making me, and I don’t know if this is an exaggeration to say, one of the few people working within the contemporary printmaking global community strictly as a curator, writer, and advocate without a personal printmaking practice. I’ve dabbled of course, but always, when looking over my attempts, come back to the apt phrase: stay in your lane. This is when I first had the idea for PCL. I wanted a place where our close knit, but geographically divided community could gather, share our stories and learn from one another – our successes as well as our filled in tusche washes.
Lancaster always had a strong interest in drawing. He drew nonstop growing up, and even studied the techniques and images of the old masters. So when it came time to apply for college he was certain he would get into the drawing course to which he had applied at the University of Melbourne. He was, however, not admitted. It was then that someone suggested to him that he try printmaking, if he enjoyed drawing as much as he did this would give him a chance to exercise that interest. Lancaster started to hang around the print studio at the university and did a bit of etching, but it was when he first saw someone drawing on a “bloody big rock” that he knew he’d found his calling. He was hooked – and like the rest of us – he never looked back.
Like many lithographers – and one could argue that perhaps it is a necessary if not sufficient quality to be a lithographer – Lancaster enjoyed the challenges of all things lithography. When something doesn’t go the way it should, there are innumerable possibilities. In lithography one is dealing with mercurial chemistry, the temperature and humidity of the day, or even where the sun comes in through the window. All of that could affect how the printing went. Lancaster eventually found his way to the Tamarind Book of Lithography, which he lovingly refers to as the bible during our interview, and admits that he probably highlighted the book from cover to cover before he was done with it while mastering the craft.
When he learned about the Tamarind course he knew he had to attend. He got his references, applied, packed up and moved from Melbourne to Albuquerque to attend their printer trainer program. At the time, what is now a year long course was condensed into four and a half months, “It was like military school,” he recalls. From that first year of students, then as now, only two people are selected to go on to the second. In the second year, students work in the Tamarind editioning studio alongside the master printer creating lithographs with incredible artists from around the world. Tamarind has produced editions with George Miyasaki, Jim Dine, Judy Chicago, Nick Cave and Kiki Smith to name a few. Yet, Lancaster didn’t even apply for the second year. He was too keen to get to Melbourne are start his own print shop.
Once he was back in Australia, he worked for a year as the technician at the University of Melbourne before he threw it all in to focus on his own publishing shop. “People thought I was crazy, it was a regular salary,” he says, “but I was driven to start my own print shop.”
To read further, or to listen to the podcast, please go here.
To subscribe to Pine Copper Lime go here.
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