Orange Regional Gallery
149 Byng Street, Orange
Saturday 15 September to 14 October
To be opened by Michael Kempson on 15 September 2018 at 6pm
Michael will lead a discussion on the exhibition at 5.30pm
Printmakers in this exhibition all have a connection with Orange and the Central West, and also had a connection with John Winch and Richard Swinbourne.
Connections honours the achievements and talents of John Winch (d. 2007) and Richard Swinbourne (d. 2014). John Winch created masterful prints, promoted art and helped many young artists in the region. His family has allowed artists to use his studio in Stuart Town. Richard Swinbourne built the Swinburne etching press which became important to printmakers far and wide.
Includes works by John Winch, Madeleine Winch, Jess Winch, Richard Swinbourne, Margaret Swinbourne, Michael Kempson, Tim Winters, Lynn Winters, Charlotte Blesing, Sita Cooray, John Caldwell, Marianne Courtenay, Michael Winters and Bernhardine Mueller.
Susan Baran writes about Geraldine’s contribution to Sydney Printmakers:
Geraldine became a very good friend that I first met at Warringah Printmakers Studio many years ago where she was an active member and also through Primrose Paper Arts that she helped establish with Ruth Faerber setting up a facility where hand made paper could be created.
Geraldine served as President of Sydney Printmakers for many years and was always busy helping organise exhibitions for the group. When I first joined Sydney Printmakers in 2005 I remember Geraldine and Helen Mueller working very hard planning the ‘Collaboration’ exhibition which travelled throughout NSW and onto Queensland. Then again Geraldine and Gary Shinfield organised an extensive touring exhibition in 2011 and 2012 to help celebrate Sydney Printmakers 50th anniversary.
Geraldine was always a pleasure to work with tirelessly devoting her time to Sydney Printmakers and other organisations she was associated with. She will be missed by us all.
Michael Kempson writes about Geraldine’s contribution to teaching and our cultural life:
Geraldine Berkemeier enjoyed a life that made a significant contribution to the cultural life of Sydney. Not only was Geraldine a highly regarded artist who addressed the rigorous conceptual concerns inherent in contemporary art practice, she also possessed an innate ability, that was regularly deployed in her individual and collaborative projects, to be creative in the moment. To give free reign to her intuitive intelligence when engaged in the process of making, an approach that embraced a playful interaction with material and mark. In addition to this Geraldine was a patient and resourceful administrator throughout her period of service as President of Sydney Printmakers. She was generous and smart, providing this broad community of print artists, with new paths to follow that confronted and enthralled. But when one is blessed with such consummate personal and professional skills, it should be no surprise that you are in demand as an educator.
Geraldine taught for many years at the College of Fine Arts that was to become UNSW Art & Design in Paddington. Her courses were designed to encourage participants to take risks in their introduction to both paper and print. She was thorough, engaged and informed, capable of great insight when nurturing an individual’s developing artistic voice. I always got the impression that Geraldine realised how fortunate it is to be an artist, charged with the responsibility to make a positive contribution to the world. With her passing I have realised what a precious thing this is and how important it is not to forget. Her memory will live on in the work that she created and by the people who loved and respected her.
Gary Shinfield writes about art-making with Geraldine:
In the studio working together there were times when her intelligence and creativity were dazzling, shaping images into new and unexpected directions. Her image making was always driven by an underlying concern for the environment and the beauty of the Australian landscape. As an artist she had a great gift for translating the subtle textures and colours of the bush into images of authenticity and beauty. It was a privilege to know her as a friend, to work together in the studio and to share time exploring the country on our adventures.
Geraldine and I decided to work together for the Sydney Printmakers Exhibition ‘Collaborations’ at Gosford Regional Art Gallery. We had both seen a documentary on the sinking of the Batavia and related events, a little known part of Australia’s history. Geraldine favoured research before making, and I can hear her saying, “let’s go”. The next image I remember is a fearless Geraldine sitting next to a very young pilot in a three seater light aircraft flying west over the Indian ocean into the unknown. As we banked and flew around the actual site of the sinking of the ship she was enthusiastically documenting with camera. We landed on an uninhabited island. Our pilot changed into snorkelling gear and within minutes we were snorkelling over purple sea plants and ochre coloured rocks. I lagged behind trying to keep a grip on the situation as I followed Geraldine’s flippers.
Basil Hall took us into an Art Centre that had been neglected. The studios had been taken over by alcohol loving locals, sleeping on stinking mattresses. My reaction was to take the first plane out, but a very cool Geraldine urged me to hang on. The next day the same boys who we found sleeping with hangovers were our guides up the mountain to the most wonderful rock art sites. They told us stories and were glad to share their knowledge. They were our protectors.
We decided to show our collaborations in places that had inspired them. In Darwin less than a dozen people had visited the gallery over a ten-day period. On the last day, a Sunday about 11 am, a woman cycled in and looked at the show. This was Allison Grey, a curator from the Art Gallery and Museum of the NT, and three works were purchased for the collection including the work ‘Abrolhos’.
Sink or swim
Geraldine came up with the title of our exhibition. The highlight of working together was the exhibition at Manly Art Gallery in 2005. We took the show to Fremantle, Darwin and the Gold Coast, supported by an Australia Council New Work’s grant (application written by Geraldine). We went on to collaborate on the exhibition Crossing Boundaries at Maitland Regional Art Gallery. This body of work was based on journeys mapping the Hunter River in NSW. Geraldine’s research led us to a property high up on the Range where we searched in swamps and bogs for the source of the Hunter.
This biennale, the largest show in Canada dedicated to printmaking, is currently organizing its 11th edition that will be presented in Trois-Rivières from June 16 to September 8, 2019.
The call for entries has been extended until September 16.
ENTRIES CLOSE AUGUST 6TH!
As part of the 2018 Australian Print Triennial there will be a major exhibition of finalists for the APT Print Award. The Print Award has been designed especially for printmakers in that all aspects of the prize are designed to enhance and support the winner’s printmaking experience. The finalists will be selected by two judges from all of the entries received. All entrants will be notified as to their selection or non-selection.
The Burnie Print Prize brings the best of contemporary print art to Burnie by print artists from the Oceania region.
Exhibition: Friday, 22 March 2019 to Sunday, 5 May 2019
NOW CALLING FOR ENTRIES
ENTRIES CLOSE ON 5 OCTOBER, 2018
Entry form here.
Image: Winner Burnie Print Prize 2017, Patricia Wilson-Adams NSW Positions 1 to 3, 2016, Letterpress on Chinese paper, wax, slate, wood and metal, 1/4
Megalo Print Studio + Gallery are pleased to announce the first Megalo International Print Prize with an impressive $18500 in prize money.
FIRST PRIZE – $10,000
SECOND PRIZE – $5000
PEOPLE’S CHOICE – $1000
LERIDA ESTATE ACQUISITIVE PRIZE – $2500
Artists may enter up to 2 works.
Entry fees are $40 for 1 work or $60 for 2 works.
KEY DATES FOR ENTRANTS:
• Entries open: 18 June 2018, 5pm AEST
• Entries close: 23 September 2018, 5pm AEST
• Finalists announced: 26 October 2018
• Prize winners announced: March 2019
• Exhibition Dates: 16 February – 6 April 2019
Conditions and entry form here.
Ros Kean appears to be the only Australian artist represented in the Triennial.
The Executive Board and Collaborators of the International Print Triennial Society in Kraków invite you to the opening of the exhibition: Immersed In Images the Main Exhibition of the International Print Triennial 2018 Kraków
Within the field of visual arts immersion is mostly related to intense development of new ways of experiencing the images generated by digital tools, especially in a form of augmented (AR) and virtual reality (VR). At present this phenomenon is not only related to images programmed according to the algorithms in the computer environment, but it became an important feature of contemporary culture and a key factor of the way human being experiences different aspects of reality.
Supremacy of images, that have been present in different forms in the space that surrounds human beings, resulted in the mid-1990s with appearance of concepts of pictorial and iconic turn. Both of them were described as opposed to the Gutenberg Galaxy – based on the dominance of written word – and at the same time they came into polemics with the linguistic turn introduced by Richard Rorty in 1967.
Three pivotal statements were a direct inspiration for the concept of the Main Exhibition of the International Print Triennial in Krakow in 2018, held under the title Immersed in Images:
[…] what is granted to the Logos, must also be granted to the image, albeit it in its own way.
[Gottfried Boehm, 1994]
[…] the goal is to extend the Logos beyond the boundaries of the word with a new iconic potential.
[Gottfried Boehm, 2007]
[…] the post-linguistic and post-semiotic age is completely dominated by images.
[W.J.T. Mitchell, 1994]
At present we experience reality in which an image is an autonomous language by means of which our process of world perception occurs, marking an important influence on the way we think. Today, image is a primary form of perceiving the world as well as expressing one’s convictions. It has become the most important element of building unity in the time of mourning after a tragedy, as well as a way to protest against reality. Image is used to provide information (vertiginous development of diverse forms of infographics), to express emotions (emoticons) and comment on reality (memes). We are living immersed in millions of images that are coming to us from tv screens, computer monitors, smartphone displays, large outdoor screens, as well as from shopping windows, posters, banners, leaflets, sticker art and graffiti that fill the public space. Drifting in visual stream, we are losing our ability to distinguish between reality and its representation. We are unable to verify truthfulness of data that reach us through the instruments of visual communication. An image that has its counterpart in reality becomes identical with the image that is in hundred percent generated. Does it mean that we know better the world we are living in, or is it only our belief in the supremacy of our knowledge of the world in relation to previous generations that is increasing? Does cognition mediated by images enable us to build a coherent vision of reality? Perhaps it is a challenge beyond the possibilities of any perception. Nevertheless, it is the immersion in images that becomes one of the most important human experiences; images with which we are constantly in contact transform us in multiple ways.
The Main Exhibition of the International Print Triennial 2018 is an effort to create a mirror-image of contemporary visual reality, and art works that are exhibited at it represent human-image relationships on many different levels.
Exhibition presents 242 works by 117 artists from 29 countries.
[opening: July 6, 2018, 6PM]
[exhibition open: July 7 – August 26, 2018]
[venue: Bunkier Sztuki Gallery of Contemporary Art, Szczepański Square 3a, Kraków]