Three: Sandi Rigby Exhibition at Art Gallery on Darling.

January 15, 2020 by Anthea Boesenberg Leave a Comment

Call for Papers: 2020 Nara Mokuhanga Conference

December 6, 2019 by Anthea Boesenberg Leave a Comment

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

December 6, 2019 by Anthea Boesenberg 3 Comments

Call for Artists
International Collaboration and Exhibitions

Water
Works on Paper

Water 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/en

Image: Helen Kocis Edwards, Skater girl, bilby and the winged lion, drypoint etching on giclee print

Acquisition by Maitland Gallery

November 30, 2019 by Anthea Boesenberg Leave a Comment

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

November 17, 2019 by Anthea Boesenberg Leave a Comment

ON PAPER contest 2020
6th ANNUAL INTERNATIONAL PRINTMAKING CONTEST

1ST PRIZE 1000€
2ND PRIZE 300€
DEADLINE April 1st 2020
FEE 26€ (16€ early bird discount:
February 1st 2020)
The SHORTLISTED artists will exhibit in
Tinta Invisible, (Barcelona, Spain) in July 2020

The contest is open to anyone. Application is online at www.onpapercontest.com

Rules available in ENGLISH, CATALAN and SPANISH

Splendacious at Neospace

November 13, 2019 by Anthea Boesenberg Leave a Comment

Helen Mueller and Gary Shinfield have work in this show.

Helen Mueller @ May Space

November 12, 2019 by Anthea Boesenberg Leave a Comment

Peter Lancaster: Fijian Dreamin’ from Pine, Copper, Lime.

November 6, 2019 by Anthea Boesenberg Leave a Comment

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.

Anne Smith: Blue Mountains City Art Gallery

November 6, 2019 by Anthea Boesenberg Leave a Comment

Connections: Art & Collaboration

26 October – 1 December

Focusing on renowned visual artists Bernard Ollis, Wendy Sharpe, Anne Smith and Ian Smith, this exhibition delves into the intriguing creative relationships essential to the production of collaborative work. The painter and the potter, the drafter and the printer, each artist bringing their individual skills to the table to produce works greater than the sum of its parts.

While the practical benefits of working together on complex artworks are obvious, the creative process of art making also lends itself to partnership. Working through the many demands of bringing an idea to realisation requires a resilient relationship in which elucidation, conciliation, stubbornness, and shared respect exists in equal measure. Often, this can result in firm, life-long friendships such as those of the four artists that are the focus of this exhibition.

A Blue Mountains City Art Gallery exhibition

Thea Weiss: My Mother, My Muse

October 25, 2019 by Anthea Boesenberg Leave a Comment