Small Publishers, Brenda May Gallery, 2 Danks Street, Waterloo, Sydney
17 February to 14 March 2015 Curated by Akky von Ogtropp
100% Books by Canberra Artists was an exhibition of artists’ books at the Watson Arts Centre in Canberra, ACT, from 11–28 April, 2013. It was opened by arts writer Peter Haynes. It was curated by Caren Florance (Ampersand Duck) and was independently produced by Maryann Mussared and Caren Florance.
The show featured twenty Canberra artists who have made books as part of their broader artistic practice. Each artist has been asked to show an ‘early’ work and a ‘recent’ work. This gap may be only a few years in the case of the emerging artists, but may also be decades, and in some cases the change in visual approach is startling.
ANTONIA AITKEN :: G W BOT :: BYRD :: KIRSTEN FARRELL :: DIANNE FOGWELL :: U K FREDERICK :: SHELLAINE GODBOLD :: INGEBORG HANSEN :: NICCI HAYNES :: JAN HOGAN :: HANNA HOYNE :: MURRAY KIRKLAND :: MARYANN MUSSARED :: TANYA MYSHKIN :: PATSY PAYNE :: BERNIE SLATER :: FRANKI SPARKE :: NICK STRANKS :: GENEVIEVE SWIFTE :: IONA WALSH
There were artist’s talks at 1:30pm on each Saturday of the show: 13 and 20 April. Each Saturday afternoon the curator hosted a white-gloves show-through of the books. On 13 April there was a zine workshop led by artist Bernie Slater with the theme of ‘So you’ve decided to vote for Tony Abbott’. The resulting zine was sold at the zine fair and is now available through the artist. On 20 April there was a small zine fair with some books artists joining in with their works.
The short blurb goes:
Canberra has a long and prolific history of artistic book production, encouraged and inspired by our rich array of cultural and creative institutions. There is a vibrant community of artists who use the book form to explore and extend their broader practice, whether it be printmaking, sculpture or any other medium. This exhibition, featuring a range of work from fine press to street press, is both snapshot and survey of a selection of current practitioners. It promises to be a very special glimpse at Canberra’s other book scene.
The longer blurb (the media release) is here to download.
An article by Caren Florance on curating the show has been published in The Blue Notebook, Volume 8, no. 1, October 2013.
Please see the exhibition album for gallery views and works from each artist.
Book Art Object is an ongoing project bringing together book artists around the world (but mostly Australia during this leg of the journey) to respond to a set text in the form of an editioned artist’s book. Each participant gets a copy of everyone’s work.
The suggestion of an extract from Jeanette Winterson’s Art and Lies novel was, I confess, mine. From the moment I’d read the book, years and years ago, I’d been enthralled by her vision of the Library of Alexandria: Continue reading
Melbourne didn’t really behave itself for Impact7; I know everyone makes jokes about the city having four seasons in one day, but to turn on its wettest Spring day in 100 years was just showing off, don’t you think? On the Wednesday, while I was sitting at my folio table showing my wares and talking to people, the sky went pitch black and the inside lights started flickering as lightning and thunder raged outside.
Luckily the conference was mostly indoors (unlike the filming session of Winners and Losers attempting to work on the grass just outside the conference) so apart from a wild wet trip over to another Monash campus for an exhibition opening, we all stayed pretty snug. Continue reading
Book Art Object is an ongoing project bringing together book artists around Australia to respond to a set text in the form of an editioned artist’s book. Each participant gets a copy of everyone’s work.
Learning Absence, 2010. Artist’s book of letterpress and monoprints on Kozo washi. Text is the poem Learning Absence, 1986 by Rosemary Dobson. Handprinted and bound in a hardcover Asian stab binding with either handmade denim rag endpapers (made by Katharine Nix) or blue commercial momigami endpapers. Edition of 15, made for the Book Art Object project. The poem is reproduced with permission from the poet and is taken from her Collected Poems (Sydney: Angus & Robertson, 1991). Continue reading