studio research so far in 2019
contributing to print culture @ QCA
HDR candidate Michael Phillips’ work in the the Burnie Print Show
Professor Ross Woodrow’s exhibition
Drawing Physiognomy: The Complete Zoomorphic Archive
is up (4 April to 15 May 2019) at Gallery 25, Edith Cowan University, Mount Lawley Campus, Perth. The accompanying essay is also available online.
Ana Paula Estrada is launching her two new (artists) books at the
Institue of Modern Art on the 27th of March, 6 - 8 pm.
I Was there vol 1 & 2 were produced for her MVA and extend her research into the vocabulary of the book and how that vocabulary can be utilised for documentary practices.
Wednesday the 27th of March, 6 - 8 pm
Institute of Modern Art
420 Brunswick Street, Fortitude Valley
Abraham Ambo Garcia, Jr presents new work in his exhibition Oases at Griffith University’s POP Gallery, Fortitude Gallery Brisbane. The work explores and revisits the ideas of being Filipino responding to intergenerational migrant families that Abraham contacted through the Santa Rosa Project in Queensland. Digitial prints on acrylic banners.
Stanford University’s Green Library exhibition
New on the Shelf, rare books & contemporary artists’ books
presented recent acquisitions for their Special Collections, including Tim Mosely’s Kanage Pholu Wanda
“ Books, and artists’ books in particular, must be handled to be fully appreciated. This is especially the case with Tim Mosely’s Kanage Pholu Wanda (Australia: Silverwattle Bookfoundry, 2014), which is displayed behind glass in the exhibition in teasing defiance of its essence and purpose. To truly experience this book composed of torn and layered multicolored relief prints that reference the rainforest, Mosely instructs, the reader must be able to touch it, employing the term “haptic touch” to describe “feeling over, across, and around surfaces to become acquainted with content that the eye cannot sense.” ”
QCA students and staff; Michael Phillips (HDR candidate), Ruth Cho (honours candidate) and Chris Hagen (QCA teaching staff), have all been selected for the 2019 Burnie Print Prize. Together with over 50 other artists they represent “the highest standards of printmaking in Australia and Oceania”.
Jude Roberts has been making paper and monotypes in the QCA print studios for her ongoing project Chain of Ponds stemming from field trips to Western Queensland. Jude has added sediments from the Maranoa River to the Kozo paper as she made, letting it bleed and compress during the making process. Other papers have been developed into video work, artist book formats, and drawing/print surfaces.
Ross Woodrow stetching the limits of the QCA print studios, printing multiple intaglio plates on paper up to 8 meters long for his exhibition at Gallery 25, Edith Cowan University, Perth, from Aprill 4th 2019.
Drawing Physiognomy : The Complete Zoomorphic Archive
the catalogue of artists books, volumes 1, 2 & 3 collected for the “correlations between independant publishing and artists book practices” project has been published online. It includes critical essays by Sarah Bodman, Marian Crawford and Tim Mosely. The publication was migrated to a digital format with the support of QCA’s Live Worm.
Galleries, libraries and research collections interested in recieving hard copies of the three volumed catalogue, or showing the small collection of books are encouraged to contact dc3p to express their interest.
Recent venues showing the collection;
Griffith Library, Queensland College of Art, part of abbe 2017
IMPACT 10 - Santanda, Spain, 2018
Bower Ashton Library Cases, University of West Engalnd, Bristol, UK, 2018
Dr Blair Coffey and HDR candidates Abraham Ambo Garccia Jr & Ana Pauala Estrada are showing in POP Gallery’s January exhibition Prospects, new work from early career researchers at the
Queensland College of Art.
Blair Coffey’s, Sunflower
screenprint on vinyl
137 x 210 cm
Abraham Ambo Garcia’s, Kultural Amnesia,
artists books, hand made paper from a recyled history book
Ana Pauala Estrada’s, I cannot see you
artists book, hand made paper from recycled t shirts
and laser cut text
Professor Ross Woodrow in the QCA print studios.
A distinguised artist and proficient printmaker, he is back in the studios working on a series of substantial copper plates, part of a new body of intaglio prints recently commenced.
clockwise from the left - Rhiannon Daniels
Amir Brito Cador
& TIm Mosely,
dicuss the artsists books symposium ‘Artists’ Books in Australia, Brazil and the UK – looking to the past to read into the future’.
held Friday 26th October 2018
hosted by the Centre for Fine Print Research, Bristol, UK.
HDR student Ana Paula Estrada de Isolbi has been awarded the AAANZ 2017 best artists book prize for her book Memorandum
... dc3p is a contemporary fine art publishing project associated with the print program at Queensland College of Art. Framed within print culture and haptic aesthetics the venture supports studio research into artists books practice and autographic printmaking. The venture is an active element of print culture @ Queensland College of Art (QCA)
print culture @ QCA is a response to the critical discourse that now actively informs and shapes the medium of print within contemporary art practice.
As an academic discipline print culture embraces the production, distribution, reception and evaluation of the printed mark, both image and text. This includes contemporary artists’ employment of prints and print practices.
The 1990’s held considerable scrutiny for academic printmaking communities across the globe. Criticism, such as Australia’s Charles Green made in his 1992 essay Art as printmaking: The deterritorialised print, over the “empty shells” of traditional conventions held by printmakers who “have often resisted realignment of the discourse of printmaking in order to conform to the demands of connoisseurship and the museum” questioned the broad crediblity of the discipline as a fine art medium at that time. The response to that criticism, while measured, has developed a formidable momentum. Prints and print practices are now understood as a discipline with a unique vocabulary that artists are articulately employing to critically engage contemporay issues and discourse.
The success of contemporary print practices is made evident in research centres, events and publications such as; the Centre for Fine Print Research (CFPR), Philagrafika 2010, The IMPACT conferences, Philagrafika’s Working States Project, the journals Art in Print and the Blue Notebook and texts such as Ruth Pelzer-Montada’s Perspectives on contemporary printmaking: Critical writing since 1986. Within this response the relationship between fine art practice and print culture, (an academic discipline in its own right) is attracting increasing attention, providing more surfaces and textures over which the critical discourse can move.
Print culture @ Quensland College of Art is the most recent iteration of the printmaking programs taught at the art school. The range of autographic printmaking techniques that QCA’s printmaking studios are nationally recognised for continue to play a primary role in the print culture being fostered at QCA. These include the foundational techniques of Relief, Intaglio, Lithography and Silk Screening. The studios also support Artists Books, Papermaking and a diverse engagement with Digital technologies such as Laser Engraving.
significant investigations in studio techniques,
pulp printing - & fine papermaking techniques
artists book practices
leterpress wood type
Another vital aspect of QCA’s print culture are the higher degree research students working in the print studios. The diversity and intensity of their studio research generate a strong dynamic at QCA.