print culture @ QCA 


prints, print practices and printmaking
hold a central position within contemporary art practice. Far from being minor works of art prints and the replicated image are amoung the most important and powerfull tools of contemporary life and thought. (Ivins)

artists employing prints in their creative practice are generally drawn to the medium through either an affinity for the aesthetics of prints or through conceptual need. Either way artists engagement with the medium is best infomred through studio practice.


the following essays provide a conceptual framework for a creative arts engagement with prints and print practices


an introduction to print culture

the silent effects of the medium of print

contemporary art practice and print culture

artists employing prints to critically engage contemporary issues i

artists employing prints to critically engage contemporary issues ii

installation strategies with prints


prints, authenticity and the problems of representation

the print - indexical before all else

the autographic and prints

the vocabulary of prints

contemporary artists employing the vocabulary of prints i

contemporary artists employing the vocabulary of prints ii


contemporary print discourse

the haptic and printed books

the rematerialised artifact and the printed surface

the replicated image

the post digital


the making, printing and reception of prints

proffesional studio practice


... 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 book practices and autographic printmaking.

abbe poster.jpg

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.

staff and HDR students

contact dc3p

poster for abbe 2017, Michael Phillips & Tim Mosely