In the Frame & Boundless – Wellington

New Zealand Academy of Fine Arts
1 Queens Wharf, Wellington
16-27 May, 2012 – Hours: 10:00 – 17:00 daily
Opening celebration: Tuesday, 16 May, 17:00-19:00 pm, with remarks by Marty Vreede

Notes from our Selectors
In this selection of printmaking, members of the Central Print Council were invited to submit works in two categories: In the Frame, for more traditional framed prints, and Boundless, where the print could explore possibilities of format beyond the frame. Many printmakers chose to submit work for both arenas, which is a testament to their willingness to participate in the diversity of practice that constitutes contemporary print.

It is one of the strengths and paradoxes of printmaking that it is both rich in tradition and yet always looking for new ways to engage with imagery, materials and processes. Some printmakers are quick to see opportunities in new technologies and some are happier with time-tested techniques. The variety of prints shown in this exhibition certainly reflects both positions.

In selecting for both In the Frame and Boundless we were looking for a work to be successful within its own terms of reference. Be it a simple direct botanical study or a work which included a wringer and origami-like printed shirts, a moving image or a woodcut, such differences require a change in a viewer’s reading of them. There was not an easy formula to be applied and all the works could not be seen through the same lens. So we would encourage you to also see the work in this way: as individual pieces each with their different register.

An exhibition that is entirely printmaking is, unfortunately, a rare occurrence and therefore something to be celebrated. To the organisers who have made this show happen, and equally to the exhibitors showing their work, congratulations are in order.

Also, thank you to Central Print Council for the opportunity to be part of this survey of print.

–  Jill Webster & Anthony Davies

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In the Frame & Boundless – Hastings

Hastings Community Arts Centre
106 Russell Street, Hastings
9-30 March, 2012 – Hours: 9:30–16:00 Mon–Fri, 10:00–14:00 Sat
Floor talk by the selector, Jill Webster on Saturday, 24 March, at 14:00

This joint exhibition includes work by Central Print Council members from throughout New Zealand and from Scotland, Australia and the Netherlands.

The selectors are Jill Webster and Anthony Davies. Jill, who is the print tutor at EIT in Hawkes Bay, is committed to pushing the boundaries of traditional print. Anthony is a Whanganui-based printmaker of national and international note; he has taught and exhibited extensively worldwide.

We are grateful for the wealth of experience and expertise Jill and Anthony brought to the selection process and for the care they devoted to their duties.

Most of the works are for sale but must remain in the exhibition until it closes in May. Prices do not include the frames; the frames remain the property of Central Print Council.

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How could we resist? – Auckland

The mini print exhibition “How can we resist” is now travelling to Auckland. It will be housed in the brand new “Mount Eden Village Centre” on Ngauruhoe Street in Mount Eden. The works will be displayed in the beautifully designed entrance of the Village Centre. The prints will be the first exhibition in this space since it was completed last year.

The opening night is Tuesday 26 July, 7.30. Closing date: Monday 15 August 2011.

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Karen Kunc

Charles Cohan suggested his workshop students look at Karen Kunc‘s work. YouTube has six clips of her taking a workshop, well worth a look.
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6

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Private Press Movement

The Rubaiyat of Omar Khayyam<br />
1872 - William Morris

The Private Press Movement rose to strength in the late 19th and early 20th centuries. William Morris’s Kelmscott Press (founded in 1890) can be seen to be the flagship for the movement, and Morris himself as the champion. Essentially the movement was about the creation of books using traditional printing and binding methods, and as might be expected as part of the Arts and Crafts movement, there was a strong focus on creating books that were not only for reading or conveying information but that they were works of art in and of themselves.

The Victorians had mechanised book manufacture and this, along with the use of cheaper materials, had meant cheap books were widely available. Morris and Kelmscott Press produced high quality books using handmade paper, traditional inks, and, at times, unique and specially designed typefaces. Contrary to Morris’s socialist leanings, the books were luxury items – beautifully conceived designs with considered type, page design, format, illustration, use of colour, and bindings. Nothing was left to change and the end results were coherent designed works, significantly more than the typical consumer edition. Despite the high end production values and associated costs, Kelmscott Press produced quite significant numbers of editions — more than 18,000 copies of 53 different works between 1891 and 1898.

Professor Florence Boos, from the University of Iowa has created a gallery of Morris illuminations and books. The above photo of The Rubaiyat of Omar Khayyam from 1872 forms part of the collection.

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CPCANZ Annual General Meeting – 2011

CPCANZ Annual General Meeting — 19 March, 2011. 4.30 – 6.00pm

We are having the AGM on the same time as the Whanganui Open Studios. So come to visit Whanganui artists in their studios from 10.00am through 4.00pm and then at 4.30pm attend the AGM.

The AGM will be held in the Whanganui UCOL Print Workshop at 24 Taupo Quay, Whanganui .

For more information on the wonderful studios to visit and plan your day go to www.openstudios.co.nz

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Make your own platen press

image from http://www.instructables.com
The legendary Instructables has documented the step-by-step construction of a platen press made from wood and a 6 ton hydraulic jack (bottle jack).

The construction methods appear to be well within the reach of someone with reasonable woodworking skills and access to a table saw, a radial arm saw, a band saw, and a heavy duty drill, along with some common hand tools. The wood could be recycled timber, and hydraulic jacks are available on Trademe for under $100.

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Thank Your Lucky Stars – Shelley Bay, Wellington

Thank Your Lucky Stars exhibitionThank Your Lucky Stars

Works on paper, paint and glass by Jodie Cunningham, Marci Tackett, and Sharon Hall

opening event
Saturday 20th November 2010 11-2pm

exhibition runs
November 20 – December 8th 2010

Blackmore Jean Gallery, Shelley Bay, Miramar Peninsula, Wellington
Gallery hours 11-4 Tuesday to Saturday and 12-4 Sunday

About the artists:
Marci Tackett’s creative process revolves around the interplay between assertion, destruction and surrender. She says of her work “I feel the need to come very close to destroying the piece in order to get to know what is at the heart of it; to find its voice and reason. Once there we proceed together”. An Island Bay based artist, Marci studied fine art in the United States in the 1990’s and moved to Wellington in 2006. Her practice includes printmaking and oil painting as well as encaustic and a range of dry media. She teaches printmaking at The Learning Connexion School of Art and Creativity and runs Snapshot – a studio and periodic gallery space adjacent to The Empire in Island Bay, Wellington. www.marcitackett.com

Sharon Hall, a Kapiti Coast based glass artist has had an eventful year. A finalist in the 2010 Molly Morpeth Canaday 3D award, she also received the 2010 Emerging Artist Award in the Horowhenua Annual Review. Sharon studied Glass in Nelson and graduated with a Bachelour of fine arts from Whanganui in 1998. She has had a successful national practice for the last 10 years. Prior to moving to Wellington she worked for a number of years for the World of Wearable Arts and Hogland Art Glass. She combines working at her home glass studio with teaching at The Learning Connexion School of Art and Creativity. Her current body of work uses the lost wax cast glass method and explores ideas of luck, superstition and success. This body of work has been aptly described as Alison in Wonderland meets the BFG meets 3rd form Science. www.sharonhallglass.com

Jodie Cunningham paints from her home studio in Canberra, Australia and is currently working as a Lecturer in Visual Art and Design at Canberra Institute of Technology. She has exhibited widely in solo and group exhibitions in Australia and the USA. In 2002 she completed a Master of Fine Arts, by research at the College of Fine Arts, University of New South Wales. Prior to that Cunningham studied at Hunter College of the City University of New York, funded by the Fulbright Scholarship for the Visual and Performing Arts, 1999/2000 and a Rotary Ambassadorial Scholarship 1999/2000. She graduated from Canberra School of Art in 1996, gaining the University Medal in Visual Art. art.jodiecunningham.com

Blackmore Jean Gallery, Shelley Bay, Miramar Peninsula, Wellington
Gallery hours 11-4 Tuesday to Saturday and 12-4 Sunday
Gallery contacts: Anne-Marie Jean 027 3264693 / Jane Blackmore 021 2988743

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