studio research contributing to print culture @ QCA in 2020
the Arlis/ANZ Biennial Conference, onsite and online, will be streamed live to registered viewers and at a late date released to the broader public for viewing. Visit the abbe 2020 artists book fair online and watch the opening at, …
The QCA Prints Archive is a unique collection of prints, drawings, works on paper and artist books that encapsulates a history of 40 years and counting of print culture at the QCA printmaking studios.
PhD candidate Ana Paula Estrada is exhibiting new work as part of the Institute of Modern Art’s Making Art Work project. Commissioned by the IMA The Flowers in Her Room extends Ana Paula Estrada’s artists books research into the digital arena.
Pamela See’s Mackay above, Michael Phillips Between earth, four views below
In a great showing of HDR candidates from QCA at Artspace Mackay’s 2020 Libris Awards, Pamela See has been awarded the Regional Artists’ Book Award for Mackay, and Michael Phillips has been awarded the Tertiary Artists’ Book Award for
Between earth, four views.
Guy Begbie, an interdisciplinary (book) artist and itinerant hermit based in Wales, UK, has been stranded in Brisbane Australia for four months under the coronavirus response in Queensland, Australia. Adapting to the circumstances Guy developed a series on online book workshops including a “Drum Leaf Binding Workshop”. Once back in Wales he will continue these for the international book arts community. While in Brisbane Guy continued to make books including covid bubble (illustrated) and Night Lights Mutating. See more at guybegbie.com.
HDR candidates. Ana Paula Estrada’s I was there
Mathew Newkirk’s Small talk
Michael Phillips’ Between earth, four views
and Pamela See’s Mackay
have been selected as finalists in Artspace Mackay’s 2020 Libris Awards: The Australian Artists’ Book Prize. QCA’s Seth Ellis and Michelle Vine’s collaborative book Correspondence was also selected.
Pamela SEE Mackay 2020, cotton rag and thread, bagasse, and acid-free glue, Image courtesy the artist and Andrew Baker Art Dealer.
abbe 2020
an artists book fair and academic papers
will be part of the ARLIS ANZ Biennial Conference
11th - 14th November 2020,
HDR candidate Karen Stone’s papermaking work in progress
research within the coronavirus social distancing guidelines
Making prints in the QCA print studios within the
Australian Federal Governments
Social Distancing guidlines.
QCA Honours candidate Rainer Doecke, puling a relief print from the press. Unlike the conventional woodcut, carved with chisels, knives and gouges, his wood blocks are formed through fire and abrasion
DVA candidate Annique Goldenberg has installed her social practice papermaking project involving the the Birrarung/Yarra River in the Mcartney Chapel at St Paul's Cathedral, Melbourne.
The work is on show until late April
Stopping Time: Material Prints from 3000 BCE to Now is now showing at the Newcastle Art Gallery from 29 Feb. - 10 May 2020
Jude Roberts pulling a lithograph from the stone. Selected as one of 10 artists to participate in the Land Arts of the Limestone Coast Retreat her image is derived from a limestone saw and will form part of her contribution to the Country Arts S.A project in partnership with the Riddoch Art Gallery and City of Mount Gambier.
Tie Tether Tangle at IMPRESS Gallery brought together QCA printmaking majors from 2015 + to show recent new work.
abbe 2020
call for papers & artists book fair exhibitors
part of the ARLIS ANZ Biennial Conference 11th - 14th November 2020,
in partnership with The State Library of Qld,
Queensland College of Art & the Blue Notebook
nb - HDR candidates with an artists book practice are encouraged to submit a paper for the conference and take a table at the artists book fair.
PhD candidate Ana Paula Estrada de Isolbi is one of 11 international artists selected for ‘JOINT MEMORY: PHOTOGRAPHIC FRAGMENTS’ . The exhibition, curated by Daria Tuminas, is showing at FOTODOK is an international space for documentary photography based in Utrecht, Nederlands.
DVA candidate Annique Goldenberg tearing donated linen in preparation for papermaking, part of her social practice art project with the community of Melbourne’s St Paul’s Cathedral and the Yarra River.
QCA’s own print whisperer, Ross Woodrow, speaking to his curation of the exhibition, Stopping Time: Material Prints from 3000 BCE to Now. The expansive exhibition embraces the printed mark from Sumerian cylinder Seals to 3D digital prints. Shown in Gympie Regional Gallery late 2019, the exhibition will tour to the Newcastle Art Gallery, The Logan Regional Art Gallery and the Grafton Regional Gallery.
clockwise from the left - Rhiannon Daniels
Paulo Silveira
Marian Crawford
Jennifer Batt
Angie Butler
Sarah Bodman
Tom Sowden
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
abbe 2020
& artists book fair
... dc3p is a contemporary fine art publishing project framed within print culture and haptic aesthetics. The venture supports studio research into artists books practice, autographic printmaking and hand papermaking, and is an active element of print culture @ QCA (Queensland College of Art)
print culture @ QCA responds to the critical discourse that now actively informs and shapes the medium of print within contemporary art practice.
As an academic field 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 a recent iteration of the printmaking program taught at QCA. 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.
