16 March 2020

Jacqueline Aust, 18Mar-18Apr, Wellington

Displacement is the theme of both the subject and process 
of Jacqueline Aust's new series.
Underpinned by a visit to Japan that coincided with a typhoon.
Everywhere we went we were struck by how the Japanese people 
responded to such devastation.

Jacqueline Aust, Agitation V, 2020
Monotype and intaglio, chine colle, 50x81cm, 1/1

Millions of people are displaced from their homes every decade because of war, 
natural disasters and the effects of climate change. 
Whether or not we are immediately affected 
we are reminded every day of the impact this has on our lives.

The works exhibited in 'Displaced' continue my exploration of the relationship 
between autographic mark making and a response to place. 
Traditionally the process of printmaking involves a matrix, or plate, 
from which a number of works are printed. 
These works are essentially the same and are called an edition. 
My practice is to create series of works using the same plate/s 
so that each work is unique yet has a clear visual connection 
to each other work in the series. 

The printmaking process allows the placement 
and replacement of components that leave visual traces to tell the story. 
I make material decisions based on the subject of displacement 
so the aesthetics of the final work relates to the theme.


The exhibition is on at Solander Gallery, in Wellington,
from 18 March to 18 April.
For more information, see www.solandergallery.co.nz

14 March 2020

Kylie Rusk, 17-28 March, Auckland

In her latest exhibition, Kylie Rusk continues to delve into her passion 
for the New Zealand landscape. 
Using lithographic print and paint, Kylie explores the subtle variation of colour, light and form, resulting in stunningly atmospheric works of art.


Kylie is highly interested in what the landscape holds for the individual 
in terms of memory, connection, and a sense of being. 
Travelling the coast and countryside, Kylie documents scenes 
which she then reproduces in the studio.

Kylie graduated with a Bachelor of Fine Arts 
from Elam School of Fine Arts in Auckland in 2007. 
Kylie has exhibited widely in solo and group exhibitions, 
primarily working in lithograph prints and acrylic on canvas.

Kylie Rusk, Whangarei Heads from Ruakaka #2
Three colour lithograph with a two colour blend, 61x28cm

Rusk’s speciality is lithography. 
This historic form of printmaking involves drawing, 
painting with tusche and etching onto stone, 
before printing the image on a lithography press. 
Her rich and unique prints represent multi-layered seascapes, 
presented in a painterly and moody style. 
Rendered with warmth and sensitivity, 
each edition is limited in number ranging anywhere from 20-50 prints.

Lithography demo in the gallery on Saturday 21 March, 11am-12pm.
Kylie has a small portable lithography press
she is able to transport to the gallery for the demo.

Grey, 37 Scanlan Street, Grey Lynn.

12 March 2020

Call for Entries: InkFest 2020, Deadline 8 May

InkMasters Cairns invites NZ printmakers to enter InkFest 2020's 
International Print Award & Exhibition 
Entries Close Friday 8 May 2020 
Exhibition dates 24 July-23 August 2020



InkMasters Biennial Print Exhibition is an international juried exhibition. 
It brings together the best printmakers from our region 
with national and international artists from around the world. 
The works entered can be any print medium (or combination of media), traditional and contemporary, including 3D works and artists' books. 
100 prints will be selected from all entries.  

Judges:
Sally Foster, Australian National Gallery, Canberra  
Ashleigh Campbell, Director NorthSite, Cairns 
International Cairns-based artist Brian Robinson 
of the Maluyligal and Wuthathi peoples 
of the Torres Strait and Cape York Peninsula.

Non-Aquistive Prizes
Dr Raya Mayo Award for Printmaking Excellence $4000 
 Award for Printmaking Merit $1000 
Award for Artist’s Book, 3D work or Novel Use of Media $1000 
Award for Innovation in Printmaking $1000 
Award for Early Career Printmaker $1000 
Further awards to be announced

For more information, see www.inkmasterscairns.com.au 

10 March 2020

Exciting New Course to Build Your Art Practice

I wanted to share with you about this exciting new 'practical-academic' course 
by Deborah Crowe, which is now open for enrolments:
Bridge: A Pracademic Approach to Building Scaffolding for Your Art Practice.

With a sustained art practice and 25+years of experience of tertiary teaching, 
postgraduate supervision and professional artist mentoring, 
Deborah specialises in working with students, artists 
and creative professionals seeking a stronger grasp 
of how to research, ways to utilise findings in your practice, 
 building strong and informative ties between research and making. 
Deborah is known for facilitating learners’ development in a style 
that is energetic, informative, robust, and empathetic.
Deborah's strategic insights will certainly help sharpen your practice!


'Bridge' is a course run over 18 weeks
 that is designed to help you develop and accelerate your art practice. 
The core aim is to build a robust research 
and contextual base that underpins your work. 
This may lead towards undertaking academic study or further education. 
The course is designed to provide you with practical tools, 
frameworks and strategies towards developing research skills, 
self-directed practice, critical and independent thinking skills, 
advanced practical skills, writing skills, and building knowledge 
and confidence in the articulation about the ideas you are developing, 
and how your practice relates to contemporary visual art.  

This course is designed for intermediate practitioners 
who have a portfolio of existing work. 
There will be coursework (practice and research-based in relation to your ideas) 
utilising an informal assessment model 
to help you gain a deeper understanding of progressions, 
strengths and areas for development in your work. 
The course structure, flexible facilitation style, 
and being part of a small cohort will provide one to one and group support 
for learners trying new things, an engaging environment for discovery learning,
 fun exercises, and will foster peer support systems. 

If this is the kind of stimulus, framework and or extension 
you want for your practice, enrol now at: www.browne.school.nz/bridge

09 March 2020

Press for Sale, Whanganui

Marty Vreede has a printmaking press for sale.
It is a 600mm wide model, 
made in 2002 at Whanganui Polytechnic. 


Hardly used, bed still in prefect condition. Generations of use still in it.
It is in Whanganui, at the Pakohe Whanganui studio. 
Needs to be up lifted from here or transported by truck.

Asking $5500 for it. 
For more information, contact Marty Vreede.


27 February 2020

Boosted: Mobile Print Shop

I'd like to tell you about a special project - 
something educational, arty, crafty, and just lots of fun - 
by our friend Graham from GTO Printers (also known as 'Inkiana Judd'). 
We want to help raise the money to get his Mobile Print Shop on the road.

In this digital age, many know printing as pressing a button on a computer. 
But there is a wonderful history to printing, going back to 1450 
and Johann Gutenberg’s invention of moveable type and the printing press.

Graham wants to share his love of printing, and especially letterpress 
by taking his 1833 Albion press to libraries, schools, markets, 
and events around Auckland and other New Zealand towns.


There are already opportunities to take the press on excursions
(so far, to Auckland Central Library, Bethel's Beach, and a local church) 
but because it weighs around 500kgs, taking it anywhere means hiring a truck. 

This fundraising campaign is to raise $3800,
to construct a purpose-built trailer with a number of special features:
Adding strong bracing to support the weight of the press. 
It needs to be capable of a one man setup when required,
 so adding lifting gear and a removable floor so it can roll up to the press. 
And also the addition of a pop-up gazebo for outdoor presentations. 

The first major out of town event is planned for May, at Featherston Booktown.
The press will be printing at workshops and walk in presentations. 
Events in Masterton and Palmerston North are also booked on this same trip.


Would you like to be part of the adventure, to help see it happen? 
You can help get the mobile print shop on the road, truly 'moveable type',
please make a donation, and it may soon be in a town near you!
If the project doesn’t reach its target, you will get your money back.
If it does reach the target, donations can claim a 33% tax deduction.

For further information, or to make a donation,
see Graham's project on the Arts Foundation's website:
https://boosted.org.nz/projects/the-mobile-print-shop

22 February 2020

Exhibition: Under Pressure, til 27 April , Masterton

Under Pressure is a showcase of contemporary printmaking 
by selected Wairarapa artists is on now at Aratoi, 
Wairarapa Museum of Art and History, in Masterton
from 22 February until 27 April 2020.


Printmaking techniques include etchings, linocuts, woodcuts, 
screen prints, collagraphs, lithographs, intaglio and relief printing. 

Linda Tilyard, Nga Tuna, 2019
Linocut

Public Talk: 11am on Saturday 22 February 
with artists Nick Brandon, Jo Lysaght, Linda Tilyard.   

Mezzotint Demonstration: 12-2pm, Saturday 22 February, Aratoi Foyer,
with Dutch international mezzotint ambassador, Nan Mulder. 

Nan Mulder also has an exhibition, Tenderness
which features five Mezzotints in the foyer. 
11 February - 29 February 

Nan Mulder, Tenderness
Mezzotint, 42x61cm 

For more information, see www.aratoi.org.nz

21 February 2020

Exhibition: Basia Smolnicki, Treasure in the Wilderness, to 14 March, Wellington

Basia Smolnicki’s mother arrived in Wellington in 1944.
She was one of 730 Polish refugee children welcomed to this beautiful land.
Having survived Siberian internment camps, 
and an epic overland journey to Uzbekistan, 
she boarded a troop ship bringing weary soldiers home to New Zealand.

Across the strait, in the Marlborough Sounds, Totaranui, is a bay
where Basia’s family and friends gather in the summer holidays. 
The area was a favourite place for Captain Cook 
to replenish his ships and recover from his long voyages. 
Cook named the bay, Shag Cove, but later explorers gave it the present name,
Resolution Bay, to honour Cook’s second vessel.

It was originally named by Māori as ata pō meaning ‘early dawn’.
Like its Māori name implies, the morning sun rises over Arapawa Island 
and reflects off the beautiful, still, blue waters of Queen Charlotte Sound. 

Shards of argillite in the shapes of small tools can be found on the sandy beach, evidence of historical food gathering and trade.
The native bush is regenerating and the place is now alive 
with birdsong and ground-dwelling weka.

Basia's new body of work, called Treasure in the Wilderness,
combines motifs of her mother’s story of survival 
with memories from this special place, ata pō.

Basia Smolnicki, Treasure in the Wilderness, 2020
Woodcut, 100x70cm, edition of 5

Basia Smolnicki, Sea Breeze in the Afternoon, 2020
Woodcut, 50x100cm, edition of 5

I loved that the works were substantial, most were 100x70cm.
They are bold graphic woodcut motifs, 
but also have sensitive and intriguing visual storytelling.
Honestly, there were several I was keen to acquire for my own walls, 
but with small edition sizes of just 5,
when I arrived a few days after the opening most were already sold out!
Deservedly so, Basia, I am a big fan.

The exhibition is on at Solander Gallery until 14 March,
I urge you to go visit if you're in the neighbourhood,
or you can check out all the images online at solandergallery.co.nz

20 February 2020

Press for Sale, Dunedin

This printmaking press is available for purchase in Dunedin.  
It was made in 2004, it has had only one owner.  



The press bed is 121cm, and 63cm high.
Base has a tray to use as storage.
Handles are removable.

Pick up from Dunedin only.
Very heavy lift needs two strong people to move.
(You can separate rollers from base)

Comes with two layers of felt.
Also some other accessories like trays and ink.

Asking $3000.
*Sorry, this press is now SOLD*
If you know of any other presses for sale in NZ, please let us know!

30 January 2020

Exhibition: Sue Cooke, til July 2020, Palmerston North

Whanganui-based artist Sue Cooke’s new exhibition 'A Songless Land' 
eulogises lost New Zealand forests, 
and highlights the plight of those forests remaining, 
including the devastating issue of Kauri dieback.


Before the arrival of humans in Aotearoa New Zealand, 
85% of its land area was covered with indigenous forests. Now it’s a mere 15%.

“Sadly, despite many organisations and individuals working 
to preserve and reverse the trend, 
New Zealand’s forests are still being lost, albeit at a slower pace.”

The artist chose to create large-scale artworks so that visitors feel enclosed,
overpowered and dwarfed by the forest experience. 
It took the artist three years to develop drawings, 
small scale models and artwork for this exhibition. 
The concepts evolved during a year of travel and research 
into deforestation around New Zealand, 
funded by the Pollack Krasner Foundation, New York, in 2015-16.


You can see this work at Te Manawa Museum Art Gallery.
For more information, see www.suecooke.co.nz

13 December 2019

Workshop: Intro to Etching, 6-10 Jan, Auckland

'Introduction to Etching' is a 5-day hands-on technical workshop 
with clear demonstrations and information given at each stage
by the fabulous Alexis Neal, as a part of the 
Browne School of Art Summer School 2020 (Auckland). 

Alexis Neal, Rembrandts of History V

The course will cover hard ground for line work,
and soft ground techniques for adding texture,
and aquatint to add tone, and rich velvety blacks. 

If you are interested, more information here: Browne School of Art

26 November 2019

Presses & Print Equipment for Sale, Northland

Dianne has sent me a list of printmaking supplies she wants to sell ASAP.

Print studio is in Mangawhai Heads, 
approx 1.5 hours drive north of Auckland,
and large items will need to be collected.


Big Press, freestanding - offers over $10,000
Brand: T208 Japan Nochi, press bed 180x90cm
She remembers the building was built around the press,
so ranch slider may need to be removed to get it out.


Small press with a stand - $6,000 
Brand: Shin Nikon Zokei, press bed 100x40cm

Guillotine (not pictured) - blade 100cm long - $1000 


Sink - $400


Extra-Large Blue Roller - $500


Other Large Rollers x6 - $300 each

Also a pile of Caligo inks (assorted colours) tubes & tins
Press Felts, Art Books, rolls of tissue paper, Canvas & boards 
Table top easel, Lino/woodcut tools, Pastel crayons, etc

If you are interested in any of these items, 
and would like to make offers on any or all these items,
please click here to email her directly, or phone her on 0204 888 088.

19 October 2019

Press for Sale, A1-Size, Canterbury

A large printing press is for sale 
from Hurunui College in Hawarden, North Canterbury. 
The bed dimension is approx 62 x 122cm 
(which can print up to A1 paper size).


Due to its size, buyer would have to pick up. 

 It is currently taking up the corner of the art classroom, 
as the school predominantly use their smaller press with students. 
Little is known about this press' history, 
but it seems to be in good working order.

I estimate the value around $3,000-3,500.


19 May 2019

Navigating Worlds, Prue MacDougall, 24 May–30 June 2019

Prue MacDougall's new exhibition, 'Navigating Worlds'
will be at Pātaka’s Toi Galley, in Porirua, from 24 May to 30 June 2019.

Globe-trotting New Zealand printmaker Prue MacDougall is a visual story teller. 
Each work in Navigating Worlds is part of a series of narratives, 
playing around with concepts and eclectic mixes of images to express an idea or emotion.

For her third exhibition in Pātaka’s Toi Galley, MacDougall has created a series 
that explore the European heritage of most New Zealanders. 
Using her recently uncovered maternal family tree, she presents themes of journeying, 
both physically and chronologically, and the effect these experiences have on our identity.

I've already had a 'sneak peak' of the works, and they are fantastic,
so if you are in the neighbourhood, I encourage you to get along and see it.


For more information about Pataka's opening hours, www.pataka.org.nz

17 May 2019

Hibiscus Coast Printmakers, 6-26 May, Auckland

The Hibiscus Coast Printmakers currently have a group exhibition
Gallery Four (Education Wing Foyer) of Estuary Arts Centre
until 26 May 2019

The show includes 10 local printmakers: 
Bev Head, Nichola Holmes, Deborah Martin, Lianne Timlin, 
Matt Turner, Kim Ingram, Greata Anderson, Wendy Vollmer and Val Cuthbert.

It encompasses a  wide variety of techniques and styles;
 from monoprint to lino cut, cyanotype to mixed media, abstract to realism. 
It includes the work of experienced printmakers and beginners alike.

 For more information about opening hours,

16 May 2019

Press for Sale, Napier

I recently had an email from Sue, who is wanting to sell her printing press.

Dimensions: 500mm wide, 360mm to top of the screw, drum 525mm diameter.
It was made by an engineer, and comes with bed and blankets.  


Asking a very reasonable price of $2,500
It is currently located in Napier, and weight is about 60kg

Thanks for your interest,
This press has now SOLD. 

27 May 2018

Something To Remember, Auckland, til 9 June

Something to Remember is a collaborative exhibition between Alexis Neal and Elke Finkenauer,
which refers to the act of refiguring a past as contingent in the present. 
Check it out at Gus Fisher Gallery in Auckland, before 9 June.


The work, which includes lithography, screenprint, debossment, 
foil-stamped texts, sculptural installation and artist books, considers the process 
of forming identity influenced by community, place, role-models, and experiences; 
as well as the structures providing contexts within which identity is established.


Alexis Neal. Photo courtesy of artsdiary.co.nz

"Physicality and tactile surfaces are significant to ‘Something to Remember’. 
Ink is printed onto rich, velvety paper and exhibited alongside thick knotted rope strands 
and woven whāriki, suspended works that have been slowly and carefully crafted. 
Intricate details and two handmade artist books make this show an ideal opportunity 
to contemplate remembrance, whether personal or collective."

If you can't make it to the show,
check out more wonderful images at: artsdiary.co.nz

05 January 2017

Whanganui River Print Exhibition

New Zealand printmaker Graham Hall has coordinated a 20-metre woodcut print 
which depicts the entire length of the Whanganui River, 290km from the mountain to the sea.
You can view the finished print at Edith Gallery in Whanganui,
opening on 9 January at 5:30pm


The project documents the path of the river on 42 panels, which join together.
Each panel was carved by a different artist with their own interpretation of the surrounds,
based on personal research on the area corresponding with section of river they have chosen.

The layout of the blocks with the river pattern engraved
before being sent to each artist for their input

This inclusive project brings together a cross section of people, 
including young students and established print makers and artists.


To see each of the 42 artists' panels, 
see the project's website, www.whanganuiriverprint.com

20 June 2016

Sam Farquhar, 24June-25July, Auckland

Sam Farquhar is of Scottish, English and Ngati Rahiri descent. 
An exhibition of her work opens 5.30pm Thursday 24 June 
at Kura Gallery in Auckland, through to 25 July.
The show is a mix of framed and unframed prints, past and present.

Sam Farquhar, Te Whetu Tuatahi
limited edition print, 51x37cm

Sam currently resides on family land in rural Helensville, north of Auckland.
Sam graduated with a Diploma in Textile & Design at Wellington Polytechnic in the 90s, 
followed by completing post-graduate studies in Nelson.
She embarked on producing woodblock prints and small canvas blocks (depicting native themes) 
to supply a selection of galleries in Aotearoa. 
Sam also worked in the film industry in the art and costume departments.

Sam exhibits regularly with printmakers of Toi Whakataa Press – 
a printmakers collective that is made up of strong and established individual printmakers. 
Sam describes her work as very graphic. 
She uses the print technique of woodcut to express and convey movement and emotion with line. 
Sam’s images depict a mix of Maori mythology and narratives from New Zealand history, 
often placing them into her immediate environment, 
or into landscapes which she strongly identifies with.

For more information see www.kuragallery.co.nz

16 June 2016

Lithography Course, 19-21 Aug, Whangarei

Te Kowhai Print Trust is hosting Experimental Drawing Through Lithography 
being tutored by the very talented artist and printmaker Alexis Neal.

Friday 19 to Sunday 21 August, 9.30am–4pm daily
Only 8 spaces available, so get in quickly if you're interested.


The main focus will be experimental drawing combining relief techniques. 
Working in pairs, you'll achieve a small lithographic print edition.

Day One: Making sure our stones are level with technical discussions and demonstrations. 
Experimenting with drawing, using a variety of lithography pencils, tusche washes 
combined with relief techniques. First etch will go onto stones.

Day Two: Opening the stones up and replacing our drawing material with roll up ink 
and putting a second etching on. 

Day Three: Continue printing small editions in pairs and working on stones.

Cost: $225, including all materials except paper, 
Either bring your own favourite print paper, 
or arrange in advance to purchase through TKPT.



Pin & Tab Registration

Many printmaking processes require 'registration' of multiple layers.
The better your ability to line up the layers, the more accurate your output.
A while ago I was at a demonstration with a guest artist from overseas,
and in their bag of tools they had some registration pins, which I loved!

Ternes-Burton Register Pins are a stainless steel base 0.33mm thick (.013")
with a precision machined stainless steel button, with multiple welds for strength.
Both the tops of the buttons and the bottoms of the bases are hand-polished to prevent scratches.
The hole in the base provides additional taping area,
which helps prevent movement and makes the pins easier to handle.
The pins are used with thick mylar tabs with holes.
These are attached to your paper for perfect alignment.


The button height depends upon the number of layers, 
as well as the thickness of layers being attached to the pin. 
The most common register pin they sell is the 1/4" x .085". 
This means that the button is 6.35mm (1/4") in diameter, and 2.16mm (.085") high.
However, they come in a variety of heights, round and elongated buttons.

Ternes-Burton Pins (L-R): 3.05mm (.120"), 2.16mm (.085"), 1.78mm (.070"), 1.40mm (.055")

Ternes-Burton Pins [side angle]
(L-R): 3.05mm (.120"), 2.16mm (.085"), 1.78mm (.070"), 1.40mm (.055")

Ideally you want to pick a button height lower than your plate,
as you don't want the button to leave an indent in your paper as you take an impression.

2.16mm (.085") next to a 3mm laser-cut woodblock plate
  

The most simple way to use them is simply using a hole punch directly into the paper.
The downside of this method is that paper holes stretch quicker than the mylar,
and you need to trim a strip of paper to remove the holes from the finished print.


To aid with alignment, you can purchase a bag of stripping tabs (made of heavy mylar).
With a set of two (or more) stainless steel pins, and enough reusable plastic tabs to tape to each sheet,
the system gives perfect registration system, and is ideal for woodblocks and lino prints.


To use the pin and tab system for an edition, first prepare all your paper as usual.
Using a marked board or cutting mat, tape down the tabs using masking tape or parcel tape.
Align paper to the grid, attach the tabs to the button, and tape tab to the back of each sheet.
Repeat for the whole edition. Even if the paper isn't perfectly square or uneven size, it works perfectly.
Once you've registered your first print, all the others will snap to the same spot exactly!

You can also buy the same buttons as individual 'assembly pins' to create you own registration board.


More info to follow...

I'd really love the help of a couple of you to help me test these out, to give a review on this product.
So if you want to to get your try some, head over to Facebook, 'like' NZ Printmakers page
and comment on the post about registration,
to go into the draw to win a pair of pins and some tabs [NZ residents only].


04 June 2016

Exhibition: Paul McLachlan, to 18 June, Christchurch

If you're in or near Christchurch, get along to see Paul McLachlan's exhibition HOLY FIRE 
on at Chambers Art Gallery until 18 June.
These works were created during Paul’s three-month art residency in Bangkok, 
which was supported by the Asia New Zealand Foundation. 

Drawn from his explorations of the city through temples, galleries, museums and the streets, 
these images focus on the permeable membrane that separates the spiritual world from the everyday;
 a focus on a spiritual climate that saturates the whole of Bangkok city life. 
This project has been informed by experiences, exchanges, conversations and relationships 
cultivated during his time at Art Hof in Phra Khanong.

Paul McLachlan, Apples of Epiphany, 2016
Lithograph, 227 x 284mm

Images are built-up using drawings, photographs, found imagery and natural scenes. 
Graphic black and white shapes have been utilised to form lyrical and poetic worlds 
that slip between light and dark and positive and negative space, 
while drawing on Thai art conventions. 
Most notably, the nang yai arts (shadow puppets), 
which use light and silhouettes to illustrate the epic Ramakien narratives,
 and the black line-work of the gold leaf and lacquer panels of the Ayutthaya period; 
decorative and allegorical depictions of paradise-like natural worlds.

Paul McLachlan, Ghost Dance, 2016
Lithograph, 227 x 284mm

The prints in this exhibition were printed upon returning to New Zealand 
using a photo-lithograph process at the University of Canterbury.

McLachlan’s residency is chronicled at www.paulmclachlan.co.nz/blog

29 May 2016

Every Printmaker Needs An Artists Biography

An artist biography is often the first piece of information available to your audience, 
either in a gallery or catalogue, or somewhere on your website. 
All artists should have one, and it should be reviewed yearly for early- or mid-career artists.

The biography frames your whole art-making practice.
It can be written by you, or get help from someone with a particular skill in writing.
You can summarize your practice, including medium(s), themes, techniques, and influences.
It is about the current direction of your work, not a history of how you got to this point.

Audience engagement researchers found that visitors lose interest in wall labels after 150 words,
so try to write a profile between 80 and 140 words, the ideal is around 120 words.
A tightly written 80-word biography is preferable to a longer bio that includes unnecessary 'fluff'. 
Leave your reader informed, but wanting to know more.... 
 A good rule of thumb is to impart one idea per sentence,
with the viewer taking away one or two key points from your biography.

A biography is different from an artist statement, which is about your artwork(s) or series.
Your artist statement is written in the 1st person, using "My work..."
whereas your biography is written in 3rd person, about you, eg "[Name]'s practice focusses on..."

The biography should open with a first line that encapsulates what is most significant 
about the artist and his or her work, rather than opening with biographical information.
Here are some questions for you to consider when writing about your artist’s practice,
pick out just the most important about you:
  • What medium does the artist work in?
  • What is his or her style?
  • What are common or characteristic subjects or themes depicted in the artist’s work?
  • What subjects drive the works or provide underlying themes?
  • What impact has this artist made, or what precedent is he or she setting? 
  • Who are the artist’s peers or teachers who have impacted on the artist’s practice?
  • In what political or technological climate is the artist working in?
  • What areas of the arts or popular culture does this artist incorporate into his or her work?
  • What other areas of the arts or popular culture does this artist engage with?
  • Can their work be summed up in an engaging quotation from the artist (1–2 sentences)? 

Six Common Mistakes in Artist Biographies:
  • The List of AccomplishmentsKeep accolades to a minimum. Readers who are interested in all the details of exhibitions and awards can refer to your artist CV. 
  • Artspeak: Viewers dislike misplaced academic jargon and pseudo-theoretical writing. Remember your audience may be completely unfamiliar with your ideas.
  • Hyperbolic Praise: Readers respond negatively to unsubstantiated claims and exaggeration. 
  • Spelling and Punctuation: Incorrect spelling and grammar mistakes undermines the credibility of your ideas. Use spell-check and get a friend or colleague to proof-read for you.
  • Repeating or omitting essential information: Understand where your bio will appear and ensure information is appropriate to it's purpose, don't repeat artist statement or.
  • Stale Information: Artists with rapidly evolving careers should check back every year, or before new exhibitions, to re-assess what the most important aspects of your practice are.
If you don't already have one, I'd highly recommend you think about tackling this soon.
If you want to share or get feedback, post a link to your artist bio in the comments below,
or email me at help@nzprintmakers.com 

This post was based on an article published recently on Artsy.net

21 May 2016

Call for Entries: Print Awards 2016, UK, by 20 June

The 2016 Print Awards are open to all international artists working with print, 
 from traditional to contemporary print processes, in its widest interpretation,
including 2D, 3D, video, installation and site-specific work.

The Print Awards are the centrepiece of the International Print Biennale
 showcases the broad spectrum of contemporary printmaking across the globe,
through an extensive programme of exhibitions, events, activities and an international symposium, 
held across the North East of England. 



At the first stage, artists are required to submit the following by 20 June:
The completed online entry form
Images of a max of 10 recent works in digital format (jpg, tiff or png - max 500kb)
An up to date supporting CV (maximum of one side of A4)
A supporting statement (max 200 words)
A non-refundable £25 application fee per artist