Collateral, Printmaking as Social Commentary - last week!

Just thought I'd share a bit more information about the NZ Printmakers
who are involved in the Collateral: Printmaking as Social Commentary exhibition,
and the story of how it came to being...

Michael Reed, Business As Usual, 2011installation of 15 screenprinted cotton bandages
Runners for the Corridors of Power: Carpet Bombing
and Right, Might, Profit, 2009 
digital dye injection on nylon
Photo © 2011 Sait Akkirman, 2011

In 2009, Elizabeth Rankin (Head of the Art History Department of Auckland University) 
presented a paper at the Impact 6 international printmaking conference, in Bristol, UK.
The topic was the graphic art of protest in South Africa 
and linked this with the work of Heyman, Reed, Thomson and Victor. 
Her presentation led to the four artists being invited to contribute 
to an exhibition called Mark/Remarque as part of Philagrafika, in Philadelphia, 2010. 

Now, an exhibition of the artists’ works is to be held in New Zealand,
thanks to the Gus Fisher Gallery at University of Auckland, 
the research programme of the School of Art & Design 
at Christchurch Polytechnic Institue of Technology, 
where Michael Reed and Sandra Thomson are teaching staff.

Sandra Thomson, Dirty Linen, 2006
Screenprint on fabric, four panels
Photo © 2011 Sait Akkirman

Sandra Thomson, Hush Money, 2007
Screenprint on two fabric sleeves
Photo © 2011 Sait Akkirman 

Sandra Thomson exploits the versatility of screenprinting 
to create linear forms reminiscent of medieval woodcuts 
in order to explore saintly stories, 
as well as more contemporary incidents of suffering in the church. 
Her works sometimes depict fingerprints like informal metonyms of the printmaking processes, 
and she prints on fabrics that may be shaped into indicative apparel. 

Michael Reed, Business As Usual, 2011
Installation of 15 screenprinted cotton bandages
Photo © 2011 Sait Akkirman, 2011 

Michael Reed, Drapes for Real Men: Money Mob International and Collateral, 2009 & 2011
screenprint, stencilling, painting & stamps on textile
Photo © 2011 Sait Akkirman, 2011

Michael Reed too uses fabric supports for many of his prints; 
to convey a social imperative he deploys the connotations of the varied forms of textiles
 - whether drapes, carpet runners, or bandages - 
to contribute additional layers of meaning to the transfixing texts imprinted on his works.

The publication that accompanies the exhibition was designed by 
3 Bachelor of Design Visual Communication students from CPIT: 
Josh O’Neill, Richard Burson and Kit French. 
Working as a team, they liaised with the curator and writer, one of the artists and the printer, 
under the guidance of their graphic Design Tutor, Rob Lovelock. 

The catalogues are available from the Gus Fisher by donation to Gapfiller, 
a creative response project of installations and performances 
in earthquake-damaged Christchurch. 

Sandra Thomson, Evidence Singlets, 2006
screenprint on six singlets presented on coathangers;
second set of six, stained and bagged in plastic

Photo © 2011 Sait Akkirman, 2011

The exhibition is to be held at the Gus Fisher Gallery, Auckland 
until 20 August - so get in and see it this week!
(or check out 20 of the images from the opening on ArtsDiary)