26 November 2013

Heart 2013, 30Nov-24Dec, Wellington

You are invited to celebrate the opening of Solander Gallery's annual Christmas exhibition.
It is a cash-and-carry exhibition of small works for $300 or less. 
Doors open at 10am on Saturday 30 November.

Heart 2013 is an exhibition featuring a wide range of talented Solander artists 
who have all made works that reflect what inspires and excites them as artists.

18 November 2013

Studio Visit: The Print Studio, Inverlochy House, Wellington

Louise Rutherford shows us around the Print Studio at Inverlochy House in Wellington.

"Unless you turn down the quiet lane, you’d never know it was there.
The city has grown up around Inverlochy House;
a Victorian mansion designed for a prominent local family in the late 1870s.
In the early 20th century, the place was divided into four flats.
Despite plans to knock it down and build a hotel in the 1970’s, the house survived.
It was finally gifted to the city of Wellington for use in the arts
and formally became Inverlochy Art School in December of 1987.

Inverlochy House, Wellington

The different ages and stages of the house have all left their mark on the place;
a bank of old grey school lockers, banged about and decorated with skating stickers
coexists with the elegant curves of the carved Mahogany bannisters.
Biscuit tins and mismatched cups are laid out in the common room
under the chandelier and elaborate ceiling mouldings decorated with scrolls, angels, curlicues and flowers.
More recent walls intersect with original ones; the steep servants’ stairs now lead to the jewellery studio,
instead of to the mansion’s kitchen, or the downstairs flat.

Today, the fourteen rooms and two bathrooms of the 'unrivalled family residence' of the 1800s
is home to a huge range of art classes, including many types of printmaking.
When there are no classes going on, The Print Studio is used by Wellington printmakers
to bring their work into being.
To get to The Print Studio, you make your way down the beautiful tiled hallway and up the grand staircase. The rich red-brown glow of the carved bannisters speaks of long ago elegance
but now the red carpet is scuffed and frayed by 25 years of art students’ feet.

The studio itself is well equipped.
It has two presses for etching and stone lithography, an aquatint box,
wetting down area, enclosed acid baths, hot plate and intaglio and relief tools.
It’s easy to get into the flow here. The high ceilings and white walls are full of prints;
bearing testimony to the many Wellington printmakers who have known and loved this place.

Louise Rutherford is one of the many Wellington printmakers
who knows and loves the Inverlochy House Printmaking Studio.

The Print Studio itself was originally brought to Inverlochy by the painter and printmaker John Drawbridge, and it still seems to keep something of John’s spirit and bold, joyful vision of the world.
Speaking of spirits, the house is reputed to be haunted.
Sometimes, on quiet afternoons, I’ve felt a benign presence in the print studio,
but that could just be because I love it.

In the summer, we drag the dusty windows of The Print Studio open by their heavy wooden frames
and Wellington sunshine streams in.
Inverlochy House is right in the middle of the city, but here it is a little oasis of quiet.
The palms, flaxes and big old trees outside the windows make me feel like I’m in the forest."

To find out more about Louise Rutherford’s work: http://louiserutherford.wordpress.com/ 
To find out more about Inverlochy House: http://www.inverlochy.org.nz/The-Print-Studio

16 November 2013

Floortalk: Impressionist Printmaking, 3pm 24Nov, Te Papa, Wellington

There will be a Floortalk on Impressionist Printmaking 
at 3pm–3.45pm on Sunday 24 November, 
 Te Ihomatua / Gallery on 4, Te Papa in Wellington.
Exhibition entry fee of $17.50 per adult applies.

Join art historian David Maskill for a fascinating floortalk 
on impressionist prints and printmaking from the exhibition Colour & Light.

Camille & Lucien Pissarro, Women weeding the grass, from ‘Les travaux des champs’, 1893-1895

The impressionists’ ability to capture the fleeting effects 
of light, colour, and atmosphere in paint is surely their greatest claim to fame. 
What is less well known is that many of the impressionist painters 
also sought to achieve the same ends in the medium of original prints.

This talk examines a range of impressionist prints, 
both those included in the current exhibition Colour & Light 
and those from Te Papa’s own rich collections.

David Maskill is a senior lecturer in art history at Victoria University of Wellington 
and is a specialist in the history of prints and printmaking.

05 November 2013

Impressions III, 4-16Nov, Lower Hutt

Impressions III is on now at the Odlin Gallery in Lower Hutt. 
It will run from 10am-4pm daily until Sunday 16 November.

Impressions III is the Hutt Art Society printmakers’ third annual show.
Prints using modern techniques such as digital and photographic processes will be shown 
alongside etchings, drypoints, monoprints, collagraphs, solar-plate prints, and woodprints, 
giving visitors the chance to see a wide variety of techniques all in one show.

A printmaker will be present throughout the show 
to answer questions about the various processes. 
Framed and unframed work will be for sale during the exhibition.

 Impressions III guest artist Sam Broad (centre) with Hutt Art Society printmakers
(L: Jan Mueller Welschof & Jocelyn Hendry, R: Jeanie Randall & Jo Constable)

Guest artist Sam Broad’s lively woodcuts will be a feature of the show.
Filled with witty, often acerbic, sometimes poignant, comments on life and politics in New Zealand.
Broad is also a guest tutor at the Hutt Art Society’s Summer School in January 2014, 
helping students to achieve tonal and linear forms in woodcut and linocut printmaking.

Job Vacancy: Printmaking Tutor, Lower Hutt

The Learning Connexion are seeking a new Printmaking Tutor to join their onsite team.
This is a fixed-term contract in tertiary level school of art and creativity 
based in the Hutt Valley, Wellington.

The role involves delivery of two full-day classes each week on Wednesdays and Thursdays, 
and an evening class which is currently being offered on Mondays from 6-9pm. 
The term runs for seven consecutive weeks 
and training for the position may commence mid-January 
to coincide with the Term 1 start date of Monday 28 January 2014.

Specifically, each class has a different printmaking focus 
so looking for someone who can teach a minimum of screen-printing, dry point, and woodcut.
There is also scope to deliver a broader range of printmaking techniques in later terms, 
so applicants with more extensive experience in other print areas are welcome to apply.

To be successful in this position you will need to be able to:
• Work with students in ways which are respectful, helpful and supportive
• Deliver to students with a broad range of abilities
• Understand and articulate the creative process and how this connects with students’ work
• Deliver class content through a blend of both discussion and hands-on demonstration
• Be flexible, patient and able to think on your feet

Training and course outlines will be provided to the successful applicant to work from, 
but prior teaching experience is required. 
We also expect our tutors to be practising artists with an active personal practise.

To apply for the position, please email a current resume, 
with examples of your creative practise, and a covering letter to recruitment@tlc.ac.nz

Applications close at 5pm on Sunday 17 November 2013.

02 November 2013

Rust Blooms, 2-14 Nov, Auckland

Rust Blooms is a joint exhibition by Julienne Francis and Celia Walker 
at Depot Gallery in Devonport from 2-14 November,
exploring the random and unexpected effects of rust printing
 in both wall-hung works and three-dimensional artists’ books.  

The varying hues of weathered iron are incorporated with other print processes in a range of new work. 
 Both artists have been accumulating discarded objects and fragments 
that are used for eco-printing onto mulberry, kozo and other printmaking papers.  
The shifting rust tones are used for works that look at nature, history and more abstract forms.