Minu, 29 Nov-4 Dec, Wellington

Minu will be exhibiting some prints 

in her upcoming show titled A Curious Nature

Opening on Tuesday 29 November at 6pm

and finishing on Sunday 4 December

at Thistle Hall, Cuba St, Wellington

Minu, The Donkey, 2011

 

PS. For those of you in Auckland, there will also be an opportunity 

to see Minu's work at the Auckland Craft Fair 

on Saturday 10 December 11am-3pm

Or check out Minu's online shopping options at:

www.minu.co.nz , minu.felt.co.nz or minu.etsy.com

Marian Maguire Talks, 3-4 Dec

Marian Maguire's The Labours of Herakles is currently showing in Palmerston North 

while her new series, Titokowaru's Dilemma, is on in Whanganui 

and she will be heading north to give artist talks in each venue 

on the weekend of the 3-4 December.

Marian will be talking about Titokowaru's Dilemma
11am Saturday 3 December at Sarjeant Gallery, Whanganui
(free entry)

Then on Sunday 4 December at 2pm
Marian will talk about The Labours of Herakles

at Te Manawa Museum in Palmerston North
($10 entry includes afternoon tea)

Marian Maguire, What is History?, 2011
Etching, 31x38cm, edition of 30.

In both cases she will be expanding on the history, 

explaining some of the source material, describing her intention.

Titokowaru's Dilemma is also currently on show at PaperGraphica in Christchurch 

and can be viewed on their website: http://www.papergraphica.co.nz

Alter Piece, 24 Nov-10 Dec, Auckland

 Seed Gallery's annual Christmas exhibition titled Alter Piece opens tonight!
The Preview is from 6-8pm at the Gallery: 23A Crowhurst St, Newmarket.
The exhibition will then run til 10 December but get in early to pick your favourites.

It includes 30 invited artists, working across various disciplines and media,

working with a set template: a 10x8cm, hinged wooden altarpiece. 

The resulting exhibition will showcase 300 miniature artworks 

reflecting each artist’s exploration of the possibilities of this form.

This exhibition presents a unique opportunity to acquire works

by some of our most promising artists for only $80 a piece. 

Work by the artists from NZ and abroad will be featured,
including these NZ Printmakers: 

John Pusateri, Ben Reid, Annie Sandano and Rebecca Thomson.

Annie Sandano

Rebecca Thomson

John Pusateri

Ben Reid

Click here to see works from Alter Piece exhibition at Seed Gallery

Robin White Talk, 1 December, Featherston

Just a quick note to let you know that there is a talk by Robin White

at 7.30pm on next Thursday 1 December,

hosted by the Featherstone Community Centre
(14 Wakefield St, Featherston).

Robin White is a well-recognised NZ artist.
She will be talking about one of her painting, titled Summer Grass
which has 12 panels and is 6m long!
It was inspired by the history of the Featherston POW camp.

Robin White, Summer Grass.

Although not specifically talking about printmaking,
I'm sure most of you will be familiar with her work.

This talk is open to anyone interested,

entry is by gold coin donation.

A Happy Medium, 30 Nov-23 Dec, Wellington

Solander Gallery are having a festive 'cash & carry' exhibition 

titled A Happy Medium

which is opening on Wednesday 30 November 5-7pm

and will continue until 23 December

Featuring small affordable works with prices ranging from $85 to $300

Delectable nibbles (lovingly prepared by Plentifull Deli) 

will be served along with bubbles and wine.

Featured Artists include:

Alex Milsom, Alexis Neal, Basia Smolnicki, Catherine Macdonald, 

Cerisse Palalagi, Chris Adams, Damon Kowarsky, David Sarich, 

Ellen Giggenbach, Emma McCleary, Esther Hansen, Faith McManus, 

Fleur Williams, Graham Hall, Inge Doesburg, Jacqueline Aust, Jacqui Colley, 

Jo Ogier, Kim Lowe, Kyoko Imazu, Kyla Cresswell, Lynn Taylor, Manu Berry, 

Maree Horner, Margaret Silverwood, Mark Graver, Marty Vreede, Michele Bryant, 

Rachael Garland, Sam Broad, Sheyne Tuffery, Stanley Palmer, Vanessa Edwards.

Steve Lovett, 26 Nov-24 Dec, Auckland

An exhibition of Steve Lovett's latest prints

will be shown at Papakura Art Gallery, 10 Averill St, Papakura,

from 26 November til 24 December.

Large screenprinted images on both board and paper,

they are mostly photographic in nature but definitely have a 'printerly' edge;

simultaneously showing a proficiency of digital technologies and hand-made execution.

I've seen most of the works, and think they are very cool -

very unusual in terms of scale, surface quality, technical, colour, 

layering, and the play on reproduction of images in print.

These are some great examples of diverse print practice,

yet it makes a cohesive (and substantial) body of work.

I highly recommend you go take a look! 

Acrylic Resist Etching Workshop, 5-6 Feb, Kerikeri

There are only a few places available for a two-day workshop 

for Acrylic Resist Etching 

at Wharepuke Print Studio in Kerikeri on 5-6 February 2012

The workshop will cover etching with copper and/or aluminium, 

using safe techniques and water based etching inks. 

No experience is necessary and all materials are included,

and the course only costs $190!

There is on site accommodation in self-contained eco cottages subject to availability.

To register your interest, get further details sign up for the workshop,

please click here to contact Mark Graver by email

or see his website www.nontoxic-printmaking.co.nz for more information.

24 Hours, Group Print Project, 20 Nov, Ireland

Antonia O'Mahony (a NZ printmakers currently living in Ireland)

sent me an email about an interesting print project happening there this weekend,

 I thought you might be interested in hearing about:

24 Hours is collaborative print project involving artists from 

Cork Printmakers, Limerick Printmakers Studio & Gallery, Belfast Print Workshop, 

Black Church Print Studio and Artichoke Printmaking Workshop, London. 

The collaboration 

sprung from a passion for the medium of print 

and willingness 

to the push the boundaries 

of what is sometimes perceived as a traditional art form.

The 24 Hours group comprises of established artists, including: 

 Gemma Dardis, Morgan Doyle, Pamela Dunne, Clare Gilmour, Catherine Hehir, 

Marianne Keating, Des Mac Mahon, Lorraine Neeson, Noelle Noonan, 

Margaret O’Brien, Suzannah O’Reilly, Derek O’Sullivan and Fiona Quill.

In the past, their careers have overlapped in different capacities

 and this has created a level of dialogue and interaction that has led to this project.

The aim is to encourage new creative ways of working with the medium of print 

enabling the public to engage with the creative process 

in a unique collaborative environment.

 The artist will have full use of the entire printmaking studio 

and can use the etching, lithography, silkscreen, 

photography and digital print areas to make works. 

Some may work through the night, or catch a few hours on a camp bed in the studio. 

The project will be simultaneously streamed live on our dedicated website 

and projected on the walls of alternative venues across the city. 

Cameras will be placed around the workshop 

and the artists will take it in turn to wear a camera-mounted headpiece 

that allows the viewers to experience the full creative process as the artist sees it.

The artists will gather at Cork Printmakers at noon on Saturday 19 November

(*so it will run all day Sunday 20 November NZ-time)

They will have 24 hours to create a collaborative body of work 

based on the theme 'National Interest'. 

Prior to the project, the artists have debated the topic,

 and as a result of this have decided that the artwork should have a short lifespan, 

the work will be created within 24 hours, and exhibited and shredded the same day. 

The artists will then reconstruct another art piece(s) 

out of the shredded material which will be exhibited on 3 December in Cork. 

Creating something beautiful and then destroying it seems an extreme gesture 

but reflects on the concept that everything is impermanent, that life is a cycle, 

and this time of national and global upheaval will also pass,

 things will mutate, alter and transform.

http://www.24hourprintpopup.com/

Printing Time, Nathaniel Stern, 18 Nov - 5 Dec, Kerikeri

Printing Time, an exhibition of works by Nathaniel Stern (USA/South Africa),

opens tomorrow and will be on display from 18 November to 5 December

at Art at Wharepuke, in Kerikeri

Printing Time is a suite of 18 performative prints, each an edition of 5, 

produced especially for this show at Art at Wharepuke. 

Art at Wharepuke is delighted to present Nathaniel’s work for the first time in New Zealand.

Nathaniel Stern (USA/SA), Rustling, 2011
Pigment on watercolour paper, 24x42cm, edition of 5.

Nathaniel explains his works as “ (an) ongoing series; 

I strap a desktop scanner, laptop and custom-made battery pack to my body, 

and perform images into existence. 

I might scan in straight, long lines across tables, 

tie the scanner around my neck and swing over flowers, 

do pogo-like gestures over bricks, 

or just follow the wind over water lilies in a pond. 

The dynamism of my relationship to the landscape 

is transformed into beautiful and quirky renderings, 

which are re-stretched and coloured on my laptop, 

then produced as archival art objects. 

This series follows the trajectory of Impressionist painting, 

through Surrealism to Postmodernism, 

but rather than citing crises of representation, reality or simulation, 

my focus is on performing all three in relation to each other”.

Nathaniel Stern (USA/SA), Swerve, 2011
Pigment on watercolour paper, 24x42cm, edition of 5

Nathaniel Stern is an experimental installation and video artist, printmaker and writer. 

He has produced and collaborated on projects 

ranging from interactive and immersive environments, 

mixed reality art and multimedia physical theatre performances, 

to digital and traditional printmaking, latex and concrete sculpture. 

He has won many awards, fellowships, commissions and residencies 

between South Africa, America, and all over Europe. 

Nathaniel holds a design degree from Cornell University, 

studio-based Masters in art from the Interactive Telecommunications Program (NYU), 

and research PhD from Trinity College Dublin. 

He is an Associate Professor in the Department of Art and Design 

at the University of Wisconsin, Milwaukee.

For more images and information on the show see his website: 

http://nathanielstern.com/2011/printing-time/

Get Featured Here!

As we draw near to the end of the year,

seems like we are all busy with various projects

and looking forward to Christmas and the summer holidays etc.

So I'm looking for some interesting new stories 

to feature here on the NZ Printmakers website...

Perhaps you are making work for an upcoming printmaking exhibition?

Or playing around with a new product or technique?

Maybe you can think of some aspect of printmaking 

for which you can share some of your expertise?

School teachers might like to share ideas for resources or projects?

Do you know of summer workshops in your area?

Also, if you want to create a short blurb about a fellow printmaker's work,

or to summarise some important historical or contemporary print issues,

or to write reviews for printmaking exhibitions, 

then I'm keen to hear from you!

Email me with your thoughts and ideas.

Print Salon, 22 Nov-24 Dec, Auckland

Print Salon is a group show including various printmaking processes 

such as intaglio, drypoint, solarplate and screenprint.

It will be on at Satellite Gallery in Auckland from 22 November to 24 December,

with the opening event on next Tuesday 22 November 5:30–7pm.

It will include works by Philippa Bentley, Lianne Chua, Sue Cooke, 

Julia Ellery, Julienne Francis, Faith Thomas, Susan Hurrell-Fieldes, 

Ellen Reimann-Filby and Fleur Williams.

Print Salon will be shown alongside an exhibition of works by

Prudence MacDougall and Tina Frantzen.

Chimera, Prudence Mac Dougall, 22 Nov-10 Dec

Prudence Mac Dougall's Chimera exhibition
 opens on Tuesday 22 November at Satellite Gallery in Auckland.
She invites you to come see the artworks at the gallery
as well as 4 'morning teas' in which you can come talk to her about the work.

The chimera is an extraordinary fire breathing creature from Greek mythology. 

It was initially a grotesque combination of a lion, a goat and the serpent 

and the central figure of one of the earliest legends depicted in Greek art. 

However, the definition can apply to any imaginary creature made up of different animals.

The word chimera is also used to refer to organisms that contain genially different material 

and it is this definition that Prudence Mac Dougall explores 

in her newest body of solar plate etchings: the ‘Chimera’ suite. 

After graduating with distinction from Elam School of Fine Art in the mid 1980s 

Prudence traveled, studied and exhibited extensively internationally. 

including The British School in Rome, International School of Art in Umbria 

and The Byam Shaw School of Art in London. 

Prudence has also exhibited with many galleries in and around New Zealand

and has works in many private collections in New Zealand and overseas. 

Her art practice has always operated like a stage: setting a scene 

that reflects her real life experience and explores the dynamics of human relationships. 

Her intention when creating images is to recreate a significant moment in time 

as if glimpsed through a transformative lens, 

offering us fantastical visions from an amazing and magical world. 

Although strongly influenced by Goya, 

Prudence’s fantastical beasts are always portrayed with great humor and charm; 

creations more at home in children’s fairy tales than the horror of night mares.

Experimental Print Workshop, 7-9 Jan, Whangarei

The Quarry Arts Centre in Whangarei are hosting their annual Summer Do 

(2012 marks the 25th year of the Summer Do!) 

which includes a 3-day workshop in Experimental Printmaking

from Saturday 7 to Monday 9 January, being taught by Joan Travaglia. 

Joan Travaglio, NZ Tui and Blossom, 2009
painted vinyl engraving, 8x6cm, edition of 40

 

This will be a fun workshop which will teach you to make 

woodcut, monoprint & monotype artist prints. 

Students will be encouraged to experiment 

with reduction, multi-block and embossed printmaking methods. 

This workshop is suitable for beginner and experienced artists,

and assistance will be given at every stage.

Click here to email and register your interest in this course 

and they will send you more information about the cost, content and materials lists.

Maximum of 12 people, so register early to avoid missing out!

Cardboard Intaglio

I just recently heard about an interesting process

which is a form of cardboard printing / 'engraving'.

Julienne Francis went to a workshop in Melbourne recently

which was taught by Christine Willcocks (AU). Julienne said:

 "The workshop with Christine was excellent. 

Cardboard is a pretty humble material to work with, 

but it has many possibilities and paths of development 

which of course one cannot explore in a couple of days. 

The process not unlike Stanley Palmer's bamboo engravings."

Christine Willcocks (AU), Congruere I, 2010

Incised cardboard with ink stain on lockta paper, 65 x 80cm

 I'm looking forward to seeing both the plates and the prints.
Seems like it could be a brilliant introductory process
to explain and explore the basics of intaglio etching,
or as a cost-effective alternative to metal or plastic plates.

Christine Willcocks will be coming to NZ soon

and I will keep you informed of when & where her workshop(s) will be. 

Open Print Studio Day, 19 Nov, Takapuna

 Studio Printmakers' Collective are having an 'Open Day' 

next Saturday 19 November at their Print Studio 

which is located in the Barracks Building of the Lake House Arts Centre

37 Fred Thomas Dr, Takapuna, Auckland 

The studio is set up primarily for intaglio and relief printing 

although it can also accommodate screenprinting.

It is equipped with 2 etching presses,1 book press, 2 large printing tables,

facilities for acid etching with vented acid box, UV light for screen exposure, 

an extensive printmaking library, including Imprint and Printmaking Today magazines.

The Print studio has several membership options you could consider, 

which allow you to: take part in Collective workshops, promotion on their website,

display artworks for sale in Lake House facilities,

take part in group exhibitions or print-related events put on by the Collective,

and to hire the print studio on a casual basis.

Studio Printmakers' Collective includes:

Carolyn Shaw, Patricia Grove-Hills, Catriona Caird, Diana Coleman,

Julienne Francis, Katherine Moyles, Prue MacDougall, Alex Lau, Trish Epati,

Michael Yoffe, Lianne Chua, Susanne Khouri, Susan Hurrell-Fieldes.

Any printmakers in Auckland would be very welcome to attend the Open Day

 if you are interested in finding out a little more about joining the Collective.

PCA Print Commission - NZ Printmakers Challenge!

I want to challenge you NZ Printmakers to submit work to this!

  Print Council of Australia (PCA) is inviting artists to submit digital images of current work 

that they would like to have considered as an edition for the PCA 2012 Print Commission.

Although PCA have been sent submissions from around the world,

I heard that NOONE from New Zealand has ever submitted prints!!!

I think NZ has lots of fabulous printmakers, 

so we should be well represented in this collection,

so please forward this on to as many NZ printmakers as you can!

Glen Mackie (AU), Augud, 2011

You don't need to be a member of PCA to submit work for this Commission,

and all forms of printmaking (including digital) are welcome.

Lorelei Medcalf, The Surrogate, 2011

Just in case you want to know how it works:

An independent arts professional judges each artist’s portfolio of work 

and selects a final print to be commissioned from each. 

Each artist receives a supply of 50 sheets of BFK Rives (white) 

quality printing paper for editioning, provided by the sponsor, Canson Australia.

Selected artists each produce six artists’ proofs 

and an edition of between 30 and 40 prints for distribution to subscribers. 

PCA also pays an Artist’s Fee of $700 to assist with studio costs! 

Sarah Harvey (AU), Best in Show, 2011

The PCA aims to offer major promotional and professional opportunities for artists.

The 10 selected works are featured in Imprint Magazine and on their website,

and many PCA commissioned prints are purchased 

by public galleries and institutions as well as many private collectors. 

Melissa Smith, Understory, 2011

To submit your work, download and submit this Artists Application Form 

including an up-to-date CV and up to four images on CD of current work. 

Applications close 8 February 2012.

WaiPrint 2011, til 28 Nov, Hamilton

WaiPrint is the annual exhibition of Waikato printmakers 

This is the 22nd annual, Waikato Society of Arts, artist printmakers’ exhibition.

The exhibition is on now until 28 November

at ArtsPost Galleries in Hamilton

This year is featuring guest printmaker artist Mark Graver of KeriKeri.

Mark Graver, Harbin VIII, 2010
Etching, 10x15cm

It is a selected show, and includes a variety of techniques 

such as etching, drypoint, mezzotint, woodcut, monoprint/type, 

wood engraving, screenprint, digital and mixed media.

So if you are in or near Hamilton this month

go take a look and let us know your favourite works.

Squeegees

I think a good squeegee is an important investment for anyone screenprinting. 

This simple tool can affect the overall quality of the end product,

so I thought it might be useful to give a little advice
to help select a good squeegee appropriate to your task:

Handles & Blades: What are they made of? 

Squeegee 'handles' are most often made from wood,
although aluminium or plastic handles can be a little easier to clean.
Also consider whether the shape of the handle
will be comfortable to hold if printing for long periods of time.

Squeegee 'blades' are made from 2 basic types of materials: rubber or polyurethane.

The least expensive squeegees are usually made of rubber. 

There are natural rubber and also synthetic rubber blades.
While commonly used in education and hobby printmakers,
rubber tends wear more quickly and is not as resistance to strong solvents.
Although I periodically sharpen the blades on a belt sander,
the blades can also be replaced fairly cheaply after many years of use.
As a rough guideline, rubber squeegees usually cost around NZ$1 per cm.

Polyurethane, a synthetic plastic material, is more expensive, 

 but it offers the best resistance to both physical and chemical abrasion.
It is often used to make squeegees for high-use and for automated equipment.
They almost never go blunt and especially good if using solvent-based inks.
Polyurethane squeegees usually cost approximately NZ$2.50 per cm.

Squeegee Durometer: How hard is the blade? 

The blade needs to be rigid enough to shear the ink through the screen, 

yet needs to be soft enough to adapt to the contour of the surface.

The durometer indicates the physical hardness of the squeegee blade.
The most widely used measurement for squeegee material is the Shore A scale.
The lower the shore rating the softer and more flexible it is, higher ratings are harder.
For example, we will say 60 = soft, 70 = medium, 80 = hard, and 90 = extra hard.
A durometer or 'shore' of 70A is considered industry standard.

Typically the substrate and the screen mesh will determine the durometer selected.
Ink choice is also an added factor to consider:

UV-cured inks cause more harm to the blade than plastisol or water-based inks. 

 The denser the material, the more solvent-resistant the blade will be.

For example, if the substrate has an irregular or rough surface and requires a coarse mesh,
 then a softer squeegee, with a durometer between 60-70A, could be used.
If the substrate is smooth and a finer mesh count is being used,
then a harder squeegee, between 80-90A, could be used.

Squeegee Profile: What Shape? 

Over time manufacturers have also made squeegee blades with different profiles.
The profile determines the thickness of the ink deposit laid down on different substrates.
Squeegees with a square edge are the most common, and mainly used.

Rounded Squeegees are used the textile industry when a very heavy deposit is required,
and you will notice as your squeegee gets blunter the fine decreases.
Beveled Blades are used for printing rounded surfaces where fine definition is required. 

 But for most of us in art & industry, square is best!

Area Coverage: How Long?


I usually recommend that you consider 2 main measurements:
 the usual size of the images you are going to print,
and also the size of your screens.
I try to allow approximately 5cm more than my image width as a guide,
but also need to allow about 5cm smaller than the inner frame dimension
to allow ease of printing without hitting the sides too often.
For example, I use 35cm squeegees for all A4-A3 sized jobs
(which is anything on a 50x60cm screen).
I also have a 15cm squeegees for smaller jobs, and 50cm & 80cm for larger screen jobs.

Maintenance & Storage:

When printing you should aim to use for less than 4 hours on each side of the blade.
  Printing continuously with the same squeegee edge
can cause swelling and softening of the blade.
If ink residue begins to build up on the inside of the screen,
replace your squeegee with a different one more often, or use several squeegees in rotation.

Resharpening can be performed by many methods.

For rubber squeegees I usually use a belt sander 

or shave off the end with a rotating saw blade (sounds dramatic!).

You can also recycle the handles by buying just the replacement rubber for $40 per m.

Polyurethane blades could 'melt' using these methods, 

so I'd recommend professional advice should be sought before sharpening them.

Continual sharpening of the blade will reduce the blade height 

and eventually this will affect the performance.

Squeegees should be laid flat when not in use, not leaning on their blade.
If left leaning on the blade it can develop a 'wave' where pressure is applied.
Squeegees should be stored dry, and away of heat or direct sunlight. 

If you have several squeegees then invest in a 'rack'
or simply drill a hole in the end and hang by a nail on the wall.

Conclusion: 


For the non-commercial hobby printmaker
you will get many many years of use of joyous printing from your squeegee
so it is definitely worth the investment in getting the right tool for the job!

32nd Mini Print international of Cadaqués 2012

The 32nd edition of the Mini Print International of Cadaqués 2012 

is now open for submissions.

In each call, a qualified jury makes a selection of six works. 

The award winning artists are invited to have a solo show 

 in Taller Galeria Fort in Cadaqués the following year. 

Also, in previous years it has travelled to various countries 

(including United States, Japan, Korea, France, England, Ireland, 

Finland, Andorra, Mexico, Colombia and other locations within Spain) 

The Mini Print International of Cadaqués is the most popular 

and longest running exhibition of miniprints in the world.

 The technical and formal quality of the works is very high.

Open to all artists, printing techniques and tendencies,

each artist should submit four prints.

The image must not be bigger than 10 x 10 cm. 

The paper must not be bigger than 18 x 18 cm

Cost to enter is €40 (approx NZ$65 at the current rate)

Click here to see the full version of entry information.

I'm giving you plenty of warning - the deadline is 15 March 2012.

In the 31st Mini Print competition this year,

 there were 692 exhibiting artists from 57 countries!

Here are works by the 6 winners from this year:

Roger Dewint (Belgium), Hirsute, 2011
 Etching

Núria Calsapeu (Spain), Gallina, 2011

 Cut plate and collage

María Fernández Rivas (Argentina), Del Circo, 2011

Etching and Aquatint

Andrew Donohoe (Australia), Florentine Fantasy, 2011

 Linocut

Kyoshiro Takahashi (Japan), Moon’s Time – 3, 2011

Drypoint and Collagraph

Noriaki Kondoh (Japan), K9 #02 

Silkscreen

Drypoint Workshop, 9-11 Jan, Auckland

University of Auckland is offering a 3-day drypoint summer workshop

called Discover Drypoint: Exquisite Scratches, Magic Traces

3 days, 9-11 January 2012, 9.30am-4.30pm

tutored by Tracey Williams, cost $321

Register by Friday 11 November to receive an earlybird discount.

Drypoint belongs to the Intaglio family of print techniques 

where an image is incised into a surface, 

which is then inked and transferred onto paper through a press, 

producing exquisite velvety images.

The course will present an overview of the historical and contemporary use 

and thinking surrounding print, including studies of individual artists. 

Students will take part in a series of intense and structured skill-based sessions. 

Through one-on-one guidance and group conversations they will be encouraged 

to produce a small collection of prints based on original ideas.

Click here for more information or to register your interest.

Carole Shepheard Talk, 10 Nov, Hamilton

Just a reminder that next week the University of Waikato has a talk about printmaking

in their 'Demystifying the Arts' series, called 

SURFACE IMPRESSIONS: Contemporary Printmaking in Aotearoa
at 7pm on Thursday 10 November

Carole Shepheard

Photo by Jacqui Blanchard

Heather Bramwell will talk with New Zealand printmaker Carole Shepheard 

about the changes that have occurred in printmaking over the past two decades.

The artists will talk about the impact of new technologies

and the need for print to evolve, adapt and extend 

if it wishes to be part of contemporary debate. 

This does not mean a loss of tradition or convention, 

but a willingness to embrace new possibilities 

– both digital and autographic – 

that accommodate invention, challenge and risk. 

It is an exciting time for printmakers who wish to face these challenges 

openly, constructively and creatively.

It is being held at Gallagher Academy of Performing Arts 

at University of Waikato, Knighton Rd (Uni Gate 2b), Hamilton. 

Bar facility open from 5pm, $5 Entry Fee 

I'm sure it will be a very interesting talk, so I encourage you to go!

Gel Transfer Workshop, 10 Nov, Auckland

Uxbridge Creative Centre in Howick, East Auckland, 

are hosting a Print Workshop using 'Gel Medium Transfer' 

on Thursday 10 November from 10am-1pm

being tutored by Emma McLellan, Visual Arts Lecturer at MIT.

Limited to 15 participants only and is FREE.

To book a place call the Uxbridge office on 535 6467

Participants need to bring images with them for using in gel medium transfer process.

Here is an example I found on the internet
of someone using Gel Medium photo transfers in collaboration with painting.

Gel Medium Transfer is quite a nice process to use when layering images.

It is like collage but transparent, and more 'painterly' than a cut-out.

A great way to transfer images without needing any special equipment.

Quick and easy to learn, non-toxic, very economical.

Give it a try!

Art School Graduate Shows Around NZ

It is nearing the end of year for all those studying at art schools around NZ,

so I thought I'd let you know about a bunch of graduate exhibitions 

so you can go take a look at some innovative printmaking somewhere near you:

Visual Arts, Creative Technologies, WelTec, Wellington

on now until 11 November 2011

at New Zealand Academy of Fine Arts Galleries, 1 Queens Wharf, Wellington

Art & Design, Waiariki Institute of Technology, Rotorua

End of Year Exhibition, Art & Design

Opening 6pm on 10 November, Exhibition viewing 3-19 November

I Block and J Block Atriums, Waiariki Institute of Technology, Mokoia Drive, Rotorua

Quay School of the Arts, UCOL Whanganui

3 Ladders - BFA Graduate Exhibition

Opening 5.30pm on Saturday 5 Nov, Exhibition 6-19 November 

at Whanganui UCOL, 16 Rutland St, Whanganui

 Visual Arts at AUT, Auckland

 Graduating Exhibitions BVA, PGDip, Master of Visual Arts Students

on Wednesday 9 November - Saturday 12 November

AUT Art & Design, St Paul St, Auckland

School of Fine Arts, Canterbury University, Christchurch

 Open Day on Wednesday 9 November, 11.30am - 7pm.

You are warmly invited to take a stroll around the School of Fine Arts Campus and Studios. 

Submissions from students studying in Fine Arts can be viewed. 

School of Visual Arts, Manukau Institute of Technology

Public Open Day, BVA Graduate Show

from 10am-4pm on Saturday 12 November

at the Faculty of Creative Arts, 50 Lovegrove Cresent, Otara

Art & Design, CPIT, Christchurch

Ripe - Art & Design Graduate Exhibition

14-26 November, 2011

Rakaia Centre, Madras St Campus, CPIT

Parking is available on CPIT campus.

Art, Design & Media, Western Institute of Technology in Taranaki (WITT)

Optic, Bachelor of Visual Arts Graduate Exhibition

Opening 18 November 5:30pm, exhibition from 19-30 November 

at WITT ART Gallery, 20 Bell St, New Plymouth.

Dunedin School of Art, Otago Polytechnic

19-24 November

Dunedin School of Art, Riego St (off Albany St near Anzac Ave), Dunedin

NorthTech Visual Arts

E Rere - Graduate Art Exhibition

Opening Reception: Friday 25 November, 5-8pm

Exhibition: 26 November - 3 December, 10am-4pm

Cnr of Kerikeri & Hone Heke Roads, Kerikeri

Whitecliffe College of Arts & Design, Auckland.

 Year 4 Graduate Exhibition

on 25 November from 5.30pm - 26 November 

at Pearce Gallery and St Georges Bay Rd Studios, 130 St Georges Bay Road, Parnell.

Elam, University of Auckland

Graduate Show, 26-27 November

at 20 Whitaker Place, 5 Symonds Street and 25a Princes Street (George Fraser Gallery)

If you know of any other art school graduate shows around NZ

then please email me details of your show and I'll add it here.