Jan Davis
GOGO GIRL (2007)
Could be viewed as the sad life story of a busy woman or an invitation to take time to reflect. Hand-stamped. 12 x 13 cm. Published by numero uno publications in an edition of 5. $165
artists books
Mal Enright
piss’n’wind (the art scene) (1996)
A complete digital book. Outputed from a file to an Indigo “Eprint” and printed on Mohawk options inxwell. Entirely made from recycled images & found texts. Prepare yourselves for his usual MalEisms. ‘The wind’ is recycled images from a U.K. Dyson advert for it’s vacuum cleaner combined with ‘the piss’ part, ‘martell cordon blue’, ‘moet et chandon vintage’, ‘absolute vodka’, etc opposite the appropriate ‘windbag’, all you have to do is match them up! ‘piss’n’wind’ is part of the artist’s continuing comments on the art scene. Dedicated to Sister Mary Boneventa “she know a good artist when she sees one”. 64 pp.15 x 10.7 cm. Edition of 20. numero uno publications, Brisbane . $60.00
Noreen Grahame
Monsieur Le Président (1995)
A protest flip book about the resumption of French nuclear testing in the Pacific. The word ‘non’ gradually gets bigger as the reader flips the pages until it almost shouts “NON, Monsieur Le Président”. Also comes for southpaws. Signed. 14 pp. 3.5 x 12 cm. Laserprint. numero uno publications. Open-ended edition $11
Noreen Grahame
Mein Lieber Herr (2005)
The typical Ja, Ja, Ja! until it become tja, tja (oh well!). Signed. 14 pp. 3.5 x 12 cm. Laserprint. numero uno publications. Open-ended edition $11
Jan Davis, Noreen Grahame
the case of the extremely glad gallerist (2001)
A flip book for galleries, artists and others who are red blind. From ‘The Comments Series’. 24 pp, 9 x 12 cm. Published by numero uno publications in a edition of 200. Signed and numbered $38.50
Jan Davis, Noreen Grahame
the case of the extremely sad gallerist (2001)
A flip book for galleries, artists and others who remain ever hopeful. From ‘The Comments Series’. 24 pp, 9 x 12 cm. Published by numero uno publications in a edition of 200. Signed and numbered. $38.50
Noreen Grahame
Lessons in dictation (2007)
The absurdity of the dictation test as proscribed in Section 3(a) of the Immigration Restriction Act of 1901 is evident in the farce surrounding the 1934 Eugon Kisch incident. Kisch, a Czech national and a communist, was invited to speak at a meeting organised by The Movement Against War and Fascism. Wanting to prevent him entering the country and speaking, the Australian government of the day, ordered he undergo a dictation test in Scottish Gaelic, a language they were sure the multi-lingual Kisch would not know, would fail and then be deported! Recent discussions about reviving the dictation test to prove eligibility for Australian citizenship indicates we have not learned this lesson of history. 12 pp, 24.7 x 19.5 cm. Hand writing on slate printed offset. numero uno publications . Edition of 100 plus 10 ap. $55.00
John Honeywill
Memory Maps (1993)
The fading memories of a father who passed away twenty-five years ago and a mother’s memory affected by Alzheimer’s disease emphasise the tenuous hold on the source of memories. Honeywill’s book explores these links with the past through ‘the residual feelings that remain from memories that are lost. ’ With extract from a short story ‘Water in the Wires’ by Ross Honeywill. Screenprinted images and text. 15.2 x 20.5 cm. Signed and numbered. grahame galleries + editions in an edition of 100. $99
Michael Schlitz
les sons of history (2007)
We follow Schlitz’s ‘sons’ of history in these tightly cut woodblocks. We follow their history making from the first image ‘every mothers son’. On we go with ‘swampman of the desert’, ‘explorers dream’ and ‘man on horizon’. All are searching and all are hopeful. Then comes ‘fear of an edge’ and ‘within the heart of another mans past’ and others on to ‘momento mori’. les sons of history reflects all the hope and angst of those who make and those who wish to make history. 28 x 50 cm. Bound by Fred Pohlmann. numero uno publications in an edition of 10 + 2 ap.
$1,650
Michael Schlitz
the nature of things (2005)
Ten woodengravings on Japanese Kozo paper accompanied by the artist’s text screenprinted opposite the black images in light ink. the nature of things relates tales about the human condition from a personal perspective. Japanese binding by Fred Pohlmann. 20 pp, 24.7 x 27.2 cm. Signed and numbered. numero uno publications in an edition of 10. $1,100
Judy Watson
under the act (2007)
Judy Watson’s new artist’s book under the act (2007) made its debut as a work in progress in Lessons in History Vol 1, an exhibition of artists’ books looking at history and the lessons of history, held at grahame galleries + editions in March/April 2007.
As with the artist’s first artist’s book, a preponderance of aboriginal blood (2005), which deals with Aboriginal people’s Right to Vote, Judy Watson has drawn on letters, papers and official documents found in the Queensland State Archives as well as personal family photographs as a base for under the act. The documents from the archives this time, however, pertain to her great-grandmother and grandmother who lived under the Aboriginal Protection and Restriction of Sale of Opium Acts of 1897. They also reveal the categories, “full blood”, “half-cast”, “quadroon”, “octoroon”, ascribed to aboriginal people of the day.
Using etching and lithographic techniques this work makes a powerful statement about life Under the Act. Amongst documents from the archives used in the book is Watson’s great grandmother’s ‘exemption card’. These cards allowed holders to live and work outside the reservations, and were called ‘dog tags’ by their holders, as they were obliged to carry them on their person at all times. Also included are letters of objection from various parties to authorities at the time Watson’s aboriginal grandmother and white grandfather were seeking permission to marry.
In documenting her family’s life in under the act, Watson etches the history of all Aboriginal people who lived Under the Act.
Twenty etchings with chine collé, 42 x 30.5 cm in folio 43 x 32 cm (closed) 71.3 x 99.2 cm (open). numero uno publications in an edition of 20 plus 5 a/p. $16,500
Judy Watson
a preponderance of aboriginal blood (2005)
At first the artist declined the commission by the State Library of Queensland in 2005 to produce an artist’s book to celebrate the Queensland Centenary of Women’s Suffrage and Forty Years Aboriginal Suffrage. But when she heard Loris Williams, former Archivist, Community and Personal Histories Section of the Department of Aboriginal and Torres Strait Islander Policy, use the term, ‘a preponderance of aboriginal blood’, in a lecture at the University of Queensland, she felt compelled to undertake the commission to celebrate Forty Years Aboriginal Suffrage.
The artist’s aboriginal Grandmother, Grace Isaacson, was born on Riversleigh Station in North West Queensland in 1912. Watson says, “Being with family, talking with my Grandmother, absorbing her memories, gaining an insight into her life and the way she sees the land, being shown bushfoods and sites is some of my major research as an Indigenous visual artist. The strength of these experiences sustains me and is the touchstone for my work.”
In a preponderance of aboriginal blood copies of original documents from the State Archives are presented simply. They are photocopied onto thin paper, and, using chine collé, are overlaid with etched images of blood. The artist states that because the material from the archives already has a latent power she didn’t want to change very much and that its leakage onto the page was enough.
Watson says, “I view this material with a deep, personal hurt for my family and for all Aboriginal people.” a preponderance of aboriginal blood is dedicated to Loris Williams. Signed and numbered16 pp, 42 x 32.5 cm in folio 43 x 32 cm (closed) 71.3 x 99.2 cm (open). numero uno plublications in an editions of 5 plus a/p.
One available $10,000
Anne Kirker, Normana Wight
elements — 2005
Anne Kirker’s four poems refer loosely to the elements; earth, air, fire, water. The artist, Normana Wight, has responded to these with a ‘page turner’ of a book, with a flow of text and image through a panoramic format of digital print on Raleigh Navajo Text 148 gsm and Tracing paper 115 gsm in an edition of 12 plus 4 proofs. Covers are Somerset Velvet paper 250 gsm. Japanese binding by Adele Outteridge. Perspex box sleeve. 13.5 x 29 cm. Signed and numbered inside back cover. numero uno publications in an edition of 12 plus a/p. $880
Anne Kirker, Normana Wight
AS IT IS — 2005
Poems by Anne Kirker with images by Normana Wight in a boxed folio of eight poems on seven folded sheets. Printed by Normana Wight on Arches Aquarelle 185 gsm paper using Hewlett Packard 930 Inkjet printer. Folio size 18 x 25 cm. Box size 20 x 26.6 cm. numero uno publications in an editions of 10 plus a/p. $990
Normana Wight
Posted (2009)
Concertina format in 10 panels/pages with digital images 19.0 x 19.5 cm.
Each month over 10 months from October 2007 to July 2008 Wight made a postcard in an edition of 40, which she posted to a ‘select few’ including family members and friends in Australia an overseas.
The project was titled ‘then and there 1937 – 1946’, a period full of upheaval for many Australian families. ‘then and there’ is based on a group of photographs of the Wight family from this period. They were sent from Victoria by Wight’s mother to her sister living in North-West Western Australia and returned to the artist in 2007. On the back of the photographs were comments and sometimes drawings. The book opens with a reproduction of the first postcard showing a photograph of the artist’s father and the verso containing a drawing of a planned house on the Mornington Peninsular. It is titled ‘c. 1937 father – car – dream’. This dream was never fulfilled. Wight’s father was a RAAF pilot. His aircraft disappeared in New Guinea during the war and was not found until some 20 years later. Like memory ‘Post’ jumps back and forth and is neither a chronological report on the family nor on the decade. The artist’s jottings are preparatory notes to go with the page image. The postage stamps are indicative of the ‘through-the-post’ project and sometimes point to the specific ‘postcard’. Page 4 shows the garage, which became the family’s home from 1942 – 1949’, and the postage stamp of a Border Collie. A Border Collie being the family’s pet at that time. The rubber stamped Postage Paid Australia stamp is from Wight’s exhibition invitation held in 1994. On page 7 the notation from the photograph’s verso, ‘On this site we hope to build a ‘long-low-white house’, is transposed across the photograph. At the bottom of this page the artist writes, ‘The evaporation of dreams.’ It is true that this decade evaporated many dreams. Posted is nevertheless full of hope.
Edition of 10 plus 2 ap $880