Harry Lime in The Third Man (1949)

Graham Green’s character expresses contempt for democracy in stark contrast to our sense of ‘democracy’ as a ‘feel-good’ idea. With missionary zeal, we have undertaken wars in Iraq and Afghanistan, in part to bring a western ‘democratic system’ to the citizens of these countries. But is the ‘democracy’ we wish to impose already broken? Will the cuckoo clock be all that is left?

SOME ENTRIES TO DATE

Marian Crawford, Australia
segmentation and darkheartedness (2012)

letterpress and typewriter texts with laser printed images; edition of 5

In 2010 Furkan Dogan, a Turkish permanent resident, was on board the ship Mavi Marmara that attempted to break the Israeli blockade of Gaza. Israeli naval commandoes killed Dogan in a raid on the flotilla on 31 May 2010.
Australian-born French-based writer, Christopher Barnett, in a poem recorded on Facebook when they came/for you… commemorated the history of that raid.
Crawford’s segmentation and darkheartedness reflects on the political repercussion of the death of Furkan Do?an, on a poet’s commemoration of this event, and on the artist’s reconstruction and contextualising of these reflections and the historical context of these events.
The book combines quotations from Barnett’s poem and other found texts that reflect on principles of democracy and images sourced from TV and the web that represent these struggles. This exploration of commemoration and history, political conflict and individual agency reflects on the nature of visual images that record contemporary political events as fleeting projections on screen, and in newspapers easily skimmed and discarded, and on the differences in representation and sensibility that poetry and the visual arts bring to bear on these terrible conflicts.
Citations:
Barnett C 2010, when they came for you, a threnody commemorating (amongst other things) the death of Furkan Do?an.
Saul J R 1995, The Doubter’s Companion: A Dictionary of Aggressive Common Sense, Penguin, London, p. 118.
Megalogenis G 2011, ‘The Book of Paul: Leadership and Paul Keating’, The Monthly, Issue 73. p. 32.
Images:
Mavi Marmara: http://www.cruiselawnews.com & http://kiaoragaza.wordpress.com/2011/09/04/kia-ora-gaza-disputes-palmer-report-on-radio-nz/
Stills: Photographed while watching ABC1, 7.45 to 8.47 pm, 22 November 2011.

Holger Kueper, Germany
Republic of Art

Helen Mueller, Switzerland arrived Australia early 1970s
Maker’s Mark (2011)

Unbound book comprising stacked linocut prints; 18.0 x 21.0 x 12.0 cm. Unique

The fingerprint along the fore edge of Makers’ Mark is made up of individually printed linocuts. Each unique print is stacked one atop another to form the powerful image of one fingerprint.
The idea behind this book is that, just as a book is made up of individual pages, a democracy is made up of the ‘imprint’ of each participating individual. Additionally, in some societies, the fingerprint is also proof of having cast a vote.
As a concept, the unbound book, or stack, reflects the artist’s interest as a printmaker in the multiple and the serial nature of the printing process and her fascination with books and book-like structures. It also embodies the printed edition or series presented as an object. Mueller’s books consist of a large number of usually relief prints on paper resting one atop another, which also reveal the printed images or text on the edge. A stack, as a collection of pages, stands for both the story and the book containing it.
Anxiety surrounds our concern about the book. An anxiety fuelled by worry about what effect electronic media might have on the book’s future. Mueller’s books reflect this anxiety. They are made of a collection of a large number of unattached pages precariously stacked, ready to disintegrate at the slightest shock.

Sean Phillips, Australia
Selected Corrected Democracy Documents (2011)

Reel of typewriter correction tape mounted in Perspex box; 10.5 x 8.5 x 8.5 cm accompanied by A4 sheet. Unique

On each of the four sides of a white plinth appears one of each of the four words from the title of Phillips’ Selected Corrected Democracy Documents. Immortalised atop the plinth is an expended roll of typewriter correction tape enclosed in a Perspex box.
The roll of typewriter correction tape contains ‘corrected’ text selected from documents fundamental to the history and principles of democracy; The French Declaration of the Rights of Man and Citizens; The Universal Declaration of Human Rights; Amnesty International Twelve-Point Program for the Prevention of Torture; Inter-American Convention to Prevent and Punish Torture.
Using a Brother AX250 electric typewriter Phillips typed his selection onto a white A4 sheet of paper. As the Brother AX250’s correction memory extends to only one line, the artist was limited to typing a single line of text and then ‘correcting’ it by changing to correction mode. The correction tape automatically overtypes each letter beginning with last letter typed and moving back to first letter. Phillips repeated the process line by line. The correction tape came to an end on the last line leaving three ‘uncorrected’ words.
The process transferred the text from the A4 sheet to the correction tape. The text was not changed but now is simply reproduced in negative. Thus the term ‘corrected’ is ironic, as it is only true in an absolutely literal (mechanical) sense. The text on the original A4 sheet has not been effaced. It remains a ‘ghost’ that can, albeit with difficulty, still be read.

Stephen Spurrier, Australia

Canaries for Democracy

Democratic Domestic

Undemocratic Demostic

Red Dog Democracy

experimental beds (2012) (to be released April 2012)
6 colour etchings – plate 49.5 x 37.5 cm
published in editions of 20 on Hahnemühle paper 70.0 x 54.0 cm
editions: 10 suites – all 6 etchings $8,000 – single etchings $1,500
publishers
Judy Watson, grahame galleries + editions/numero uno publications and The Kluge-Ruhe Aboriginal Art Collection, University of Virginia (UVa)

To register your interest Email Grahame Galleries
Click on images to enlarge

African Americans were extended none of the rights proclaimed in the 1776 American Declaration of Independence. Its primary author, Thomas Jefferson, stated in the historic document, “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness”. That these Rights did not include the enslaved population of the United States of America remains a contradiction between Jefferson’s words and actions.

Judy Watson is an Indigenous Australian artist who grew up in suburban Brisbane. She is a Waanyi woman whose matrilineal family is from Country in north-west Queensland. “Country is the wellspring of creativity she explores with her Indigenous heritage, and Western the art-school training from a European model that informs her path and aesthetic sensibility. Its success is at least in part a result of its ability to transcend categorisation and be seen at the leading edge of contemporary art today.”[i]

In 2009 Watson visited the University of Virginia (UVa), where she saw Jefferson’s architectural drawings for the university in an exhibition, Thomas Jefferson’s Academical Village: The Creation of an Architectural Masterpiece curated by Richard Guy Wilson.

Margo Smith, Director of the Kluge-Ruhe Aboriginal Art Collection at UVa, extended Watson an invitation to be an Artist-in-Residence in the program funded by UVa Arts Council. Watson felt that “having learnt something of Jefferson’s history, interwoven with relationships with his white family and African American enslaved women and children, also considered to be part of his blood family, I decided to use these architectural drawings as the bones for a series of works that investigated these relationships.”

In his early political career, Jefferson was an opponent of slavery describing it as an “abominable crime”.[ii] In the mid-1770s he advocated for granting emancipation to those born into slavery and drafted the Virginia law prohibiting the importation of slaves in 1778. He put forward a proposal to ban slavery in the new Northwest Territories in 1784 but maintained a deafening silence in his public statements on the subject after being elected the third President of the United States of America (1801-1809). Of the hundreds of slaves owned by Jefferson, he freed only two during his lifetime.

In 1769 overlooking the future site on which he was to plan and oversee the building of the University of Virginia, Jefferson set out to build his mansion, Monticello. The inherited plantation was a commercial venture built, maintained and made profitable to a large extent by the labour of his slaves.

Jefferson kept meticulous records over many years covering activities on his properties.  His ‘Farm Book’ includes detailed inventories of both livestock and slaves. Columns in his ‘Garden Book’ list when vegetables were sown and when they were ready for picking. Jefferson’s plans of Mulberry Row, named for the mulberry trees growing along it, show the various industries established as market opportunities presented. Archaeological digs indicate that slave dwellings were also located here. One industry was the lucrative nailery staffed mainly by ten to 16-year-old slave boys. Some of the slave boys went on to be trained as blacksmiths, carpenters and joiners and would work on the construction of the university.

James (Jame, Jamey) Hubbard was typical of boys sent to the nailery. Starting his working life at age eleven in 1794 as a Nailer. In 1802 his occupation in Jefferson’s ‘Farm Book’ is registered as Charcoalburner, and Jefferson paid him a small premium for his efficiency in producing charcoal and for his round-the-clock monitoring of the kilns. When he was twenty, Hubbard used his premium to obtain forged free papers and clothing distinguishing him as a freeman. The papers written by an illiterate did not pass scrutiny and Hubbard was returned to Monticello.

Six years later in 1811, armed with genuine papers, he escaped and managed to remain free for over a year, during which Jefferson sold “his rebellious slave”.[iii] The new owner placed a ‘Ran away’[iv] advertisement in the Richmond Enquirer offering forty dollars in addition to what the law allowed for his apprehension. When Hubbard’s whereabouts was discovered, Jefferson paid seventy dollars for his returned to Monticello. He then had him “severely flogged in the presence of his old companions, and committed to jail.”[v] No record of Jame Hubbard exists after 1812.

Jefferson considered the founding of the University of Virginia (UVa) in 1817 to be one of his major achievements. With no formal training as an architect he conceived, planned and oversaw its construction. He read extensively on European architecture and studied structures during his sojourn in France, firstly as Trade Commissioner and then as the United States Minister to France. He relied heavily on European architectural styles in his endeavour to develop an American architectural identity. Monticello’s trained slaves worked alongside craftsmen and labourers hired by contractors to construct the university, but it would take more than a century for African Americans to take their place alongside white students at UVa.

Smith obtained permission from the Albert and Shirley Small Special Collections Library, UVa for Watson to use Jefferson’s architectural drawings in a proposed series of etchings. She also introduced Watson to key people at Monticello and UVa during her residency.

Leni Sorensen, an African American Research Historian at Monticello, showed Watson around the gardens and inadvertently gave her the title for her suite of etchings. Sorensen explained Jefferson’s practice of experimentation with seeds and plants he sourced from Europe to China. From the American continent, seeds were planted from those collected by the Lewis and Clark expedition, a project instigated by Jefferson early in his presidency, to seek the Northwest Passage to the Pacific. Seeds from plants that had originally arrived with slaves from the Congo were also planted in Monticello’s vegetable gardens. Jefferson assessed the crops for their usefulness and for their adaptability to Virginia’s climactic conditions and Sorensen described the gardens as Jefferson’s “experimental beds”.

For Watson this was the perfect title for her body of work. It also encompassed “Jefferson’s pursuits across the cultural divide ‘between the sheets’ with the enslaved woman, Sally Hemings, whose descendants are considered by many to be both Jefferson’s and Sally Hemings’ family.” This union between a white man and a black woman, resulting in children of mixed descent, is reflected in Watson’s own family in Australia, where the matrilineal line of her family is Australian Aboriginal, and the patrilineal line is white European males.

At Monticello, Watson also met an archaeologist working at the Mulberry Row dig and photographed some of the artefacts unearthed that day. In her etchings, Watson incorporates drawings from these photographs and others taken of artefacts in Monticello’s collection and of vegetables grown in Jefferson’s “experimental beds”.

Watson commenced the initial transfer of her selection of Jefferson’s architectural drawings and other visual material onto etching plates in September 2011 with Basil Hall Editions (BHE) in Darwin. Plates and proofs were sent to UVa for Watson’s residency in October 2011, where she worked with faculty, particularly Dean Dass, and students from UVa Art Department on fleshing out the proofs. The plates were returned to Watson in Brisbane for further work and then sent to BHE in Darwin for proofing and editioning.

Working with Judy Watson on her project of six original etchings experimental beds is Kluge-Ruhe’s first venture as a publisher of fine art.

Noreen Grahame
March 2012

experimental beds 1 (2012)

3-plate etching with chine collé
Left profile: Aboriginal Artist/Activist, Richard Bell, with whom Watson shared a studio in Brisbane. Right profile: Lindsey T. Jackson, an African American woman, who lives in Brisbane and has family in Virginia. (Profiles repeated in experimental beds 5). Vegetables including squash are from Monticello’s ‘experimental beds’. Archaeological finds incorporated in etching include a cowrie shell, ring and a coin with unknown figurehead on obverse. Hair-like threads refer experimental beds 5. Architectural drawing is of The Rotunda, First Floor Plan and is repeated in experimental beds 6.

experimental beds 2 (2012)

3-plate etching
The architectural drawing used here Pavilion No. III W. Corinthian Palladio is repeated in experimental beds 5. Images of nails from archaeological digs dominate. The etching includes drawings of charcoal kilns from the era of the nailery.

experimental beds 3 (2012)

3-plate etching
The elk antlers drawing, which forms the centrepiece of both experimental beds 3 and 5, is of antlers collected by Lewis and Clarke during their expedition. They now hang in Monticello’s Entrance Hall. Artefacts referencing slave presence: nails from the nailery, a bucket handle, shards of pottery and hooks and fasteners from slave women’s dresses. Hooks and fasteners allude to the sexual exploitation of enslaved women by white men on the plantations. These images are overlaid with the drawing of Pavilion VII W. Doric Palladio.

experimental beds 4 (2012)

2-plate etching
Jefferson’s drawing of Library, Elevation of the Rotunda forms the centrepiece.

experimental beds 5 (2012)

4-plate etching
At Watson’s solo exhibition, waterline (2011), held at the Australian Embassy in Washington, she met Eve Ferguson, an African American woman. The shape, top-middle, is inspired by the back of Ferguson’s hair. Hair-like threads appear as connecting lines here and in experimental beds 1. Hair carries DNA and is often seen as a trace of somebody’s presence/absence. Elk antlers (refer experimental beds 3). Profiles (refer experimental beds 1). Architectural drawing (refer experimental beds 2). Archaeological artefacts (refer experimental beds 2 and 4).

experimental beds 6 (2012)

experimental beds 6 (2012)
2-plate etching with chine collé
Architectural drawing (refer experimental beds 1).

Architectural drawings courtesy Jefferson Papers of the University of Virginia, Albert and Shirley Small Special Collections Library, University of Virginia.

All images © Judy Watson

“Costumes of the Russian Court Vol.1 is the narrative of a whimsical, fantastical catalogue. The description of the costumes of the Russian Court alongside collaged images of old family photographs – family members all dressed up in the finery depicted, to tell a story of imagination, discovery of identity, belonging and the longing to know more about one’s cultural history.”

This particular book form is a digitally printed, hand bound and rubber stamped reproduction of a unique artist’s book of the same name, which was exhibited at the 2008 Libris Book Awards in Mackay and acquired for their collection. 15.0 x 21.7 cm. Signed and numbered 1/30. miss browns lounge, NSW.

‘Six drawings in wire printed blind intaglio on sheets which, folded and juxta posed in sequence, make for eleven reclining nude images which change position from front to back view; published in a limited edition of 75 signed sets and an unlimited edition of unsigned – all numbered, the first one hundred of which are printed onto RWS handmade paper from Barcham Green.’ This is a well devised artist book needing no text.

Turner, Silvie (ed.) 1993, Facing the page – British Artists’ Books, a survey 1983 – 1993, estamp, London.
Courtney, Cathy 1996, The Looking Book a pocket history of Circle Press 1967-96, Circle Press Publications, London, 1996.
Drucker, Johanna 1995, The Century of Artists’ Books, Granary Books, NY. p. 176
Grahame, Noreen (ed.) 1996, artists’ books + multiples fair ‘96, numero uno publications, Brisbane 1996.  p. 55.
Lauf, Cornelia and Phillpot, Clive 1998, Artist/Author Contemporary Artists’ Books, Distributed Art Publishers Inc. and The American Federation of Arts, New York.

Echo Book (1994)

The words ECHO BOOK are blind embossed on cover and on each page of the three sections, so that the verso of each page echos the front. 19.7 x 8.0 cm.
Signed and numbered edition 3/75.

Courtney, Cathy 1996, The Looking Book a pocket history of Circle Press 1967-96, Circle Press Publications, London, 1996.
Grahame, Noreen (ed), 1996, artists’ books + multiples fair ‘96, numero uno publications, Brisbane. p. 55.

Anansi Company (1992)

Poems by Roy Fisher with research  material and thirteen removable wire and card puppets by Ronald King and constructed by Jessica King and Ian Jones with the help of Nicholas Gardner. Box by Perstella. Printed silkscreen and letterpress by Ron King. Signed in pencil by artist and writer with dediction ‘for Noreen Grahame 1995 Brisbane’. Edition 68/120.

Courtney, Cathy 1996, The Looking Book a pocket history of Circle Press 1967-96, Circle Press Publications, London, 1996.  pp. 164, 171
Turner, Silvie (ed.) 1993, Facing the page – British Artists’ Books, a survey 1983 – 1993, estamp, London. p. 52

A book of musical notes with drawings that provides a new look at some familiar musical scores. Printed offset15.0 x15.0 cm, 31pp, packaged and sealed. Edition of 1500. Collection holds two copies – one sealed and one with broken seal.

Grahame, Noreen (ed.), 1991, Artists’ Books – The Catalogue, grahame galleries + editions

Hand stamped prints printed in red from rubber stamps. 12 leaves. 11.5 x 12.8 cm. Red tape binding. On-going projected edition of 100. Published by the artist, New York.

Anderson, Peter 2009, Working Through / Turning Pages : The Artist’s Books of Robert Jacks, Bendigo Art Gallery, Bendigo. p. 26.Catalano, Gary 1983, The Bandaged Image : A study of Australian artists’ books, Hale & Iremonger, Sydney. pp. 35-37.Selenitsch, Alex 2008, Australian Artists Books, National Gallery of Australia, Canberra. pp. 28-29; no. 16, p. 113.

COLOR BOOK HAND STAMPED NEW YORK 1975 (1975)

Hand stamped prints printed in red, black, green and blue from rubber stamps. 15 leaves. 11.5 x 12.8 cm. White tape binding. On-going projected edition of 100. Published by the artist, New York.

Anderson, Peter 2009, Working Through / Turning Pages : The Artist’s Books of Robert Jacks, Bendigo Art Gallery, Bendigo. pp. 11, 28Selenitsch, Alex 2008, Australian Artists Books, National Gallery of Australia, Canberra. pp. 28-29; no. 23, p. 114.

TWELVE DRAWINGS HAND STAMPED NEW YORK 1974 (1974)

Hand stamped prints printed in black from rubber stamps. 12 leaves. 11.5 x 12.8 cm. Black tape binding. On-going projected edition of 100. Published by the artist, New York.

Anderson, Peter 2009, Working Through / Turning Pages : The Artist’s Books of Robert Jacks, Bendigo Art Gallery, Bendigo. pp. 11, 28.Selenitsch, Alex 2008, Australian Artists Books, National Gallery of Australia, Canberra. pp. 28-30; no. 20, p. 113.

1975 – 1976 HAND STAMPED NEW YORK (1975 – 1976)

Hand stamped prints printed in black and red from rubber stamps. 12 leaves, 11.5 x 12.8 cm. Blue tape binding. On-going projected edition of 100. Published by the artist, New York.

Anderson, Peter 2009, Working Through / Turning Pages : The Artist’s Books of Robert Jacks, Bendigo Art Gallery, Bendigo. p. 28.Catalano, Gary 1983, The Bandaged Image : A study of Australian artists’ books, Hale & Iremonger Pty Limited, Sydney. p. 36.
Selenitsch, Alex 2008, Australian Artists Books, National Gallery of Australia, Canberra. pp. 28-31; no. 26, p. 114.

RED DIAGONALS 1976 (1976)

Book of diagonal lines printed offset in red. Title in black on cover with red tape binding. 16 leaves. 14.2 x 21.6 cm. Published by the artist in an edition of 200, New York. Printed by Soho Factoti.

Anderson, Peter 2009, Working Through / Turning Pages : The Artist’s Books of Robert Jacks, Bendigo Art Gallery, Bendigo. p. 11, 39.
Catalano, Gary 1983, The Bandaged Image : A study of Australian artists’ books, Hale & Iremonger, Sydney. p. 36-37
Selenitsch, Alex 2008, Australian Artists Books, National Gallery of Australia, Canberra. pp. 32-33; no. 29 p. 114

LINES DOTS HAND STAMPED AUSTIN TEXAS 1976 (1976)

Hand stamped prints (overlaid) printed in green and blue from rubber stamps. 12 leaves. 11.5 x 12.8 cm. Yellow tape binding. On-going projected edition of 100. Published by the artist, Austin, Texas.

Anderson, Peter 2009, Working Through / Turning Pages : The Artist’s Books of Robert Jacks, Bendigo Art Gallery, Bendigo. pp. 11, 29.
Catalano, Gary 1983, The Bandaged Image : A study of Australian artists’ books, Hale & Iremonger Pty Limited, Sydney. p. 36
Selenitsch, Alex 2008, Australian Artists Books, National Gallery of Australia, Canberra. pp. 28-30; no. 28, p. 114

LINES DOTS NUMBER TWO HAND STAMPED HOUSTON TEXAS 1977 (1977)

Hand stamped prints (overlaid) printed in green, red and blue from rubber stamps. 12 leaves. 11.5 x 12.8 cm. Green tape binding. On-going projected edition of 100. Published by the artist, Houston, Texas.

Anderson, Peter 2009, Working Through / Turning Pages : The Artist’s Books of Robert Jacks, Bendigo Art Gallery, Bendigo. p.30
Catalano, Gary 1983, The Bandaged Image : A study of Australian artists’ books, Hale & Iremonger, Sydney. p. 36.
Selenitsch, Alex 2008, Australian Artists Books, National Gallery of Australia, Canberra. pp. 28-30; no. 37, p. 115.

GREEN LINES HAND STAMPED SYDNEY1981 (1981)

Hand stamped prints (overlaid) printed in green from rubber stamps. 12 leaves. 11.5 x 12.8 cm. Green tape binding. On-going projected edition of 100. Published by the artist, Sydney.

Anderson, Peter 2009, Working Through / Turning Pages : The Artist’s Books of Robert Jacks, Bendigo Art Gallery, Bendigo. p. 37.
Selenitsch, Alex 2008, Australian Artists Books, National Gallery of Australia, Canberra. pp. 28-30; no. 22, p. 114

HAND STAMPED 2005 (2005)

Hand stamped prints (overlaid) printed in green, blue and black  from rubber stamps. 10 leaves. 11.5 x 12.5 cm. Black tape binding. Edition unknown. Published by the artist, Harcourt.

HAND STAMPED 2006 (2006)

Hand stamped prints (some overlaid) printed in black and red from rubber stamps. 9 leaves. 11.5 x 12.5 cm. Black tape binding. Edition unknown. Published by the artist, Harcourt.

Anderson, Peter 2009, Working Through / Turning Pages : The Artist’s Books of Robert Jacks, Bendigo Art Gallery, Bendigo.

Cancelled Stamp (1978)

A Jack’s multiple. Australian 4p postage stamp green featuring a Koala with artist’s cancellation stamp. 2.6 x 2.8 cm on sheet 15.1 x 12.6 cm. Signed R Jacks. Jacks made ca. 4 ‘Cancelled Stamps’ to accompany his exhibition at Ray Hughes Gallery, Brisbane, in 1978.

Click on images to enlarge

Email Grahame Galleries

1. Climbing figure (2004)

Etching and aquatint; plate 89.9 x 59.9 cm; edition 30 $1,200

2. Hill figure light (2004)

Etching, drypoint and aquatint; plate 89.9 x 59.9 cm; edition 30 $1,200

3. Four (2005)

Four panel etching drypoint and aquatint from four plates; plate 29.5 x 92.5 cm; edition 28 $1,100

4. Dinghy (2005)

Colour etching and aquatint; plate 49.3 x 33 cm; edition 28 $800

5. Blue Boat (2005)

Colour etching and aquatint; plate 49.5 x 33 cm; edition 28 $900

6. Bed, boy, boat (2006)

Three panel two-colour etching and aquatint from three plates; plate 49.5 x 99.5 cm; edition 36 $1400

7. Seated / Harbour (2006)

Etching and aquatint; plate 39.5 x 59.3 cm; edition 28 $900

8. Blue Seated Figure (2006)

Two plate colour etching and aquatint; plate 39.5 x 60.0 cm; edition 28 $1000

9. Standing figure / Lying figure (2007)

NO IMAGE

Etching and aquatint; plate 47.5 x 59.0 cm; edition 30 $800

10. Barrow Two (2007)

Etching and aquatint; plate 42 x 47.2 cm; edition 30 $700

11. Dinner (2007)

Etching and aquatint; plate 29.8 x 44.5 cm; edition 30 $600

12. Pulling boat (2007)

Etching and aquatint; plate 20.0 x 33.0 cm; edition 30 $580

13. Turtle (2007)

Etching and aquatint; plate 20.0 x33.0 cm; edition 30 $580

14. Big turtle (2007-08)

Etching and aquatint; plate 69.5 x 56.2 cm; edition 30 $1200

15. Painting on back (to left) (2008)

Etching and aquatint with hand colouring; plate 28.6 x 29.7 cm; edition 30 $600

16. Painting on back (to right) (2008)

Etching and aquatint with hand colouring; plate 28.6 x 29.7 cm; edition 30 $600

17. Carrying home (2008)

Etching and aquatint with hand colouring; plate 11.2 x 23.5 cm; edition 30 $440

18. Painter (2008)

Etching and aquatint; plate 23.5 x 23.8 cm; edition 30 $500

19. Rower I (2009)

Etching and aquatint with relief colour roll; plate 14.6 x 20.5 cm; edition 30 $400

20. Rower 2 (2009)

Etching and aquatint with relief colour roll; plate 14.6 x 20.5 cm; edition 30 $400

21. Rower 3 (2009)

Etching and aquatint with relief colour roll; plate 14.6 x 20.5 cm;edition 30 $400

22. Rower 4 (2009)

Etching and aquatint with relief colour roll; plate 14.6 x 20.5 cm; edition 30 $400

Load Expose (1990)

The title here refers to the beginning and end stages in the making of photographs, and silkscreened images that comprise this book all centre around the language employed in that process. Embedded within their nervous calligraphy, and often only apparent after sustained viewing, are terms such as “trouble shooting”, “dodging”, “masking”, and “pose”. By virtue of Chalker-Tennant’s suggestive graphic vocabulary, these seemingly neutral words come to take on meanings outside of their restrictive use as photographic terminology and are themselves loaded. 20 pp., 21.5 x 26, paperback. Edition 100. Women’s Studio Workshop, Rosedale, N.Y.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane

Exhibition closes 18 December. Gallery hours 11 am – 5pm Wed-Sat.

Click on images to enlarge.

Email Grahame Galleries

G W Bot

Black Swan (2007) artist book – linocuts with English & Russian text $5,500.00

Darren Bryant

‘rabbit behind rocks’ (advance wars I) (2010) linocut and collage with spraypainted toy soliders $180.00

‘rabbit behind rocks’ (advance wars III) (2010) linocut and collage with spraypainted toy soliders $180.00

‘rabbit behind rocks’ (advance wars IV) (2010) linocut and collage with spraypainted toy soliders $180.00

Jan Davis

Solomon (1995) image from one of 7 books from Solomon – digital prints $3,850.00

Go Go Girl (2007) artist book – rubber stamps $165.00

Nicolas Goodwolf

The making of Sicily (2005) Etching $165.00

Islands from above (2005) Etching $185.00

Italian Thinkers I (2006) Etching $185.00

Noreen Grahame

Lessons in dictation (2007) artist book – offset $55.00

Juli Haas

Rose Garden (2000) hand-coloured drypoint $165.00

Drifters (2009) hand-coloured drypoint $450.00

May Day (2009) hand-coloured drypoint $450.00

Barbara Hanrahan

Iris (1991) Etching $660.00

Little Girls Etching (1988/1989) $880.00

Joana Kambourian

Costumes from the Russian court Vol. I ( a fabricated history) (2008) artist book digital with rubber stamps $49.50

Anne Kirker

A Plum Tree Story (2010) artist book – laser printed $330.00

Hertha Kluge-Pott

page one of a survey (1996) drypoint $400.00

page five of a survey (1997) drypoint $400.00

Bruno Leti

Journey To (1994) Etching $275.00

Journey (1994) Etching $275.00

Peter Lyssiotis

7 Disrupted Interviews with History (2007) artist book – Photomontage $660.00

Ron McBurnie

Putting out the cat  (1990) Etching $400.00

Dog pat (1987/1997) Etching $300.00

Jennifer Marshall

WBS 1981 linocut/etch $1000.00

Flick Book (1980) artist book – linocuts printed offset $250.00

Milan Milojevic

Suitcase (1995) Etching $99.00

Ladder (1995) Etching $99.00

Table (1995) Etching $99.00

Bridge (1995) Etching $99.00

Karen Papacek

Fool (2004) artist book text on Aquarie paper mounted on paintbrush head. $3,500.00

Ti Parks

Man Friday (c.1997) Drypoint $400.00

Saturday (Mirage) (c.1997) Drypoint $500.00

The Vikings (2004) object, metal $300.00

Graeme Peebles

Fog Series 5 (1993) mezzotint $440.00

Ben Puah

My Car (1997) drawing $110.00

Untitled (1999) $110.00

Michael Schlitz

collector (2005) wood engraving $250.00

fear of an edge (2006) woodcut $330.00

explorer dream (2006) woodcut $330.00

the other meeting (2006) woodcut $330.00

diviner (2009) wood engraving $250.00

storm (2009) wood engraving $250.00

Jörg Schmeisser

Soldier, terracotta near Sian JS 276 (1981) etching $220.00

Yallingup JS 400 (1988) colour print $440.00

Alex Selenitsch

nights (1999) ink on found page of text – set of five $800.00

Stephen Spurrier

Wishing to Fly – Cosmic Journey (1999) digital print $265.00

First Aid No.8 – Dreams and Memories (1999) digital print $265.00

First Aid No. 9 – Hand to Mouth (1999) digital print $265.00

Judy Watson

Flying figure 2 (1986) etching $220.00

dispersed (2000) etching with chine collé $480.00

Normana Wight

More Pears for George B (1988) screenprint $330.00

Primary pin-up (1989) screenprint $220.00

Lessons in History Vol. II – Democracy

scheduled August/September (see below)

Due to the inundation of the gallery in the January floods, this exhibition has been postponed until December 2011 or early 2012.

‘… in Italy, for thirty years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland they had brotherly love, they had five hundred years of democracy and peace — and what did that produce? The cuckoo clock.’ Harry Lime in The Third Man (1949)

Graham Greene’s character expresses contempt for democracy in stark contrast to our sense of ‘democracy’ as a ‘feel-good’ idea. With missionary zeal, we have undertaken wars in Iraq and Afghanistan, in part to bring a western ‘democratic system’ to the citizens of these countries.
But is the ‘democracy’ we wish to impose already broken? Will the cuckoo clock be all that is left?

Call to artists!

To submit an artist book for selection in Lessons in History Vol. II – Democracy, a 2011 exhibition of artists’ books on the subject of ‘Democracy’.

Email Grahame Galleries for form for submission