Posts Tagged ‘Tim Mosely’
For many years Queensland had a diversity of artists book activities: the bi-ennial Artspace Mackay Artists Book Forums and Libris Awards, the once yearly Noosa Artists Book Events and the Southern Cross University Acquisitive Artists Book Awards. Also contributing to this fertile artists book environment the State Library of Queensland’s Australian Library of Art which included the SLQ’s Siganto Foundation fellowships, ‘white glove’ presentations and events. Added to this were exhibitions and artists book fairs coordinated by Grahame Galleries and other shows at scattered venues. With the recent demise of the Mackay, Noosa and Southern Cross events their absence was felt by the artists book community. Now a new event has emerged to add to the SLQ and Grahame Galleries support of the art – the Artists Book Brisbane Event (ABBE). Over July 16, 17 and 18 ABBE featured a triptych of activities; a conference, an exhibition of books, an artists book fair and allied exhibition events at the State Library of Queensland, Grahame Galleries, The Studio West End, the IMA and Impress Printmakers Gallery.
The conference sought to address 3 main themes relating to the artists book:
- post literacy
- materiality/the haptic
- the nature of reading artists books.
Three keynote presenters lead the program:
- Sarah Bodman – Senior Research Fellow for Artists Books, CFPR editor of the Blue Notebook
- Brad Freeman – Founder and editor in chief of the Journal of Artist’s Books
- Dr Lyn Ashby – Australian artist and scholar making books
SARAH BODMAN (Abstract)– ARTISTS’ BOOKS AS A PHYSICAL SITE OF PRACTICE
If a post-Literate society might also encompass new ways of thinking about reading, we could think of contemporary artists’ books as a site of practice beyond that of McLuhan’s sign posting of the invention of moveable type as fundamentally responsible for how the Western world physically reads: “along the straight Lines of the printed page.”
We seem to have already moved from Linear to non-linear reading; we are used to flitting through digital screen-based texts, and losing our attention through a multitude of online multi-tasking. Physical engagement with artists’ books provides us with spaceto breathe, a slower rhythm of ingesting information and time to reflect, so what about the artists who are making them? How are artists engaging with the physical book now?
These examples focus on celebrating the book as a physical container used by artists to: re-present language, offer performative reading, view how reading is perceived, appropriate text from novels and instructional manuals into new works, or to transform information from the virtual into the physical.
BRAD FREEMAN (Abstract) – JOURNAL OF ARTISTS’ BOOKS
Brad Freeman’s Lecture focussed on JAB, the Journal of Artists’ Books, that supports critical inquiry into artists’ books. Since 1994 JAB has published interviews with contemporary artists whose primary medium is the artist book, reviews of artists’ books, and essays about historical issues and contemporary artists and their work. JAB has a two pronged approach to culture creation via publication arts; an educational approach with critical writing and documentation of current activity; and second, a creative approach with publication art-exploring the creative potential of print and the book by commissioning artists’ covers (letterpress and offset), artist designed pages, and artists’ books made especially for insertion into JAB.
LYN ASHBY (Abstract) – POSTLITERACY AND ARTISTSBOOKS: Coming to our senses with a modern mythic form
This presentation is a speculation on the idea that contemporary artistsbooks may be the laboratory for a new literacy, and that in honor of the quietly evolutionary nature of this new literacy, we might call it “postliteracy”.
As background, it explores how our centuries of standard literacy and its attendant conventions of pictorial space and chronological, narrative time, have privileged a specific code in the representations of our language systems (both image and text) and their operations across the page and through the book. The prescriptions of these conventions and the domination of the line and the grid onto the look of language have come to minimise the participation (and uncertainty) of the senses in the direct process of apprehending meaning with language forms.
But the pages of artistsbooks are often filled with the explorations of other ways that language forms can activate a lively, sensory involvement with the page space, or how meaning can be formulated beyond the limitations of chronology.
Some of these experiments involve the invocation of pre literate, oral language structures that work more by the devices and grammars of music, song and myth than the usual strategies of standard literacy. in this way, the contemporary artistsbook may be the hardcopy home of a modern, mythic form.
Presenting/Participating at the conference
- Lyn Ashby
- Sarah Bodman
- Sara Bowen
- Deidre Brollo
- Helen Cole
- Victoria Cooper
- Marian Crawford
- Daniel Della-Bosca
- Fiona Dempster
- Caren Florance
- Jenny Fraser
- Brad Freeman
- Angela Gardner
- Noreen Grahame
- Bridget Hillebrand
- Joel Lardner
- Marian Macken
- Tim Mosely
- Adele Outteridge
- Mikhail Pogarsky
- Doug Spowart
- Kym Tabulo
- Wim de Vos
- Gabriella Wilson
The ‘books by artists’ exhibitors
- Isaac Brown
- Penny Carey-Wells
- Victoria Cooper
- Caroline Craig
- Fiona Dempster
- Hesam Fetrati Angela Gardner
- Annique Goldenberg
- Alannah Gunter
- Institute of Modern Art Cassandra Lehman-Schultz
- Alison Mackay
- Judy Macklin
- Heather Matthew
- Tess Mehonoshen
- Christine Mellor
- Tim Mosely
- night ladder collective
- Naomi O’Reilly
- Adele Outteridge
- Mona Ryder
- Rose Rigley
- Glen Skien
- Doug Spowart
- Wim de Vos
THE ABBE ARTISTS BOOK FAIR
Artists Book Fair stallholders
Sara Bowen (no image taken)
Centre for Regional Arts Practice (Cooper+Spowart) (no image taken)
Robyn Foster (no image taken)
Griffith Centre for Creative Arts Research (no image taken)
QCA Gold Coast (no image taken)
ABBE participants also visited Grahame Galleries, The Studio West End and the State Library of Queensland
ABBE was an initiative of the Griffith Centre for Creative Arts Research and was coordinated by Dr Tim Mosely and Dr Lynden Stone.
All photographs © 2015 Doug Spowart
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Tim Mosely is a PhD candidate at the Queensland College of Art. He is working through the research processes that students engage in to position their academic imprimatur on some aspect of human knowledge. Mosely over the years has developed a significant international practice in artists’ books, handmade paper and the book experience as one in which the tactile senses are evoked.
Make like An Eskimo, at first appears as a mixed exhibition originating from many individual artists as each body of work teases out an idea, a gesture, a memory – blurred, or a theme. These are experiments, the research level is PhD so we do expect something that presents a challenge, or expresses a cathartic moment or even a line of questioning that leads … nowhere. This work does not leave this viewer wanting. The stones have been turned over and what has emerged are things that show Mosely’s Inuit traverse of the smooth white space where he has drawn on his intimate knowledge of printmaking medium, of his personal semiotics and his dreams.
One monumental piece explodes from the wall – imagining mt giluwe. It’s a multi-sheet linocut – dark and brooding with markings made by Mosely’s tools that resemble some kind of tribal scarification. The wild landscape overpowers the smooth white gallery wall and entices the viewer to move in close. There is a hidden map implied by the transecting vertical and horizontal lines of the individual printed sheets. Is it a map of the physical, the metaphysical or is it just mere tactile experience – for touching with the eyes? There is a movement through the monochrome surface and a red rectangle of paper overlays a part of the image – is this order implied over chaos? Colonial blood over Nature? Or could it hide a didactic code with its intention to perplex the viewer – or maybe it is there to just hide the fact that no code exists?
Another work, a series of books attempts to contain the big lino imagining mt giluwe. It is in fact, books made from pages of the large work. Once again there is a calling to explore and this time it is easier as the dividing and sectioning of the work into book form creates a path through the act of page turning. Some pages have been slashed and red paper shows through the jagged shapes implying similar questions as the red rectangle in the larger work. I am comfortable with this work, and perhaps Mosely is as well, as it is derivative of the language that he has employed in the past.
As I reflect on the experience of the POP Gallery I can confirm that Mosely is interrogating his practice, his experience of life and what it means to be an artist. What stands out is his haptic encounter in the making of his artworks and the profound need that he has for that vital energy to be infused into the art. And in that I think he is not alone – the materials seem to respond to his interaction. Here I am reminded of a discussion that Barbara Bolt has about a mode of thinking informed by Martin Heidegger’s techne and Paul Carter’s ‘material thinking’, where she states,
‘In the place of an instrumentalist understanding of our tools and material, this mode of thinking suggests that in the artistic process, objects have agency and it is through the establishing conjunctions with other contributing elements in the art that humans are co-responsible for letting art emerge.’ (Bolt 2007:1)
Mosely’s work and the materials in his work do emerge to present the viewer with communiqués that are enriched not only by what is embedded in them but also what they invoke in the mind of those who encounter them. We wish him well in the ascent to his academic plateau.