Posts Tagged ‘Adele Outteridge’
WIM de VOS – Artist, teacher, musician, mentor, brother & friend
A portrait of Wim de Vos with his work at Studio West End
For Wim, by Vicky Cooper
In your last days we visited you….
Like the artist thinking about your next artwork…
You described your final work…
How, where, when…
You would be buried….
An acrylic case made by friends
In the bush
Up a hilly rocky track
To a hidden mountain
A stand of trees that had black bark
A particular view across a Valley
A golden sunset
A rock with the Red Fox coat of arms
Also created by a friend
50 years I have known you
Sometimes distant
Sometimes close
I danced with your groupies
In Cloudland where
You played a red Fender
Those favourite songs
Neil Young, Focus, George Harrison
Beach Boys and so may more…
I danced with Opa
At the Dutch Club
I loved Oma’s apple pie
The paper flowers and the needle work
The smell of pipe tobacco
The Dutch jokes
Stories of WW2
I remember your first exhibition
Michael Milburn
Your time in Maastricht
My sister with the two boys and soon a girl
My sister is now another beautiful story
The boys are also creating new stories
And the girl is strong and confident
The world has not limited them
At seminal moments
I needed inspiration and support
You were there
With Doug…
Fellow teacher, artist and family
I for 50 years
Doug for 30….
You could be at times testing…
But you were also investing
Your energy, creativity, ingenuity and knowledge
There are so many years of art
Toowoomba, Flying Arts, McGregor…
Then West End and Adele
A collaboration that built a strong community
Each of us all has personal stories
Each will be different
But all of it rich
Just like your studio and apartment
The walls and corners of your life
Are jam packed with collections
Of moments
Sad or cantankerous
Solitary or social
Dedicated and creative
But your parting words to me now echo in my everyday
That I never stop making my art…
And I now reflect that if it were not for his support
I – and perhaps many others – would not have started…..
It is in this legacy that you will always remain
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Wim de Vos
VALE Wim de Vos 27/5/1947-8/12/2018.
Christene Drewe has written a post in the State Library of Queensland’ John Oxley Library Blog about Wim and the works that they have in their collection.
http://blogs.slq.qld.gov.au/jol/2019/01/24/remembering-brisbane-artist-wim-de-vos/
SLQ-JOL Blog post by Christene Drewe
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Some images of Wim from events over the last few years…
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Wim presenting a long book at the Artists Book Brisbane Event – Griffith University Brisbane
Wim & Adele at ABBE Artists Book Conference July 2015
Wim showing the State Librarian Janette Wright his tunnel books at the Siganto Seminar 2015
Wim & Adele at the State Library of Qld’s Artists’ Book Fair 2015
The launch of the Bookplate collection with Anne Jolly, Helen Cole and Gael Phillips and others
A return to the ‘Band’ days at Studio West End
Farewell to ABSOE party, 23rd April 2016
A blog post about the ABSOE Studio and the NEW Studio can be found HERE
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At the NEW West End Studio – November 2016
The NEW West End Studio
Adele in the New West End Studio
Lunch is prepared at the New West End Studio
Lunch at the New West End Studio
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Wim will be back in the studio soon…
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The studio
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©Texts by Vicky Cooper . . . © All photographs by Doug Spowart
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In remembrance….
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STUDIO WEST END: REPRISE
Adele Outtridge photographed in the new Studio by Doug Spowart
Wim de Vos photographed in the new Studio by Doug Spowart
Adele Outteridge and Wim de Vos are like ‘family’ for many artists and creatives in Queensland, and I’m sure around Australia and beyond. Their Studio West End has provided a space for artists to access printing technologies, be supported by mentoring and teaching provided by Adele and Wim, and also connect through the social meeting place that the studio was.
Over the years both Vicky and I have connected with them in many different ways; as co-teachers in an art college, as collaborators on art projects, attending events that each other had organised, learning and sharing skills and, at times, just sitting around – as other do – talking about art and artists…
Helen Cole opens the Studio West End artists book show Photo: Doug Spowart
Adele and Wim have for many years operated their business Studio West End in the suburb of West End in Brisbane in an old soft drink and later and ice-cream factory. They made these places little palaces of art, inspiration and creativity. The workshop was often converted into an exhibition space and example of which would be the project launch of EX LIBRIS: WHO OWNS THIS BOOK
However the creeping menace of gentrification and the scourge of massive high rise development meant that earlier this year they had to pack up and leave their premises in the ABSOE building.
Vicky and I attended the last day party on the 23rd of April and I made some photographs of the state of the studio and its conversion into neat stacks of crates on pallets. What follows is a small selection of the ABSOE Studio West End wake…
Invitation to the Farewell Party
The farewell Absoe Building wake…
Moving out of West End
On October 30 Adele and Wim re-opened STUDIO WEST END at a new location –
241F Station Rd, Yeerongpilly 4105. Come to Gate 4, YCP (Yeerongpilly Corporate Park)
A large opening party was held on Friday evening with the new consecration of the new studio being performed by artist and raconteur Janet de Boer OAM. Acquaintances and friends were invited to visit the studio over the weekend and we went along for lunch the next day. We wish them all the best for the Studio’s continued operation.
What follows is a documentation of the new space and its migration into a new space for art making, teaching and mentoring artists…
The NEW Studio West End
In the new Studio West End
ALL photographs and text ©2016 Doug Spowart
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ABBE: Artists books Brisbane Event 2015
ABBE Logo
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 presents her keynote lecture
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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 presents his keynote lecture
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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 presents his keynote lecture
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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.
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Doug Spowart performs his lecture ‘I’m about to ‘read’ a book’
Victoria Cooper presents her lecture ‘The Grafted Image: The Montage’
Tim Mosely presents in the lecture room
Presenting/Participating at the conference
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- 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
Invite – ‘books by artists’
- books by artists’ in the Webb Gallery, QCA
The ‘books by artists’ exhibitors
- Isaac Brown
- Blogger_dad
- 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
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THE ABBE ARTISTS BOOK FAIR
Artists Book Fair
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Artists Book Fair stallholders
Sue Anderson + Gwen Harrison
Lyn Ashby
Sara Bowen (no image taken)
Deidre Brollo with Christene Drewe and Helen Cole
Penny Carey-Wells
Centre for Regional Arts Practice (Cooper+Spowart) (no image taken)
Marian Crawford with Sarah Bodman
Daniel Dell-Bosca with Victoria Cooper
Robyn Foster + Fiona Dempster
Caren Florance
Robyn Foster (no image taken)
Brad Freeman JAB
Angela Gardner
Griffith Centre for Creative Arts Research (no image taken)
Impress Printmakers: Sue Poggioli + Jennifer Stuerzl
Institute of Modern Art
Sheree Kinlyside
Clyde McGill
Heather Matthew
Anita Milroy book – ‘Biography of a Physicist’ (Image supplied by the artist)
Adele Outteridge + Wim de Vos
QCA Gold Coast (no image taken)
silverwattle bookfoundry (Tim Mosely)
Peta Smith
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ABBE participants also visited Grahame Galleries, The Studio West End and the State Library of Queensland
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The SLQ White Gloves team Christene, Helen and Jeanette
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ABBE Logo
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
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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
CODEX 9: ARTISTS’ BOOK DISCUSSION MEETING
Queensland, it seems, is the place to be if you are interested in artists’ books (ABs). Queenslanders have one of the countries most significant collection of artists’ books in the State Library of Queensland, another significant private collection held by Noreen Grahame, herself a major contributor to the AB in this country. Other collections and events coordinated by Artspace Mackay including the Focus on Artists’ Books Forum and Libris Awards. There are also major practitioners of the art living and working in Queensland including Katherine Nix, Adele Outteridge, Wim de Vos, Ron McBurnie, Stephen Spurrier, Helen Malone, Jack Oudyn, Judy Barrass, and many more.
CODEX Event graphic
In this fertile space for ABs a small band of interested practitioners recently met to discuss the idea of forming a special interest group dedicated to the discipline. The invitation came as an email under the auspices of a CODEX 9 event with the following statement:
books by artists / artists books
printmaking, letterpress, papermaking and more
artists interested in making books are invited to
join an Impress Printmakers discussion group
located in Brisbane to foster and promote
contemporary artists book practice
Meeting on level 4 of the State Library of Queensland the 10 attendees represented a broad range of artists many of whom have had significant activity within the AB discipline, some had experiences of working as teachers using the book as a learning tool, some had academic links to ABs apart from their practice of making books, all had a definite interest in the discipline and wanted to engage in the idea of the discussion group as proposed in the invitation.
CODEX Event + Impress Printmakers AB discussion meeting
During the meeting many topics were raised including:
- The dogged question of ‘what is an artist’ book?
- What is not an artists’ book?
- Where does the apostrophe go in the term artists book and why does it move
- The Duchampian view of the ‘found object’ as art and his often cited idea that ‘it’s art because I say it is, and I’m an artist’
- If it has a colophon then it’s an AB(?)
- Scrapbooks as AB and the silent ‘s’ in the term scrapbook
- Ideas of sharing knowledge about the gamut of the discipline
One participant presented a polemic to the group, proposing that a freestanding 3D object on the table before us could be an AB – how would we know? The object was a folded “No food or drink allowed” SLQ sign. Discussion ended and reinforced the group’s interest in being challenged, as through such knowledge and understanding emerges.
a polemic for an artists book
Other structural matters relating to the group’s future activities, meeting schedule, email and communications methods were discussed. Some requested a degree of anonymity at this time. It was noted that the SLQ will be hosting the next Siganto seminar with the topic being the trouble with artists’ books. It was agreed that it will be a ‘must attend’ event.
The meeting concluded in a convivial mood with most attendees going for a coffee, and we guess, some more conversations about the idea of the artists book …
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Doug and Victoria
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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
EX LIBRIS: WHO OWNS THIS BOOK? A Queensland artists’ bookplate project
Zealous book collectors have always prominently placed inside the first few pages of a book their Ex Libris bookplate as a sign of ownership of books that they acquire. Over time these bookplates became a kind of specialised artwork created by artists and designers—not only for their own collected books but also for the libraries of serious book collectors. Bookplates then, are not just the carriers of the name of a book’s [one time] owner, but are also a thing of artistic integrity and beauty. Indeed there exist a large number of book-collecting dilettantes who are more interested in the bookplate and less in the book in which it is fixed.
The origins of the bookplate can be traced back to the 15th century and the artists who made them include Albrecht Durer and Hans Holbein. In Australia the most noteworthy bookplate designers include Norman Lindsay, Adrian Feint and G.D. Perrottet. Most significant state and national library collections include bookplate works. The Toowoomba Regional Art Gallery has a collection of bookplates as part of The Lionel Lindsay Gallery and Library Collection (Also known as the Bolton Collection) and in 2004 Patrick Corrigan AM gifted to the gallery a collection 318 bookplates, mostly by Australian artists, including John Shirlow, Lionel and Norman Lindsay, P. Neville Barnet, George Perrottet, Lloyd Rees, Pixie O Harris and Brett Whiteley.
“Bookplates Unbound” limited edition set (two views) Photos: Doug Spowart
Into this bookplate space a new and ambitious project is set to provide a contemporary view of the bookplate by Queensland artists. The project, entitled Bookplates Unbound, was inspired by conversations between artists Gael Phillips and Wim de Vos around the role of printmakers in the creation of fine art bookplates. The details of the Bookplates Unbound are as follows (from the frontpiece):
As the project evolved we decided to invite 29 other Queensland artists to collaborate in a project to make a limited edition folio of fine art bookplates mounted on sheets of art paper, unbound, in a clam shell box. The artists were also requested to supply an Artist’s Statement to accompany the prints. Any hand printmaking technique was allowed as well as digital prints. The size was restricted to no more than 90mm by 130mm and the bookplates were to be printed on acid free paper of a weight up to 100gsm. Since we are now in the 21’t century, digital prints were also allowed and, if submitted, these were to be printed using archival inks on acid free paper.
Some of the ‘Bookplates Unbound’ printing plates Photo:Doug Spowart
The Bookplates Unbound set of bookplates is a limited edition production with each artist receiving a copy. The remaining copies will be made available to collectors. The coordination of the project was undertaken by Gael Phillips and Wim de Vos at The Studio West End and was supported by Adele Outteridge.
‘Bookplates Unbound’ wall @ The Studio West End Photo: Doug Spowart
Anne Jolly, of Novel Lines Bookshop, launched the Bookplates Unbound set at a special event at The Studio West End on November 24. Accompanying the launch was an exhibition of artists books from friends of Studio West End that was opened by Helen Cole, Senior Librarian, State Library of Queensland. Wim de Vos also gave the audience a performance of two new tunnel books, one on Venice and the other referencng the Chrysler Building in New York that he has created [SEE the video in this post]. The openings concluded with a musical 6 song set by ‘Rock and Roll’ impresario Wim and fellow band members Neil Anderson and Robin Webb [SEE the video in this post].
Gael Phillips talks @ ‘Bookplates Unbound’ launch Photo: Doug Spowart
Wim and Gael thank Anne Jolly Photo: Doug Spowart
Helen Cole opens the Studio West End artists book show Photo: Doug Spowart
Helen Cole opens the Studio West End artists book show Photo: Doug Spowart
Studio West End artists book show Photo: Doug Spowart
Studio West End artists book show Photo: Doug Spowart
The Band – Wim, Robin Webb and Neil Anderson Photo: Doug Spowart
The contributing artists to the Bookplates Unbound and their respective print media are:
Janette Bailey Line etching / aquatint
Graham Bligh Linocut
Susan E Bowers Sugarlift etching and embossing
Victoria Cooper Digital print
Geraldine Connolly Soft ground etching
Philomena Drake Etching / aquatint
Malcolm Enright Digital print
Barbara Heath Digital print
Tabitha Ford Line etching
Lynne French Line etching and relief roll
Teresa Jordan Digitised linocut
Jeraldene Just Line etching
Sharon Lee Digital print
Chris Ling Line etching
James McDougall Photo etching
Julanne McDougall Photo etching
Fiona Medhurst Line etching and rubber stamp
Karla Meursing Linocut
Anita K Milroy Three hand pierced plates, line etching and embossing
Katharine Nix Lino etching
Adele Outteridge Line etching
Gael Phillips Line and photo etching on three plates
Pip Reid Line aquatint etching
Anneke Silver Engraved lino print
Doug Spowart Digital print
Stephen Spurrier Digital print
Madonna Staunton Wood cut and rubber stamps
Jonathan Tse Screen print
Geoff Thompson Line etching
Wim de Vos Line etching on four plates
Sheryl Whimp Open bite etching
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The Colophon for Bookplates Unbound
This Edition consists of forty copies, of which this is number 11
The bookplates were mounted on acid free cartridge paper and the cover titles embossed in “Times New Roman”. The font used for the Artists’ Statements was “Centaur”, designed by the late Bruce Rogers. The clam shell boxes were made by a craftsman bookbinder, Tony Gibaud at “Craftsmen Bookbinders”, Geebung, Queensland, who also made the blocks for the cover, spine and title page to a design by Gael Phillips and Wim de Vos. The text was printed by Drawing & Drafting Digital, Bowen Hills, Queensland.
The copyright of the bookplate images is retained by the individual artists.
ISBN: 978-0-646-59203-9
Published by Alumni Publishers
© 2012 Brisbane
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