Posts Tagged ‘Catherine McCue Boes’
ARTISTS BOOKS IN AUSTRALIA: The People+Events
Doug Spowart’s ARTISTS BOOK FAMILY Mosaic
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In July the artists book symposium ABBE 2025 took place at Artspace Mackay. A key theme of this event was the ‘mapping Australia’s artists book histories’ and in the extended brief for the conference there was the lament that while artists books in Australia had been broad and active there was a scant record of the history the discipline.
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Reference was made to the understated history of the two main texts Gary Catalano’s The Bandaged Image (1983) and Alex Selenitsch’s NGA published Australian Artists Books 2008, conferences such as those coordinated by Artspace Mackay, many unpublished PhD thesis and the ‘valiant attempts by journals’ that burn out after a few years.
‘Bring your stories, your artifacts, and your memories’ they said so I put forward a submission consisting of aspects of the visual record that I have been making over 22 years of the artists book scene. My submission was to be an illustrated presentation consisting of approximately 200 portraits of the people of the artists book discipline as well as a few events.
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Here is my submission rationale:
AN ARTISTS BOOK FAMILY ALBUM – A ‘paper’ by Dr Doug Spowart
“A family’s photograph album is generally about the extended family
and, often, is all that remains of it.”
Susan Sontag in On Photography 1977
Family archives are a profound thread connecting past, present, and future, serving as repositories of memory, identity, and history.
Photography is more than just a medium for capturing pictures—it is a lens through which we view and understand history. Its ability to document, provoke, and preserve moments in time has made it an indispensable tool for both personal and collective memory.
In this way photographs hold the power to evoke vivid recollections, introducing us to lost relatives and forgotten stories while anchoring us within a broader familial narrative. Yet, the fragility of these archives is striking — images tucked away on devices or in drawers risk being lost to time, their stories untold.
The passing of key family members often deepens this void, as context and meaning tied to people and events can vanish. Establishing and preserving a family archive becomes not just an act of personal curation but a legacy-building effort, ensuring that these visual fragments of memory remain accessible to future generations.
In an era where countless photos are taken but rarely saved, the challenge lies in collecting and annotating these fleeting moments. A taking them into lasting archives for some to have as a touchtone for memory, and for others to review and research. Maybe to tell the story for future eyes and minds of the books that were made, what events happened and who was there…
This paper will present an illustrated fragment of photographs of the artists book family taken by the author over a 20 years period.
Dr Doug Spowart
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This submission was accepted, and the presentation offered to attendees of the symposium, and later online as a movie via the Artspace website.
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A LINK TO THE YOUTUBE VIDEO ON DOUG SPOWART’s Channel: “CLICK IMAGE”
For BEST viewing quality select HD quality in the SETTINGS menu. NOTE: The full video is 12 minutes long.
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PRESENTER’S COMMENT from Doug Spowart
In curating these photographs I have focussed on selecting images from the broad artists book community and have not included many photographs from my collaborative practice with Victoria Cooper.
Every attempt has been made to ensure correct captions – Please advise of any errors or omissions. Thanks to Caren Florance, Helen Cole, Robert Heather and Adele Outteridge for their assistance with captions.
Victoria and I have provided commentary about the artists book and photobook disciplines for many years in our Blog, journals, events coordinated and lecture presentations.
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All photographs are Copyright Doug Spowart (Some by Victoria Cooper). The subject pictured, after contacting the copyright owner, may be able to use the portrait of themselves for non-commercial applications. Other usage may require negotiation of a fee.
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WHAT FOLLOWS IS A LIST OF ALL CAPTIONS IN THE VIDEO
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MABF 2017 National Gallery of Victoria
Deanna Hitti and Deidre Brollo @ MABF 2017 National Gallery of Victoria
‘Life’s Journey’ exhibition @ Redland Art Gallery, Cleveland 2012
Julie Barratt in her gallery at Alstonville 2011
Dianne Longley in her exhibition ‘Navigations’ at Barrett Galleries 2008
Tim Mosely in his exhibition Make Like An Eskimo 2012
grahame galleries opening of Lessons in History Vol. II – Democracy 2012
Heather Matthew and Stephen Spurrier @ grahame galleries opening of Lessons in History Vol. II – Democracy 2012
Monica Oppen and Jan Davis @ grahame galleries opening of Lessons in History Vol. II – Democracy 2012
Volume Art Book Fair, Artspace, Woolloomooloo, Sydney 2017
Helen Cole chairs presentations by Keith Smith and Scott McCarney State Library of Queensland 2012
Siganto Seminar: The Trouble with Artists’ Books SLQ 2013
Helen Cole –Siganto Seminar: The Trouble with Artists’ Books SLQ 2013
Noreen Graeme and Jan Davis – Siganto Seminar: The Trouble with Artists’ Books SLQ 2013
Hearsay book launch with Euan Mcleod, Ron McBurnie, Susi Muddiman & Lloyd Jones SLQ 2013
Jo Kambourian at Artists Books Flash Mob Survey Book event Grafton 2013
Catherine McCue Boes Books as art: 30 years in the making Bundaberg Regional Gallery 2014
George Paton Gallery, Artist’s Books (reprised) University of Melbourne 2014
International speaker Sarah Bodman presents a paper – Abbe 2015 Griffith University
International speaker Brad Freeman – Abbe 2015 Griffith University
Lyn Ashby – Abbe 2015 Griffith University
Convener Tim Mosely presenting – Abbe 2015 Griffith University
Books By Artists exhibition – Abbe 2015 Griffith University
Sue Anderson + Gwen Harrison Abbe 2015 Griffith University
Deidre Brollo with Christene Drewe + Helen Cole and Marian Crawford with Sarah Bodman
Abbe 2015 Griffith University
Penny Carey-Wells and Caren Florance Abbe 2015 Griffith University
Robyn Foster + Fiona Dempster and Angela Gardner Abbe 2015 Griffith University
Sheree Kinlyside and Impress Printmakers: Sue Poggioli + Jennifer Stuerzl Abbe 2015 Griffith University
Tim Mosely and Heather Matthew Abbe 2015 Griffith University
Adele Outteridge + Wim de Vos – Abbe 2015 Griffith University
Jo Kambourian and Darren Bryant at Lismore Art Space 2014
The SLQ White Gloves team Christene Drewe, Helen Cole and Jeanette Garrard for Abbe 2015
State Librarian Janette Wright welcomes attendees SLQ 2015
Brazillian artist Amir Brito Cadôr keynote presentation Siganto Foundation Artists’ Book Seminar 2015
Julie Barratt and Clyde McGill discusse their Siganto Foundation Creative Fellowship 2015
Jan Davis and Doug Spowart discuss their Siganto Foundation Creative Fellowship 2015
A forum on collaboration – Siganto Foundation Artists’ Book Seminar 2015
Judy Bourke and Adele Outteridge+Wim de Vos at the Siganto Foundation Artists’ Book Fair SLQ 2015
Clyde McGill and Anne Kirker and Sue Poggioli at the Siganto Foundation Artists’ Book Fair SLQ 2015
Helen Malone and Sandra Pearce at the Siganto Foundation Artists’ Book Fair SLQ 2015
Amir Brito Cadôr with Noreen Grahame & Helen Malone at the Siganto Foundation Artists’ Book Fair SLQ 2015
Helen Cole, Michael Wardell & Clyde McGill at the Siganto Foundation Artists’ Book Fair SLQ 2015
Dr Marie Siganto makes a presentation to Ana Paula Estrada and Victoria Cooper
PAPER CONTEMPORARY – Sydney Contemporary 2015
Grahame Galleries stand with Ron + Jonathan McBurnie at Paper Contemporary – Sydney Contemporary 2015
Victoria Cooper, Jan Davis and Trent Walter at Paper Contemporary – Sydney Contemporary 2015
Sue Anderson + Gwen Harrison and Brigita Oppen at Paper Contemporary – Sydney Contemporary 2015
Helen Cole, Akky van Ogtrop, Robyn Berkeley from Berkeley Editions and Victoria Cooper at
Paper Contemporary – Sydney Contemporary 2015
Fellow Travellers a book by William Kelly, SLV Creative Fellow and Baldessin Press Studio Residency recipient
Personal Histories International Artist Book Exhibition Uni of NSW Canberra 2015
Robyn Foster (Curator), Judy Bourke, Selena Griffith, Tracie Toohey, Rachel Hunter, Lisa Morisset –
Personal Histories International Artist Book Exhibition Uni of NSW Canberra 2015
Christene Drewe introduces UK artist Guy Begbie – The Siganto Foundation Fellowship artist book series 2016 SLQ
Guy Begbie presents his keynote address – The Siganto Foundation Fellowship artist book series 2016 SLQ
Victoria Cooper and Lyn Ashby presentations – The Siganto Foundation Fellowship artist book series 2016-7 SLQ
Helen Douglas presents her keynote address – The Siganto Foundation Fellowship artist book series 2017 SLQ
Clyde McGill performs his book and a White Gloves presentation of artists books
– The Siganto Foundation Fellowship artist book series 2016 SLQ
Freestyle Books exhibition curated by Helen Cole at the State Library of Queensland 2008
Freestyle Books Symposium with Ron McBurnie, Peter Lyssiotis, Judy Watson, Jonathon Tse and others
at the State Library of Queensland 2008
At the launch of Ana Paula Estrada’s book MEMORANDUM – Ana Paula with Louis Lim and Annette Green 2016
Visiting Wim de Vos and Adele Outteridge at Studio West End Brisbane 2017
Visiting the 2017 Festival of the Photocopier Zine Fair – Melbourne
David Dellafiora and Gracia Haby + Louise Jennison at the
2017 Festival of the Photocopier Zine Fair – Melbourne
Ulrike Stoltz & Uta Schneider international presenters at Artists book Brisbane Event Griffith University 2017
A K Milroy + Brad Freeman – presenters at Artists Book Brisbane Event Griffith University 2017
Marian Crawford and Ana Paula Estrada presents their papers
Artists Book Brisbane Event Griffith University 2017
Marian Macken presents at Artists Book Brisbane Event Griffith University 2017
Wim de Vos at Artists Book Brisbane Event Griffith University 2017
A plenary session on artists books at Artists Book Brisbane Event Griffith University 2017
Noreen Grahame in her curated exhibition “… & So” – Artists Book Brisbane Event Griffith University 2017
Barbara Davidson and Caren Florance at Artists Book Brisbane Event Griffith University 2017
Sue Poggioli and Anne-Maree Hunter at Artists Book Brisbane Event Griffith University 2017
Brad Freeman and Anita Milroy – Artists Book Brisbane Event Griffith University 2017
Lyn Ashby and Sue Anderson at Artists Book Brisbane Event Griffith University 2017
Anna Welch, Des Cowley and Madeleine Say at Ballarat International Foto Biennale
World Photobook Day Book Fair 2019
Helen Cole presents and a floortalk – The First Focus of Artists Books and the Libris Awards at Artspace Mackay 2004
Looking at books and the opening crowd – Focus of Artists Books and the Libris Awards at Artspace Mackay 2004
Bruno Leti workshop – Focus of Artists Books and the Libris Awards at Artspace Mackay 2004
Focus of Artists Books and the Libris Awards at Artspace Mackay 2005
Caren Florance, Sasha Grishin and Dianne Fogwell in the ANU exhibition at FOAB 2005
Unknown lady, Adele Outteridge, Madonna Staunton and Wim de Vos and Sasha Grishin FOAB 2005
Focus of Artists Books and the Libris Awards at Artspace Mackay 2006
Robert Heather welcomes attendees + Marshall Weber presents Focus of Artists Books at Artspace Mackay 2006
Katherine Nix workshop – Focus of Artists Books at Artspace Mackay 2006
The installation view of the 2008 Libris Awards
Michael Wardell welcomes attendees and a Forum at the 4th Focus on Artists Books event and
Judge Michael Desmon presents his address to the 2008 Libris Award
Clyde McGill’s foyer artwork FOAB 2028
Michael Desmond presents his lecture in the 4th Focus on Artists Books event
2008 FOAB some of the presenters McGill, Fogwell, Florance and Cooper
Focus on Artists Books V and the 5th Libris Awards 2010
Michael Wardell addresses the attendees – 2010 Libris Awards and 5th Focus on Artists Book event
2010 FOAB Deanna Hitti in her exhibition ‘Bint Trembucky (daughter of the drum)’
Caren Florance and David Dellafiora in their workshops – 5th Focus on Artists Book
Victoria Cooper with Judy Barrass and Linda Douglas – 5th Focus on Artists Book
Barbara Davidson and Caren Florance with Sheree Kinlyside of Red Rag Press – 5th Focus on Artists Book
Victoria Cooper with Monica Oppen and Sara Bowen (Book Art Object), Julie Barratt and Caren Florance
Visiting the 2016 Libris Artists Book Award
Visiting the 2016 Libris Artists Book Award
Denise Vanderlugt with her highly commended bookwork I used to wrap rainbows and Jamian Stayt’s
Soulless evolution 2016 Libris Artists Book Award
graeme galleries’ 5th Artists’ Books + Multiples Fair in the Dell Gallery Griffith University 2007
Monica Oppen and Michael Wardell with Doug Spowart
at graeme galleries’ 5th Artists’ Books + Multiples Fair in the Dell Gallery Griffith University
Helen Cole + Dianne Fogwell and Stephen Spurrier + Normana White
at graeme galleries’ 5th Artists’ Books + Multiples Fair in the Dell Gallery Griffith University
Victoria Cooper with Dianne Longley and Anne-Maree Hunter
at graeme galleries’ 5th Artists’ Books + Multiples Fair in the Dell Gallery Griffith University
12th Edition Noosa Artists Book event ‘Back to Basics’ 2008
Southern Cross University Acquisitive Artists Book Award 2006
Southern Cross University Acquisitive Artists Book Award 2007
Southern Cross University Acquisitive Artists Book Award judged by Robert Heather 2008
Judge Tara O’Brien announces the winner – Southern Cross University Acquisitive Artists Book Award 2009
Southern Cross University Acquisitive Artists Book Award 2011 – Judge Ross Woodrow
Peter Lyssiotis is his studio 2014
Ana Paula Estrada presenting her Mexican photobook collection in Maud Gallery, Brisbane 2017
Keith Smith and Scott McCarney in a workshop at West End Studios Brisbane 2006
Deanna Hitti’s exhibition of the book ‘A is for Alam (pen)’ at the State Library of Victoria 2022
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Any RSS reposting from this Blog without permission represents a breach of Copyright.
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BOOKS AS ART: 30 YEARS IN THE MAKING – Catherine McCue Boes
BOOKS AS ART: 30 YEARS IN THE MAKING by Catherine McCue Boes
Bundaberg Regional Art Gallery – 14 May – June 29, 2014
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An observation of artists and artmaking in the regions…
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Artmaking and artists from the regions are constantly sidelined by the power of proximity that pervades these ‘blessed’ centres of art and culture. People who make ‘real art’, it seems, come from places where populations are concentrated, like ‘big cities’ or localities where a place of learning (university) or an uber vibrant arts community exists. In Australia the place names of Sydney, Melbourne, Adelaide, Hobart and perhaps Bris-vey-gas, are part of a roll call of significantly charged places for artmaking, presentation, commentary and critique. *[Note: artists’ books have a wider community of practice that is more inclusive due to the fact that regional centres tend to present events, awards and workshops that bring the city and country together. SEE https://wotwedid.com/2013/05/13/2013-libris-awards-the-judges-view/]
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With this in mind, then consider my surprise when I recently encountered an exhibition of artists books at the Bundaberg Regional Art Gallery. The main gallery held one of the largest exhibitions of artists books I’ve seen for some time. The show was more impressive because it was essentially the book works of one person with additional books by others coming from the artist’s collection. The exhibition, entitled Book as art: 30 years in the making, was by Catherine McCue Boes a local Bundaberg artist. As the title implies the exhibition encompasses a significant period of time and the life of the artist.
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Exhibition frontpiece
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Engaging with the artists books on display was a challenge – I walked around the space, glancing at and visually grazing the works on display. In keeping with the gallery display norm for artists book display the books were not for touching with many in vitrine glassed cages. Many books were the concertina form that allowed for easy reading and connection with the narrative. The artist also presented alongside the books wall works to give the reader an idea of the contents of the book.
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Exhibition installation of Books as art: 30 years in the making
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After my initial viewing, the sheer volume of the work on display and the demands that such a volume of complex and at times conceptually dense places on the viewer, I had to go away and come back to the gallery for a second viewing.
On my return I was drawn to a number of the accessible concertina books. The first of was, In Paris 2012, which dealt with the artist’s personal experience of walking in Paris and the extraordinary things experienced. The book’s plain white paper surface is inscribed with diaristic jottings, a quick unfinished drawing of the Eiffel Tower, a textural pattern element, and deep-etched monochrome photographs of sculptures and architectural details. A pink abstracted form with a pigment-bled edge repeats over many pages – is it a memory of a figure walking in the rain with an umbrella or is it a self-portrait?
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In Paris 2012, Catherine McCue Boes
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In another work, Preserved in Australia, an old Kodak folding camera has the concertina bellows extended ready for use. Spilling from the rear of the camera explodes a concertina of 20 or so images attached to the viewing hood. The book is derived from a period of time where the artist worked in Roebourne in Australia’s north west. The photos are from the early 1900s, loaned by their owners – residents from Roebourne as well as from the local Historical Museum. McCue Boes has metamorphosed the camera and it’s image legacy into a device for viewing history.
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Preserved in Australia, Catherine McCue Boes
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An early book, First Revolution (Macbeth) Lithographs 1989, represents the artist’s reference to the Shakespearian theatrical character of the same name. These stone lithographs are accompanied by screen-printed texts on the verso page. In the style of the livre d’artist this large format book with it’s thick deck-edged pages and codex binding make it a strident piece of work. Whilst the book is firmly enclosed in a vitrine and opened to one page only, individual prints from other pages of the book are presented as a framed artworks on the wall.
The First Revolution is also referential to the artist’s major influence, an 1800s book of rococo etchings she discovered in the 1980s and bought at an auction. She states in the exhibition materials that: ‘this was the catalyst for me to not only collect artist books but also create them’. The binding, its construction, materials and its red covering are echoed in many works.
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A New Book of Shields 1770-1800
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First Revolution (Macbeth) Lithographs 1989, Catherine McCue Boes
The hybrid mix of traditional printmaking and digital techniques creates an opportunity for McCue Boes to extend the artist’s vision and the nature of the outcome. In the 2005 book The Red Shoes, Mark 3 the artist references the Hans Christian Anderson children’s story of the same title. Seven linocuts have been enhanced through scanning into the computer, being redrawn and with text added – the result is a blending of the tradition of print with the graphic elements of typography to convey the story.
Catherine McCue Boes works with other artists in international mail art projects that are presented in another section of the exhibition. A collaborative work curated by the artist, entitled, Life Line, Flood project 2014, brings us back to the idea of the artist’s work being affected by the places they come from. In 2013 devastating floods inundated Bundaberg and upper reaches of the Burnett River. The swollen river gouged out land, animals, houses, trees and farms and significantly affected the land and people of the whole region. McCue Boes curated a collection of photos and texts from friends and assembled a concertina book that carries the sentiments of the contributors. The book is a narrative of many voices with text and image carrying the emotion and the spirit of the contributors. Art often has a dual role, that of the healing catharsis and also to present accounts that can inform those who did not witness the grief first-hand. While this work may be a little uneven in its attempt to blend the individual contributions it is profoundly successful in its purpose and outcome.
Working around to other books in the show a persistent source of inspiration is the artist’s surroundings and environment. I’m reminded of Lucy Lippard’s statement that: ‘Everybody comes from someplace, and the places we come from–cherished or rejected–inevitably affect our work[i]’. This is most notable in a body of work arranged on an island-like plinth towards the rear of the gallery. Assembled is a collection of books that relate to mining environments. McCue Boes works with photographic images, irony and conceptual play to present a variety of book forms and commentaries.
The book, Inspiration from the Artificial Environment 2012, consists of 16 photographic images and borders printed on canvas that are presented in a form that mimics wallpaper, soft furnishing and curtain material sample books. The patterns are photo elements flipped and flopped to form plausible, although somewhat 1960s dated looking designs for decorating your home. The reality of the source images is that they are the detritus of mining workspaces and consist of rusting drums, cable, pipes waste and pondage.
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Inspiration from the Artificial Environment 2012, Catherine McCue Boes
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Other books, some that are more book-like sculptural forms, are part of this body of work. Presentation includes commercial boxes, simulated strips of black and white negatives, abstracted photographs and industrial labels – one stating, ‘Danger – This energy source has been LOCKED-OUT’.
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Fragile 2012, Catherine McCue Boes
.A major contribution to this environmentally themed piece is the book/s, Fragile 2012, which is a collection of 12 small concertina books each containing 10 photographs. When assembled the covers create a full-sized image of flaming torch-like structures. The unsuspecting viewer may encounter these little photobooks as a pleasant visual wander through shapes, forms and colours. However the artist has seductively blind-sighted the viewer – these are not pretty and benign subjects. The accompanying didactic explains the photographs were made while participating in an artist in residence in a gas mining plant in Queensland. The artist adds to the didactic that: ‘The work demonstrates my concern for the environment and the depletion of the country’s resources.’
A position pervades many works in the show and I’m reminded of Lucy Lippard’s closing comment in the catalogue for the exhibition Weather Report: Art and Climate Change, where she speaks of the artist as a commentator, communicator and as one who acts as a provocateur. Lippard proposes, ‘… it is the artist’s job to teach us how to see.’ (Lippard 2007:11) Through these works McCue Boes is as an artist ‘teaching us to see’. The strength of her communiqué in these political works is achieved through with irony and humour, and the association with reality of the photographic image.
Books as Art: 30 years in the making is not an exhibition about art, or about making, or even about books. It is an exhibition about the very stuff of life and the human experience of the world – an experience that needs to be shared.
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Portrait: Catherine McCue-Bowes
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I’ve made a note also about the importance of proximity in regional centres as well – the ‘big city’ should come visiting sometime. They may be amazed!
Doug Spowart
July 28, 2014
VISIT CATHERINE McCUE BOES Website: http://catherinemccue.blogspot.com.au/
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Reference:
[i] Lippard, L. R. (1997). The Lure of the Local: Sense of Place in a Multicentered Society. New York, The New Press. P36.
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Review text © 2014 Doug Spowart
All photographs © 2014 Doug Spowart
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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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