Posts Tagged ‘Redland Art Gallery’
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NGA published Australian Artists Books 2008, conferences such as those coordinated by Artspace Mackay, many unpublished PhD thesis and the ‘valiant attempts by journals’ that burn out after a few years.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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THE OPENING RENATA BUZIAK’S ‘Medicinal Plant Cycles’ by Dr Victoria Cooper
Renata Buziak: Centella asiatica anti-inflammatory 2015, archival print on paper, 66.7 x 95cm.
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MEDICINAL PLANT CYCLES: RENATA BUZIAK
Medicinal Plant Cycles installation
@ Redland Art Gallery: 24 APRIL – SUNDAY 5 JUNE 2016
Medicinal Plant Cycles by Renata Buziak is an exhibition of medical plant images was opened by Dr Victoria Cooper on April 22nd. Buziak’s work is based on the fusion of organic and photographic materials in a process of decomposition that Buziak names the ‘biochrome’. They are generated by arranging plant samples on photographic emulsions and allowing them to transform through the bacterial micro-organic activities that are part of cyclic decay and regeneration.
Through this exhibition Buziak hopes to reveal a beauty in decomposition and raise notions of transformative cycles. This focus on Minjerribah medicinal plants aims to promote the recognition, appreciation, and value of local medicinal plants in the context of Aboriginal knowledge and natural science. (From the gallery and Renata Buziak’s website)
Dr Victoria Cooper opening address
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An extract from Victoria’s opening address:
Renata Buziak’s art presents a synergy with the natural environment rather than the considered reconfiguration of natural objects seen in the work of many contemporary artists that follow in the land art tradition of Andy Goldsworthy and Richard Long. As such Buziak’s work and methodology invests in collaboration and empathy in all aspects of her research.
Through her Biochrome process Buziak visually explores the complexity–sometimes messy and chaotic–within the lifecycle of plants and the ecological systems that sustains them. Within the process, and evident in the final works, is the agency of borders, boundaries and edges. It is at the edges of the plants from the leaves and stems down to the cellular level that vital exchanges occur between life, death and decay. Buziak also works in the generative but slippery space that traverses the boundaries of art and science, culture and knowledge.
At first sight, these images are an aesthetic experience: of colour, shape, form and texture. But as I spend time to look into the microscopic worlds made visible within each image, I am drawn into other aspects of the work. I am engaged by the evolving story of her investigation with this process that is underpinned by a respect for the lived experience and knowledge of Aboriginal culture.
As I continue to linger–taking time for reverie–questions emerge along with a sense of wonder. These images are a visual thesis for the Deep Ecology of these medicinal plants and the natural environment that forms the unseen and unknown of our everyday existence.
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Renata and Victoria
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LIFE’S JOURNEY: Artists’ Book Exhibition, Redland Art Gallery
Life’s Journeys exhibition catalogue cover Redland Art Gallery
Judging a book by its cover a page
The artists’ book is usually sequestered away in library stacks and drawers in their neat little custom made archival cardboard boxes and plastic bags. In specialised library and private collections these are treasured objects; their owners become the custodian of the physical object of the book and the story is revealed in the site-specific act of reading within these spaces. But … sometimes they escape. On occasion artists’ books escape en-mass from their natural home of the library or private collection, and this is exactly the case with the exhibition Life’s Journey recently presented at the Redland Art Gallery, Cleveland.
Co-curated by Emma Bain Director of Redland Art Gallery and Anna Thurgood Acting Director of Artspace Mackay, the exhibition assembles books drawn from the significant, perhaps one could say—international quality, collections found in Queensland; Artspace Mackay (AM), grahame gallies + editions (gg+e), the State Library of Queensland (SLQ) and Studio West End (SWE). The exhibition’s themes, as highlighted in the catalogue essay by Louise Martin-Chew claim that they are intended to seek ‘out universal truths in individual journeys’, ‘the personal and individual’, …and ‘artist narratives with memoir-like threads’.
Life’s Journey exhibition @ Redland Art Gallery, Cleveland Photo: Doug Spowart
The viewer entering the gallery to see the Life’s Journeys books may not have read the catalogue, or have an understanding of the artists’ book discipline, but what they are to encounter in the white cube of the gallery space will be unusual. The Redland Gallery’s main room a literal forest of fourteen or more acrylic topped display cases. Inside each case resides the book, open to a page and resting on a stand or pillow. Some books don’t seem like books at all, they look more like 3D sculpture, or jewellery forms, or even things just fastened or bound together by threads. Other ‘books’ are in frames or on panels on the wall—one is even a projected image. It’s here where the viewer becomes acquainted with the ‘non-standard’ nature of the artists’ book—but there is more… The viewer can look at the narrative segment presented by the open page, or the expanded story presented in the wall-mounted works, or books that are of the concertina form. While being visually entertained by the titillating ‘sample’ view, the visitor may probably enjoy the encounter and will leave feeling a sense of discovering something interesting and unusual. But I would suggest that this is only part of the experience that the artists who made the books expected or wanted for those who see their books.
I know that this sounds like the continuing debate about the gallery exhibition of books where the sequential narrative that artists’ books require is neutered by single page views. But there is an issue, and for me a redeeming feature for shows like this, and that is that the display of artists’ books will encourage and excite people to hunt down these books in their usual library-sited storage spaces.
What I have written about before,* and what I will restate is, that these exhibitions are ‘tasters’ only. The exhibition strategy needs to include ways by which viewers can identify books of interest, understand how to access them, and then go-see, handle, read and fully encounter the artist’s communiqué. What is needed for the gallery viewer is a catalogue of the books and their source collections, how to access these collections, online references (maybe even flip-books of the works), perhaps even initiated within the exhibition space by QR codes or augmented reality clips. Using this concept the exhibition becomes an invitation for those who wish to take up the offer to handle and read the books in their site-specific habitat.
Now that’s off my chest, I have to say what an amazing collection of artists’ books the curators have pulled together. Seeing this cherry-picked selection in this context is far more interesting for me than looking through an online catalogue—here there is a sense of discovery. It’s a bit like going to a second-hand bookshop and just wandering through the stacks picking up whatever takes your fancy. Wandering through Life’s Journey was indeed an encounter with an eclectic bunch of artists’ books. Some of my favourites were there.
Adele Outteridge’s God Bless America Photo courtesy of Adele Outteridge
This included Adele Outteridge’s Teabag Book (2005) from SWE – just how many cups of tea were consumed to make this book? And another of Adele’s books, God Bless America (2003?) also from SWE, makes a political statement that can be read in different ways depending on the reader’s point of view of American society or foreign policy.
Books from the Codex Event 4 of which Naru is one (for reference only) Image courtesy of Tim Mosely
Another book Naru (2007), from the SLQ, was constructed from paper to form a 3D vessel—the book as a metaphor for a boat. The work was the result of a collaborative project entitled Codex Event 4 coordinated by Tim Mosely at Southern Cross University. Naru and the other books that were created by the team have an overtly political statement contained within their shape and the titling. These works comment on idea of the freedom that many people seek as they cross borders as refugees and how this conflicts with the Australian Government’s immigration policies.
Sheree Kinlyside’s ‘The reluctant nun” (2009) @ 2010 Libris Artist Book Awards. Photo Doug Spowart
A fine press/printmakers book is represented by Sheree Kinlyside’s The reluctant nun (2009) from AM. The book was the winner of the Regional Artists Book Award at the 2010 Libris Artist Book Awards.
A book of a different shape, five sides(!) by American book artist Philip Zimmerman High Tension (1993), from gg+e, deals with a humorous look at contemporary society. The book is intentionally over-designed, montaging graphic elements and text with image narrative to make it an immensely interesting book—you want to pick it up and read through.
In the display of another book, Judy Watson’s Under the Act (2007) from gg+e, each page is framed and the work extends across one complete wall of the gallery. The folio single-sheet form of this book enables its reconfiguration to the wall possible. The work describes a personal narrative, a life’s journey, through the impact of oppressive white bureaucracy applied to Aboriginal peoples living in Queensland not that long ago.
Peter Lyssiotis and Noga Freiburg’s collaborative book Homeland (2003) from AM presents personal narratives of the authors, one a Greek Cypriot—the other an Israeli, about the way lines are drawn across maps to divide communities. The book invokes the story concept by using texts, family photographs and photomontages all bisected by a green line that divides the two communities.
One final book that I’ve always been inspired by is Scott McCarney’s Memory Loss (1988) from AM which deals with a medical condition that afficted his sibling. McCarney was recently in Brisbane with partner Keith Smith presenting an artists’ book workshop at the State Library of Queensland. This two-sided accordion structure book is replete with information from numerous sources including medical literature, personal photographs and correspondence. For me Scott’s book had truly escaped from the cases and was presented, sans protective acrylic lid, atop a plinth where viewing of one side was unobstructed. I think in terms of Scott’s politically subversive work that he would’ve liked that…
Life’s Journeys is a significant showing of what artists’ books can be and it puts the book firmly within the art gallery display environment. But none-the-less, with all the problems of display and the expectations that this commentator may have, the books do need to get out and about. They assert by their presence in the gallery that they exist and can be encountered by a diverse range of the art-interested public. And, perhaps is the case with any gallery exhibition, the viewer experience is something that develops and is enhanced by continued reflection after the viewing. The importance of the exhibition Life’s Journey, the accompanying exhibition Mind Mapping by local artist and bookmaker Jack Oudyn, and the associated workshops is that they will create much needed interest, scholarship and activity in the artists’ book genre. …. And hopefully inspire some viewers to become readers by pursuing the fuller of the artists’ book communiqué by engaging more fully with them when the books return to their respective collection homes.
Doug Spowart June 9, 2012
Please note: The links that I’ve selected to provide a visual connection with the text have been sourced from Google images and may not be the exact book presented for display in this show. I have found it interesting to discover how so many artists’ books are poorly, if at all, represented in the online domain.
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