Curated by Ross Woodrow
25 September – 16 November 2019 (Gympie Regional Art Gallery, QLD)
28 March - 10 May 2020 (Newcastle Art Gallery, NSW)
Material prints are images or objects that have been created from a matrix by mechanical means and can be experienced as physical or material artefacts. The strategic inclusiveness of this broad definition positions traditional prints as part of a much larger constellation of printed images that extends well beyond the usual point of origin for printmaking in the fifteenth century when Gutenberg invented movable type and the perceived terminating decline with the development of digital photography at the end of the twentieth century.
It is not only this expanded definition of printmaking that differentiates Stopping Time: Material Prints from 3000 BC to Now from any other print exhibition yet mounted in Australia. The exhibition adopts a heterochronic view of time by bringing works together in thematic clusters, regardless of the period or place of production, collapsing temporal distance between them, and emphasizing the dual power of material prints to embed or carry past time, and to also stop time during our aesthetic engagement with them. This timeless encounter with material prints might be described as aesthetic time (see, Keith Moxey Visual Time: The Image in History) yet when artists attempt the synthetic transfer of ideas into matter and image it is more a process of collective cultural imagining and technological revelation rather than aestheticism. The full range of printmaking practices is represented, from ancient Mesopotamian images pressed in clay from cylinder seals to 3-D printed contemporary works. It includes works from the Griffith University Art Museum, the Newcastle Art Gallery along with several private collections, and the addition of recent work by contemporary artists including:
Ali Bezer Blair Coffey Ryan Presley and Pamela See
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