2007 Lessons in History Vol 1 – 24 March – 28 April

Lessons in History Vol 1 – 24 March – 28 April 2007

Lesson in History Exhibition


an exhibition of artists’ books looking at history and the lessons of history

Deborah Beaumont
Free Bee Press
The grass is greener here, 2007
‘Aussie values’ is a value-laden term that holds much for the rhetoric of starry-eyed politicians, but like the patriotic green and gold haze of these images, ‘Aussie values’ seeks definition. Through appropriation of the imagery and text of newspaper misprints (known as spoils), this book The grass is greener here, presents a shallow but romanticised notion of  ’being Australian’. Cloth bound, 22 x 29,5 x 2 cm.
Digital prints on Stonehenge paper. Unique
$88 sold

G W Bot
Black Swan, 2007

Black Swan

Black Swan has the text of a Russian poem (with English translation) by the Russian symbolist poet K.D. Bal’mont who visited Australia in 1912. He was so struck by the destruction of the country by white Australians in the quest for economic prosperity that he wrote this poem as a warning to white man to think and take note of what Australia is, before destroying it. In 2007 little has changed, except for the worse. The book, made as a family history, honours two people who lived and made a contribution to this life, two people who made up the family I belong to, who valued the beauty of the word and the kingfisher, rather than the destructive greed of economic rationalism.
18 x 46 cm. Unique State with hand written text is on show in exhibition. Linocuts with handwritten text on BFK paper.
Edition of 15 plus APs. Linocuts printed by the artist with letterpress by edition + artist book studio 2007 ANU, Canberra.
$5,500

Darren Bryant and Joanna Kambourian
44 Solutions (Vol 1), 2007
A new, crisp, white, starched and ironed shirt is presented for sale. Its inherent qualities, how it is folded and labeled presents a model for marketability. Like a history lesson, this uniform is prescribed to its wearer. The battle for history continues… Boxed, white cotton long sleeved shirt, digital prints. 34.7 x 26.7 x 6 cm. Unique
$330

David Burnet
Untitled, 1998
A multiple constructed from discarded photographic paper boxes. It contains a book in a box within a box. The words in black adorning the outer box are powerful reminders of our past and also warnings about our present / future – amnesia, history, ruin, lament, time, memory, scan. The words continue on the inside lid, silence, fear, but now appears the first sign of hope, written in gold, is the word, shine. The inside box reveals a ‘booklet’ folded in two. The rough edge of its beaten lead spine is hand sewn. The cover carries a slightly blurred image of a group of Aboriginal people in European dress. The image, clearer and larger now, is repeated on the next page. On the last page the Four Horsemen of the Apocalypse ride toward the word revolve, which leads to the back cover where the first image is repeated in close-up, darker and with wire between the viewer and the some of the figures. But again some hope; on the bottom of the inside box the words return, angel are collaged with part of a map collaged over them, the image perhaps indicating the right direction for the angel]. The collaged elements, existing and original images by the artist. Card, paper, collage, various. Overall box size 14.5 x 11.5 x 5.5cm. Unique. Collection: Centre for the Artist Book, grahame galleries + editions

Angela Cavalieri
La Mia Prima Lezione, 2007, self published

cavalieri-la-mia-prima-lezione

In La Mia Prima Lezione (My First Lesson) I draw on my childhood memory of learning to write at a time when Italian was my first language. The book works its way through letters to words, which finally make the sentence: scusi non capisco niente (sorry l don’t understand anything), and shows how one can be taught, without understanding.Linocut print, acrylic, pen and ink, 35 x 27 cm. Bound by George Matoulas. Edition: 6 plus 2 artist proofs. $1300 sold out

Victoria Cooper
Koolunga Bunyip

cooper

Photographers of the Greatdivide, 2007 Concertina book in handmade acrylic case This book is a response to the violent attack on a Bunyip committed in the late 19th century by the local community of Koolunga driven by fear of the unknown. Koolunga Bunyip, explores the notions: To coexist with the landscape humanity requires the taming of the wild beast that is the Landscape. How history in being retold and reinterpreted has treated this feared monster of indigenous Australia. Is the Bunyip just a neglected tourist attraction for a sleepy country town or a quaint colourful creature for children’s books, or can it be the mythical Chimera in the landscape? Epson Ultrachrome pigment inks on Epson Radiant White Watercolour paper. 21.5 x 26 cm (extending to 6.8 metres) x approx 2 cm (folded), Acrylic clamshell handmade by Doug Spowart and etched by the artist, 29 x 24 x 2.5 cm. Edition: Second State – 3 $660

Jan Davis
naming is history is naming, 2007
Stamped ink on brown paper Naming is ownership made manifest. White settlers in Australia assumed the right to name places. By so doing they took possession of the country. This book lists the names that were remembered by Phillip Pepper, Kurnai Elder from Gippsland, alongside the names that I use in these places. As place names are written over, so are the stories and the histories. 37.5 x 100 cm in the form of a scroll. Unique $385 sold

Wim de Vos
Drawing a Day Books 2001 to 2006
Paper, thread, Perspex covers, Coptic sewing. These books contain daily drawings from the months of March and April for each year from 2001 to 2006. A reflection of each day’s events, personal, political etc. recorded as drawings…a personal history. Six volumes from a total of 36. 14.5 x 9.5 x 5cm each. Unique NFS

Carolyn Dodds
Backyard Allegory, 2007
Woodblocks printed in black on Chinese paper As the personal is political, so the everyday can be seen to be redolent with deeper significance. I’ve been using scrap timber in my work for a while, firstly using frottage, then sketching on small pieces and making woodcuts: some of these blocks were already cut, but when Noreen told me about this book show I realised that I’d started making this book without realising it. Folding book 14.5 x 19 cm (14.5 x 138 cm open) Edition of 5 plus 1 trial proof and 1 artist proof. $420

Tommaso Durante
secret book of images & words, 2005
A book made in bronze that keeps the images and words of the author imprisoned in its own sculptural nature. It is a conceptual/evocative artwork, imagined on the borders of the categories of the artist book and the sculpture-installation. My translation of the world tries to destroy the imitation of the ideas, by transposing them into other ideas: sculpture-installations, paintings and artist books to testify a subjectivity that is creative, transitory and not defined. 22 x 14 x 19 cm. $3300

Dianne Fogwell
Pack for the Weekend, 2007
Linocuts printed in black with text, condensed gill sans, printed digitally on Magnani 654. One in a series Pack for the Weekend is loosely based on the state of the refugee. It is a reflection on war based incidents that have touched my life even though my own feet have never touched a war zone. Soft cover printed black, section sewn. 17.5 x 13 x 1.4 cm. Edition of 15 self-published. $1,100

Susan Goddard
‘A dog ate my homework!’, 2007
A book about learning: Will those in power ever learn from history or will they continue to use age old excuses to deflect accountability for their decisions? A book about homework: To learn skills in printmaking and bookbinding in which an old dog is taught some new tricks. 39 cm x 27.5 cm x 1.5 cm. Self-published copperplate etching, aluminium plate etching, pronto plate lithography, watercolour on arches BFK Rives, Zerkall book 170g, chiri paper & glassine bookboard & linen thread. Edition of 3. $550 sold out

Julie Gough
A Half Hour Hidden History Reader, 2007

gough

A copy of ‘The Tasmanian History Readers-4 Royal School Series’ issued by the Education Department Hobart provides the backdrop for A Half Hour Hidden History Reader, so named by the artist because it takes a half-hour to read! Gough has over-painted areas of pages in white on which she has written 14 haunting chapters of the ‘Hidden History‘ of the early settlers’ relationships with and treatment of Aborigines in Tasmania. The over-painting has a rough hasty appearance almost as if the artist had to get this history down on paper before it was white-washed. 21.3 x 15.7 x 2 cm. Collage and hand-writing on white paint over existing text. Unique. $3,300 sold

Noreen Grahame
Lessons in dictation, 2007

grahame-lessons-in-dictation

The absurdity of the dictation test as proscribed in Section 3(a) of the Immigration Restriction Act of 1901 is evident in the farce surrounding the 1934 Eugon Kisch incident. Kisch, a Czech national and a communist, was invited to speak at a meeting organised by The Movement Against War and Fascism. Wanting to prevent him entering the country and speaking, the Australian government of the day, ordered he undergo a dictation test in Scottish Gaelic, a language they were sure the multi-lingual Kisch would not know, would fail and then be deported! Recent discussions about reviving the dictation test to prove eligibility for Australian citizenship indicates we have not learned this lesson of history. 12 pp, 24.7 x 19.5 cm. Hand writing on slate printed offset. numero uno publications  Edition of 100 plus 10 ap. $49.50

Juli Haas
The Oyster Book of Lessons from the Memory Room, 2007
Here is an historical treasury (tastefully embellished) and filled with words of wisdom gleaned from times harking back to the era of our great-grandmothers. These lessons from the memory room will provide guidance for the modern young woman. 29 x 35 cm, black flock covers bound with ribbon and gold embroidery thread. Self-published digital images. Edition of 30 $770

Anne-Maree Hunter
The Tower of Babel, 2006

anne-maree hunter

The Tower of Babel may not initially appear to be a book, it is rather more like a sculpture, which the viewer / reader can circle. I coined the term ‘Babel Books’ to describe this book structure I have been developing because of its physical appearance of a tower; in this case the Biblical tower of Babel. It combines a scroll turned on its end with a concertina book that can stand extended out. The Tower of Babel represents some of the world’s architecture on its front page while the internal back page has the story of the tower of Babel in many languages. These have been over-printed to reflect the babble of the tower builders when speaking their native language made communication difficult. Personally I am intrigued to hear, or see different languages in type. A person’s language holds so much history. This book allowed me to combining image with text, two elements often found within a book. 55 x 50 x 50 cm. Self-published Intaglio, screen print, gouache, paper cuts. Edition of 4. $1760

Jenny Kitchener
Timeline, 2007
Touching on the many untruths, omissions and unsympathetic teaching of Aboriginal history to Australian school children in the 20th Century. Fortunately, this is slowly changing for the better. As an art teacher my contact with many Aboriginal students at TAFE has given me a small insight into some of the real stories. I am, of course, not pretending to be an authority on the subject. The book is a product of my own limited knowledge: a selective focus. 10.5 x 29.5 x 1.7 cm. Photocopying, screen printing on card and acetate with wire binding. Unique. $395 sold

Bruno Leti
Monandrian, 2005-6
Leti has dedicated this elegantly bound little volume to Morandi and Mondrian. A poem by Chris Wallace-Crabbe accompanies laser printed photographs by the artist along with an essay by Alan Loney. 15.5 x 19 x 1.5 cm. Binding and slip case by Norbert Herold. Self-published in an edition of 20. $1200

Anne Lord
An 1890′s portrait, 2006-2007
A photographic image taken about 1890 at Van Dyke Studios Hobart is of a woman seated in a classical portrait pose, a three quarter view of a face and shoulders. The hands and arms would most likely have been visible in early versions of this paper positive but can now only be imagined even when the image is enhanced digitally. The positive was supposedly in the possession of my grandfather Percy Burton Phillipson Lyne who left Tasmania twice. The first time was in 1902 at the age of 27. The photograph probably remained in darkness until 2004. There is a correlation between the fading photograph and eroding metal, not in a literary sense but in the idea of the change process and how things fade or disintegrate with time. In particular the fading silver bromide image is disappearing and dependent on a trace of metal for its survival. An 1890′s portrait was produced for the exhibition Lessons in History Vol. 1. 15 x 10 cm. Self-published Digitally altered photographs on paper. Edition of 10. $330

Peter Lyssiotis
7 Disrupted Interviews With History, 2007

lyssiotis

Photomontage began with John Heartfield and George Grosz in Germany as a response to the rise of Nazism. Heartfield’s motto, “Use photography as a weapon” is the guiding principle behind 7 Disrupted Interviews With History. On the one hand it is a critique on the death while in police custody of Molrunji Doomadgee, and on the other a celebration of the Noongah peoples’ successful native title claim in Western Australia. 22.5 x 15 cm. Photomontage. Masterthief in an edition of 25. $660

Ron McBurnie
his – story, 2007
The story follows the journeys of a friend’s search for truth and connects to other universal stories. Drawing, watercolour and handwriting. Prototype. 13 x 17.5 cm. NFS

Jennifer Marshall
Object Drawing – a fragmented history lesson, 2007
Some material evidence for a nineteenth century Australasian Maritime History. The artist has explored bits of worm-eaten, cracked and split material remains of wooden ship figureheads from wreaks held in Tasmanian museums. The endpapers provide the first clue and lead to the first lesson, which begins with some unidentified shapes that are gradually revealed in the first drawings (offset etchings) to be fragments of images of women. The second lesson repeats what has been learnt but reveals more. Some prints have touches of watercolour to help the viewer further identify these fragments. Those that are freestanding are shown from more than one viewpoint. The third and last lesson provides a lot more information about the shape and texture of these objects and their current state of preservation (or lack of). One image in particular is repeated more than once in each lesson. This is part of a woman’s torso found in S.W. Tasmania. The head (with axe marks on the neck where it has been chopped off the figurehead) and the lower arm with a bracelet have all been ascribed to the same wreck but they do not fit together…being too small for the body. On the other hand the headless woman (from Macquarie island) has been connected to Joseph Conrad and a ship on which he served that lost its figurehead in the Southern Ocean when it struck an iceberg. Marshall’s depiction of these material remains provide history lessons as revealing as the study of written records and texts. Printed on Arches Ingres, leather bound 48 pp 27 x 22 cm. self-published in an edition of 3. $2,500

Milojevic, Milan
Lessons in History (When will they ever learn?), 2007
The idea for the book came from a Pete Seeger song titled : Where have all the flowers gone? made popular by Peter, Paul and Mary in the early sixties. The motivation for the book is the sad decline of the Tasmanian Devil and the possibility of its extinction within 50 years. History truly does repeat. 18 pp, 15 x 10 cm. Self-published digital/woodcut. Edition of 10. $275

Shelagh Morgan
Changing Same, 2007

changing same

I chose to use transparent pages because of the subtle shifts that occur in the overlaid images, this alludes to the past & present merging. Material history is always happening now. The predominance of war on the history channel is actually not as distressing as watching the Fox News channel, and what they represent. 12 X 30 cm. Mixed media on drafting film. Unique. $400 sold

Monica Oppen
When The Oil Runs Out All This Will Be History, 2007
Made up of two components; the first is a public service booklet in the form of a guide on How to Spot a Terrorist, while the second is a cache of evidence where the history of the guide’s production and documents relating to our government’s War of Terror are stored. Booklet 7 x 10 cm in print run of 100 copies; Box of evidence 38.5 x 25.5 x 7.5 cm. BOOKLET: $2

Adele Outteridge
A Feat of Clay………Howard’s End, 2007
Newspapers, thread, paper, pamphlet stitch sewing on folded spine. The book is a ten week ‘moment’ in history. Editions of the Guardian Weekly airmail edition were collected during a stay in Sweden in 1993-4. The information is all there but has been fragmented and needs careful research to link the fragments. 14.5 x 9.5 x 260 cm (stretched out), 14.5 x 5 x 3cm closed. Unique. NFS

Amanda O’Sullivan
History Box, 2007
A set of six books tht expand to rveal a thread of memories about the artist’s family. Each book represents a precious memory about special family members stitched in red and honours memories of the plast and hints at ideals of the future. Housed in hand made box 15.5 x 12.5 x x 13.6 cm. Unique. $385 sold

Karen Papacek
Lets Eat, 2004
This piece is a combination of found and constructed elements. An original text is spread throughout the paper blades that are inserted into the handles and supported on wooden plinth buffet style. The poem is about being forced fed on war, and as we cannibalise or own spirits, we are obliged to forget and be grateful for the experience. Either we consume our own history or we starve on principles. 24 x 48 x 7 cm. Aquarie Paper, silver knife handles, wax, watercolour and ink. Unique. $2,200 sold

John Parkes
DEAR JOHN – $ORRY, 2007

parks

Concertina format of twelve pages, one for each year of John Howard’s prime ministership. Rubber stamped in red ink DEAR JOHN (stamps from a children’s toy set) on one side and $ORRY (39 pt American Typewriter font) on the other. The book came about in response to a conversation with Angela Cavalieri about books and the forthcoming exhibition. Quite quickly the layers of meaning erupted. It was a matter of putting rubber stamp to card. 5.5 x 93.9 cm wrapped in red cloth and tied with red cord. Rubber stamps on blank business cards in an edition of 3 plus a/p. $264 sold out

Michael Schlitz
les sons of history, 2007

michael schlitz

We follow Schlitz’s ‘sons’ of history in these tightly cut linocuts. We follow their history making from the first image ‘every mothers son’. On we go with ‘swampman of the desert‘, ‘explorers dream’ and ‘man on horizon’. All are searching and all are hopeful. Then comes ‘fear of an edge’ and ‘within the heart of another mans past’ and others on to ‘momento mori’. les sons of history reflects all the hope and angst of those who make and those who wish to make history. 28 x 50 cm. Bound by Fred Pohlmann. numero uno publications in an edition of 10 + 2 ap. $1650

Alex Selenitsch
16 page exercise book, 2006

selenitsch

AS writes: “History” begins with the preparation of the page on which it is to be written. This guides what can be remembered and what can be forgotten. History is not the story, but the restrictions and desires that have been applied to the complexity it confronts. Here, an exercise book with a plain rhythm of equal lines and pages is modified so that it suggests a narrative of what you leave and what you cover up. With it, there are some armbands to remind you that the black and white is always coloured.” Book and 5 armbands (red, orange, yellow, green, blue) held in a found box file, book A4, box 25.5 x 37 x 5 cm. Liquid paper on photocopied lines. 80gsm paper, stitched, with Holbein cover papers; 25mm polyester ribbon armbands with black & white loop & hook fasteners. Self-published in an edition of 5 (numbered a, e, i, o, u) $440

Glen Skien
“A CONCISE HISTORY OF AUSTRALIA” VOLUME I, 2007

skien

A small series of twelve transparent collaged works, which are most probably what I would have preferred to be doing in my Australian history lessons at school … writing and tracing over the pages and cutting out the pictures. Envelops 10 x 15.5 cm in hand made box 11 x 17.7 x 8.2 cm. Transparent envelops with collage and text. Silent Parrot Press. Unique. $1375 sold

Matthew Sleeth
News + Weather, 2006

sleeth

During the 2005/6 Japanese winter we lived in Tokyo and I made this book as a way of keeping in touch with ‘home’ while engaging with ‘away’. Each day I copied the most popular article from the website of Melbourne’s ‘Age’ newspaper and matched it to an image I had made that day, usually in Tokyo. The caption of each picture is a description of the weather and place where the picture was taken and the date. The text does not explain the content of the image, nor the image illustrate the text. Rather, each juxtaposition reflects the experience of being an outsider in another culture while retaining an interest in your own. 26 x 20 cm. Unbleached commercial scrapbook with handwritten text in ink, printed ink jet text on white paper and type C prints. Edition of 7. (a/p on show) $3850

Rochelle Sommerfield
Remembrancers, 2007
Historically the word, Remembrancers, referred to debt collectors, reminding people of things they would rather forget. During Howard’s term as Prime Minister, I believe there have been certain issues that challenged ideas on what it is to be Australian. History is integral in producing a sense of Australian-ness and tensions arise between one nationalist idea on identity and history as a ‘fragmented stew’ of multi-narratives, memories and experiences that is more inclusive of a multi-diverse Australian society. In this work, I have utilised combinations of iconic shapes, drawings, photographic imagery and text to explore some of these ideas, tensions and representations during Howard’s historical term. 15.5 x 52 x 1.5 cm. Bound by Fred Pohlmann. Self-published etchings in an edition of 5, + 1 AP. $1,850

Doug Spowart
Proposal for Revising Australian Landforms (Supersizing country), 2007

doug spowart

This book deals with how history and public opinion can be manipulated and swayed for political and commercial gain by any person or agency of power. Folios long stitched to cover. Printed by Epson pigment inks on Epson Double-sided Matte paper. 24 pp + cover, texts and 9 photoimages and 9 photomontages. 21 x 14 x 1.5 cm. Photographers of the Greatdivide in an eddition: First state – 10. $440

Stephen Spurrier
Black Book, 2007
Our obsession with technology: from microelectronics, network computing and digital electronics to motor vehicles is the subject of #47 from Ugg Boot Press. Spurrier uses the car as a symbol of our rampant use of the planet’s resources to fuel this obsession – like zombies we are seduced into the game of consumerism without stopping to consider the lessons of history. 29 x 41 cm, 60 pp (approx.) Digital Prints with screenprinting. Ugg Boot Press in an edition of 10 $1100

Madonna Staunton
History at War, 2006/07
Drawing and mixed media The Battlefield – C’est moi. 7.5 x 5 x 1.2 cm. Unique $550 sold

Richard Tipping
Instant History, 2007
The six poems titled ‘Instant History’ are a response to the first and second invasions of Iraq, in the late 1900s and early 2000s. Terms such as ‘shock and awe’, ‘pink mist’ and ‘data smog’ were generated by this potential debacle, where the imposition of military might causes more problems than it solves. The poster inside the folded pages is a direct copy of a street banner published by the Newcastle Herald in March 2003, showing an Australian soldier in supposed attack readiness. 8pp, 22.5 x 16 cm. Photocopy on two sides, folded from a single sheet 160 gsm. Thorny Devil Press. Prototype edition of 4. (Edition of 30). $44

Jonathan Tse
Portrait of an Australian, 1998

jonathan tse

The artist’s family migrated to Australia from Hong Kong in 1975. For the child migrant the process of settling into a new country is sometimes more demanding than it is for an adult. The decision to migrate is usually one in which the child has little to say, even though the parents may see their children as the main beneficiaries of migration. In the form of an Australian Passport Portrait of an Australian presents the migrant experience mainly through words and pictures, and challenges the notion of what it means to be an Australian. Each of the 32 pages are elegantly screenprinted. 9 x 3 cm. Self-publishedSigned and numbered last page. Edition of 10. $1,650 (NFS)

Angela Valamanesh
HEADLINES ’97, 1997
Set of 8 printed postcards The set eight cards was selected from banner headlines I collected while I was a Samstag scholar at Glasgow School of Art in 1997. There was something special which I presume is Scottish about the information and the way it was stated and since I’m not normally a collector of things I can only guess that I was obsessed (or possessed). 10.6 x 15 cm each. $20

Judy Watson
under the act, 2007

judy watson

Judy Watson’s new artist’s book under the act (2007) made its debut as a work in progress in Lessons in History Vol 1, an exhibition of artists’  books looking at history and the lessons of history, held at grahame galleries + editions in March/April 2007.
As with the artist’s first artist’s book, a preponderance of aboriginal blood (2005), which deals with Aboriginal people’s Right to Vote, Judy Watson has drawn on letters, papers and official documents found in the Queensland State Archives as well as personal family photographs as a base for under the act. The documents from the archives this time, however, pertain to her great-grandmother and grandmother who lived under the Aboriginal Protection and Restriction of Sale of Opium Acts of 1897. They also reveal the categories, ‘full blood’, ‘half-cast’, ‘quadroon’, ‘octoroon’, ascribed to aboriginal people of the day.
Using etching and lithographic techniques this work makes a powerful statement about life Under the Act. Amongst documents from the archives used in the book is Watson’s great grandmother’s ‘exemption card’. These cards allowed holders to live and work outside the reservations, and were called ‘dog tags’ by their holders, as they were obliged to carry them on their person at all times. Also included are letters of objection from various parties to authorities at the time Watson’s aboriginal grandmother and white grandfather were seeking permission to marry.
In documenting her family’s life in under the act, Watson etches the history of all Aboriginal people who lived Under the Act.
Twenty etchings with chine collé, 42 x 30.5 cm in folio 43 x 32 cm (closed) 71.3 x 99.2 cm (open). numero uno publications in an edition of 20 plus 5 a/p. $16,500

Cecilia White
Her story of the world, 2007
This book reflects the clash of values between the traditional seeking of knowledge and wisdom and the newer seeking of a self, particularly in women, defined by marketing and empty plastic thought. Moving to Oxford, a city renowned for its learning and knowledge, I decided to not buy a television and began to notice the long, often subtle influence of advertising on our habits, including spending. Shopping is an international spending phenomenon, replacing many traditional leisure time options such as reading, even in Oxford. It is a plastic experience, marketed as important and strongly targeting women. 29 x 40cm. Mixed medium. Unique. $200 sold

Normana Wight
‘Towards Comfort…’, 2007

wight

A really small history. The making of a cup of tea. What’s that quote about the world in a grain of sand? Something like that. 11 x 15.5 x 3 cm Printer: Pasi Ihalainen. Self-published digital print on Hahnmule paper. Edition of 10. $660

Christine Willcocks
Memorialis – A Personal History, 2007,
Antoni Kotlarczyk’s only crime was being an academic. HISTORY – Just whose history are we telling? This book is a documentation of one man’s struggle and the contribution it has made to the social fabric of this Nation. 25 pp. Cotton gloves, binding ribbon in Solander box. Self-published Inkjet prints on Hahnemuhle and transparent digital paper.Edition of 2. $550

a willliams
Gentle Persuasion, 2007
Hand bound book and power drill. Gentle Persuasion is part of an ongoing body of work examining the relationship between the written word and physical violence, and how books are implicated throughout history in violent human practices such as war, torture, tyranny, genocide and oppression. “I wanted to try and help reconcile the differences between this book and my friend’s power drill…they clearly had their disagreements.” 15 x 11.5 x 5 cm. Pickafight Books Unique. $550

Margaret Wilson
History Forgets to Die, 2007
Recto and Verso loose-leaf digital prints of original photographs and drawings on semi-gloss photo paper. This book reflects upon the cyclic repetition of human narratives which have manipulated beings and marked the earth in the past; are retrieved, recorded and revitalised in the present; and will be retraced, reinvented and repeated in the future. In Folio – watercolour ink and shellac on folded stock with jute string tie. Unique. $275

Prints:

Noreen Grahame
Monsieur Le Président, 2005

noreen grahame

Mein Lieber Herr, 2005

noreen grahame

Moving on from the ‘little books’. Relief etchings on Somerset Cream. c. 42 x 36.5 cm. Printed by Monsoon Publishing, Townsville. numero uno publications Editions of 15 plus 5 ap. $165 ea.

Kirker, Anne power, 2006 digital print Kirker’s says all there is to say about people’s use of power. Printed by Normana Wight. Image 12 x 22.5 cm. Edition of 5. $300

Lewis, Ruark EFRS 3 (Euphemisms For A Riotous Suburb), 2007 Screenprint These two works directly relate to the December 11 2005 Cronulla Riots. Lewis is currently artist in residence at Hazelhurst Regional Gallery working on an upcoming exhibition Out Lucky Country (difference). Set of two prints sheet 76.5 x 57.5 cm, image 72 x 52 cm. Editions of 15 plus 3 ap. Singles $550 Sets $800

Schlitz, Michael Huonville, Tasmania numero uno publications linocuts – from artist book les sons of history, 2007 editions of 8. $330