numero uno publications qca exhibition 2017

numero uno publications / grahame galleries + editions
artists’ books and catalogues published by the gallery 1991 – 2017
Window display QCA Library

Jan Davis

Virgil’s Keep
(2017)
Virgil’s Keep is a response to ‘The Georgics’, an epic poem by Virgil on the challenges and virtues of agricultural life.
The reader passes through a series of eight gates: gates of possibility, of toil, of planting, of hope, of tending, of pestilence, of tempests & furies, and finally of harvest; markers of the gardener’s seasonal journey and visual markers across many Australian rural landscapes.
The eighth gate opens to reveal Virgil’s text: But lo! / A boundless space / We’ve travelled o’re / ‘tis time / our steaming horses / to unyoke
The eight paired relief prints and the dual binding generate a sense of enclosed space, ‘the keep’ of the title. 15.5 x 39.3cm. Bound by master bookbinder Fred Pohlmann. Edition of 6 signed and dated. Published by the artist and numero uno publications, grahame galleries + editions. Photographer Carl Warner.

Jan Davis

Gogo Girl
(2007)
Could be viewed as the sad life story of a busy woman or an invitation to take time to reflect. Hand-stamped. Edition of 5. 12 x 13 cm. Photographer Carl Warner.

Jan Davis and Noreen Grahame

the case of the extremely glad gallerist
(2001)
and
the case of the extremely sad gallerist (2001)
The flipbook format is used to great effect in these little books. The ‘glad gallerist’ comments on galleries, artists and others who have become red blind, while the ‘sad gallerist’ is for galleries, artists and others who remain ever hopeful. From ‘The Comments Series’. Signed and numbered in an edition of 200. 24pp. 9.0 x 12.0 cm. Published on the occasion of the 4th artists’ book + multiples fair, Brisbane 2001. Photographer Carl Warner.
Ref:
Grahame, Noreen (ed.) 2001, 4th artists’ books + multiples fair, numero uno publications. p. 35 (illustrated p. 76).
Grahame, N (ed.) 2015, Une historie du livre d’artists australien, numero uno publications, grahame galleries + editions. p. 13.

Malcolm Enright


piss’n’wind (the art scene)
(1996)
A complete digital book. Outputed from a file to an Indigo “Eprint” and printed on Mohawk options inxwell. Entirely made from recycled images & found texts.  Prepare yourselves for his usual MalEisms.‘The wind’ is recycled images from a U.K. Dyson advert for it’s vacuum cleaner combined with ‘the piss’ part, ‘martell cordon blue’, ‘moet et chandon vintage’, ‘absolute vodka’, etc opposite the appropriate ‘windbag’, all you have to do is match them up!  ‘piss’n’wind’ is part of the artist’s continuing comments on the art scene. Dedicated to Sister Mary Boneventa “she know a good artist when she sees one”. Signed and numbered in an edition of 20. Photographer Carl Warner.
Ref:
Grahame, Noreen (ed.)1996, artists’ books + multiples fair ‘96, numero uno publications, Brisbane.  p. 17.

Noreen Grahame


Monsieur Le Président
(1995)
Photographer Carl Warner.
and

Monsieur Le Président
(2015)Reprinted
A protest flip book about the resumption of French nuclear testing in the Pacific.  The word ‘non’ enlarges gradually as the reader flips the pages until it almost shouts “NON, Monsieur Le Président”. Signed. Unlimited editions. 3.5x12cm. numero uno publications. Photographer Carl Warner.
Ref:
Grahame, N (ed.) 1996, artists’ books + multiples fair ‘96, numero uno publications. p. 17.
Grahame, N (ed.) 2015, Une histoire du livre d’artiste Australien, numero uno publications. p. 19.

Noreen Grahame

Mein Lieber Herr (2005)
The typical Ja, Ja, Ja! until it become tja, tja (oh well!). Unlimited edition. 3.5 x 12 cm

Noreen Grahame

Lessons in dictation
(2007)
The absurdity of the dictation test as proscribed in Section 3(a) of the Australian 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 organized by The Movement Against War and Fascism. Wanting to prevent Kisch from entering the country, the Australian government of the day, ordered he undergo a dictation test in Scottish Gaelic, a language selected with the intention the multi-lingual Kisch would fail. He did. A deportation order was issued but the Supreme Court of Australia overturned this decision. Discussions in 2007 about reviving the dictation test to prove eligibility for Australian citizenship indicates Australia had not heeded this ‘lesson of history’. 12pp. 24.7 x 19.5 cm. Published in edition of 100 on the occasion of the exhibition Lessons in History held at grahame galleries + editions March/April 2007. Signed and numbered.Photographer Carl Warner.
Ref:
McQueen, H 2011, ‘The end of everything else’, in M Oppen and P Lyssiotis (eds), The Silent Scream: Political and Social Comment in Books by Artists, Ant Press for Bibliotheca Librorum apud Artificem. pp. 116-7 (illustrated).
Grahame, N (ed.) 2015, Une histoire du livre d’artiste Australien, numero uno publications. p. 19. (illustrated p. 18).

Noreen Grahame

Stamp out Democracy
(2012)
Used for official endorsements the humble rubber-stamp embodies power.
For just that reason rubber-stamps are employed in Stamp out Democracy. A minimum number of words ‘endorse’ the message that democracy is always vulnerable. Like all dangers, which begin small and are ignored, ‘stamp out’ grows in strength with each page until ‘democracy’ has been ‘stamped out’.
On the surface a light-hearted book commenting on the erosion of democratic rights. Below the surface, page-by-page, this light-heartedness is stamped out. 21.0 x 15.0cm. Published on the occasion of the exhibition Lessons in History Vol. II – Democracy held at grahame galleries + editions 2012. Signed and numbered. Photographer Carl Warner.

John Honeywill

Memory Maps
(1993)
The fading memories of a father who passed away twenty-five years ago and a mother’s memory affected by Alzheimer’s disease emphasise the tenuous hold on the source of memories. Honeywill’s book explores these links with the past through ‘the residual feelings that remain from memories that are lost. ‘ With extract from a short story ‘Water in the Wires’ by Ross Honeywill. Images and text screenprinted by Jonathan Tse. Bound by Fred Pohlmann. 15.2 x 20.5 cm. Edition of 100 signed and numbered. Photographer Carl Warner.
Ref:
Grahame, Noreen (ed.) 1994, BEWARE books by artists, Numero Uno Publications. p. 33.

Ron McBurnie


The Temptation of St Antony
(1994)
Catalogue as artist book. Red cover folder held with red ribbon threaded through back and front folder covers. Linocut end papers showing St Antony under temptation and list of contents inside back cover.
The publication was made for the artist’s exhibition The Temptation of St Anthony at grahame galleries + editions from 12 October – 12 November 1994. It contains a catalogue of works, a booklet of modern saints, a booklet entitled ‘The Falling’ with relic attached and separate sheet rubber stamped with ‘A Printed Kiss’. These are held in a folder with rubber stamp title on front. The folder opens out in shape of a linocut cross. Bound by Fred Pohlmann. 31 x 22cm. Edition of 12. numero uno publications. Photographer Carl Warner.

Michael Schlitz

the nature of things
(2005)
Ten wood engravings on Japanese Kozo paper accompanied by the artist’s text screenprinted opposite the black images in light ink. the nature of things relates tales about the human condition from a personal perspective. Japanese binding by Fred Pohlmann. 20 pp, 24.7 x 27.2 cm. Edition of 10. Signed and numbered.
numero uno publications. Photographer Carl Warner.
Ref:
Grahame, N 2007, ‘the book the poet, the artist and the breakthrough’, in R. Tipping (ed.), the word as art, Artlink, vol. 27, no. 1, pp. 68-71 (illustrated).

Michael Schlitz

Les Sons of History
(2007)
We follow Schlitz’s ‘sons’ of history in these tightly cut woodblocks. 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. Made for the exhibition Lessons in History Vol. 1 at grahame galleries + editions in 2007. 28 x 50 cm. Bound by Fred Pohlmann. Edition of 10 + 2 ap. numero uno publications. Photographer Carl Warner.

Judy Watson

a preponderance of aboriginal blood
(2005)
Judy Watson produced this book in response to a phrase she heard in a lecture given at the University of Queensland on 9th April 2005 by Loris Williams from the Department of Aboriginal and Torres Strait Islander Policy. The title of Williams lecture was Cast-ing the Vote: Aboriginal and Torres Strait Islander voting rights in Queensland.
The 2005 exhibition, sufferance : women’s artists’ books, was a project developed by the State Library of Queensland to celebrate the Queensland Centenary of Women’s Suffrage and the 40th year of Indigenous Peoples gaining the right to vote in Queensland. Judy Watson was one of the artists approached by the curator to submit an artist book for this exhibition. Watson, however, was busy on other projects and she had also two small children, so declined the invitation. That is until she heard Loris Williams enunciate the five racial classifications, which precluded those who came under one from enrolling to vote in Queensland elections.
The Queensland Elections Act in 1885 excluded “Aboriginal natives” from enrolling. These disqualifications were carried over to the 1905 Elections Act Amendment Act and the 1915 Elections Acts. The 1930 Elections Act was amended and enrolment exclusion was extended to include Torres Strait Islanders, ‘half-caste’ Aboriginal people, anyone living on government reserves, and anyone who was under the control and general supervision of the Protector of Aborigines were denied the right to enrol.
Sixteen etchings, 42 x 30.5cm. Each page rubber-stamped verso with title; page number and edition number noted in rubber stamp in pencil. In pencil verso page. Printed by Suzanne Danaher, Tricia Hatcher. Folio bound by Fred Pohlmann. Edition of 5 plus APs. Signed and numbered 42 x 32.5 cm in folio 43 x 32 cm (closed) 71.3 x 99.2 cm (open).

The artist and numero uno publications. Photographer Carl Warner.
Award:
NATSIA Darwin ’06 – Telstra Work on Paper Award).
Ref: (selection)
Armitstead, J 2005, sufferance : women’s artists’ books, State Library Queensland, Brisbane. pp. 14-15.
Cowley, D and Williamson, C 2007, The World of the Book, The Miegunyah Press and the State Library of Victoria, Melbourne. pp. 214-5.
Fitzgerald, M 2005, Veiled in Beauty, Time, December 12, No 49. pp 62-64.
Kennedy, R 2011, ‘Indigenous Australian Arts of Return : Meditating Perverse Archives’, in M Hirsch and N K Miller (eds), Rites of Return : Diaspora Poetics and the Politics of Memory, Columbia University Press, New York. pp. 88-104. See esp. ‘Reading through Blood: Judy Watson’s Artist’s Books’. pp. 91-87.
Knights, M and Croft, L 2008, SHARDS, SASA University of South Australia, Adelaide. pp. 2, 8-9, 16-19.
Mundine OAM, D with artist’s contribution 2007, Sunshine State – Smart State, Campbelltown Arts Centre, Campbelltown. pp. 37-39.
Watson, J 2010, ’a preponderance of aboriginal blood’, in R Follett (ed), Found in Fryer : Stories from the Fryer Collection, The University of Queensland, St Lucia. no. 89. pp. 186-7 (illus. p. 187)
Watson, J and Martin-Chew L 2009, Judy Watson blood language, The Miegunyah Press Melbourne. pp. 134-7 (three pages illustrated).

Judy Watson

under the act
(2007)
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 pertain to her great-grandmother and grandmother who lived under the Aboriginal Protection and Restriction of Sale of Opium Acts of 1897. The documents also reveal the categories, “full blood”, “half-cast”, “quadroon”, “octoroon”, ascribed to Aboriginal people of the day.
One document from the archive, which Watson used, is her great grandmother’s ‘exemption card’. These cards allowed holders to live and work outside the reservations. They 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.
Using etching, lithographic techniques, silkscreen and stamping this work makes a powerful statement about life for all Aboriginal people who lived Under the Act.
Twenty etchings with chine collé in an edition of 20. 42 x 30.5cm in folio 43 x 32cm. Printers: Basil Hall Editions. Bound by Fred Pohlmann. Published in edition of 20 on the occasion of the exhibition Lessons in History held at grahame galleries + editions March/April 2007. The artist and numero uno publications. Photographer Carl Warner.
Ref: (selection)
Abraham, D. and Ryan, M. (eds) 2009, Yapang marruma: making our way (stories of the stolen), Lake Macquarie City Art Gallery, Booragul, NSW.
Arzt, M. Kelly, D. Motz, F. Niessen, C. Pupat, H. Trischler, R and Volz, U. 2009, Terra Nullis – Zeitgenössische Kunst aus Australien, Vierzehn No. 6, Halle 14, Leipzig. p. 12 and colour insert.
Caddy, K 2016, Education Resource Kit : Judy Watson : A Case Study, Lake Macquarie City Art Gallery. pp. 6-7.
Davis, J. (ed.) 2009, Stories of our Making : contemporary prints from Australia, The Southern Cross University, Lismore.
Dobson, M, Hall, B and Mundine, D 2008, Etched Under the Sun, The Australian National University, Canberra. pp. 36’7 (page 3 illustrated).
Grahame, N. (ed.) 2015, Une histoire du livre d’artiste australien, numero uno publications, Brisbane. pp. 36/7.
Kennedy, R 2011, ‘Indigenous Australian Arts of Return : Meditating Perverse Archives’, in M Hirsch and N K Miller (eds), Rites of Return : Diaspora Poetics and the Politics of Memory, Columbia University Press, New York. pp. 88-104. See esp. ‘Reading through Blood: Judy Watson’s Artist’s Books’. pp. 91-87.
McDonald, G 2012, ‘Cultural Warriors : As cultural diplomacy’, Artlink, Adelaide, vol. 32 no. 2, pp. 38-42.
Quaill, A. 2007 ‘Judy Watson’ in: Clark, D. and Jenkins, S. (eds) cultural warriors : national indigenous art triennial ’07, National Gallery of Australia, Canberra. pp. 166-171.
Cultural warriors (reprint)
cultural warriors (International Tour edition, 2009)
Ryan, M. 2009, The Museum Effect, Lake Macquarie City Art Gallery, Booragul, NSW.
Sever, N. (ed) 2008, Etched in the Sun, Australian National University, Canberra. p. 4, pp. 36-37, p. 47
Voltz, U. and Motz, F. 2009, Vierzehn 6, Halle 14 e.V., Leipzig. p. 12 and poster insert.
Watson, J and Martin-Chew L 2009, Judy Watson blood language, The Miegunyah Press Melbourne. pp. 76-9 (4 pages illustrated).

Normana Wight

Posted
(2009)
Each month over 10 months from October 2007 to July 2008 Wight made a postcard in an edition of 40, which she posted to a ‘select few’ including family members and friends in Australia and overseas. The project, ‘then and there 1937 – 1946’, was based on photographs of the Wight family from this period – a period full of upheaval for many Australian families.
In 2009 Wight further developed the project to make her artist book Posted. The title is a reference to those family photographs, which Wight’s mother had posted to her sister living on the opposite side of Australia. It also references the various ‘postings’ of the artist’s father, who served with the RAAF in WWII. Bound by Fred Pohlmann. Concertina format. 19.0 x 19.5cm. Edition of 10. The artist andnumero uno publications. Photographer Carl Warner.

Normana Wight and Anne Kirker

elements
(2005)
Anne Kirker’s four poems refer loosely to the elements; earth, air, fire,
water. The artist, Normana Wight, has responded to these with a ‘page turner’ of a book, with a flow of text and image through a panoramic format of digital print on Raleigh Navajo Text 148 gsm and Tracing paper 115 gsm in an edition of 12 plus 4 proofs. Covers are Somerset Velvet paper 250 gsm. Japanese binding by Adele Outteridge. Perspex box sleeve.  13.5 x 29 cm. Signed and numbered inside back cover. The artists andnumero uno publications. Photographer Carl Warner.

Normana Wight and Anne Kirker

As It Is
(2005)
Poems by Anne Kirker with images by Normana Wight in a boxed folio of eight poems on seven folded sheets. Printed by Normana Wight on Arches Aquarelle 185gsm paper using Hewlett Packard 930 Inkjet printer. Folio size 18 x 25 cm.  Box size 20 x 26.6 cm. The artists numero uno publications. Photographer Carl Warner.

numero uno publications / grahame galleries + editions
Catalogues


Une historie du livre d’artiste australien
(2015)
Catalogue to accompany exhibition Une histoire du livre d’artiste australien at the Cabinet du livre d’artiste, Université Rennes 2, France – 10 December 2015 – 4 March 2016.
60 pp – b&w images plus descriptions of 48 artists’ books produced in Australia since 1968 published in an edition of 200 by numero uno pubications/grahame galleries + editions.


Lessons in History Vol. II Democracy
(2012)
95 page exhibition catalogue from Lessons in History Vol. II Democracy : 27 October to 15 December 2012. The exhibition was staged around the theme of Democracy. Catalogue contains descriptions and images of all 51 books by 50 artists. Cover design is wrap-around colour poster with images of each book.


Wishing To Fly
(1999)
Catalogue to accompany exhibition of same name held at grahame galleries + editions November 18 – December 18 1999.  The project was supported by the Faculty of Arts, University of Southern Queensland. Catalogue jointly published by numuro uno publications  and Ugg Boot Press. Photographer Carl Warner.


4th artists’ books + multiples fair
2001
108 page catalogue to accompany the 4th Australian artists’ books fair with essays by Melbourne-based poet and architect, and a Senior Lecturer in Architecture at the University of Melbourne, Alex Selenitsch ; by artist, publisher, and Lecturer in Printmaking and Book Arts at James Cook University, Ron McBurnie ; and by Ken Bolton , poet, critic, publisher, and manager of the Experimental Art Foundation Bookshop. Two colour images and 27 b&w illustrations accompany the over 300 catalogue entries, plus listing of Artists’ Books Collections in Australia. Printed in an edition of 400 by Numero Uno Publications. Photographer Carl Warner.


3rd artists’ books + multiples fair
‘98
The 112 page catalogue to accompany the 3 rd Australian artists’ book fair with essays by Zara Stanhope , Assistant Director Monash University Gallery, Melbourne and Richard Kelly Tipping , artist, poet and lecturer in the Department of Communications & Media Arts at the University of Newcastle. Nineteen b+w illustrations accompany 398 extensive catalogue entries, plus a listing of Artists’ Books Collections in Australia. Printed in an edition of 500 by Numero Uno Publications. Photographer Carl Warner.


artists’ books + multiples fair ‘96

Catalogue to accompany artists books’ + multiples fair  7+8 September 1996.
The sixty-nine page catalogue contains essays by Judith  A. Hoffberg (a California-based librarian, archivist, lecturer, art writer, curator of many artist book exhibitions, and editor and publisher of Umbrella , a newsletter on artist books and artist publications, and other publications), and Anne Kirker , Curator of Prints, Drawings and Photographs, Queensland Art Gallery. Thirty b+w illustrations accompany over 170 extensive catalogue entries. Dust jacket designed by artist, Juli Haas. Printed in an edition of 300. numero unot publications. Photographer Carl Warner.

Bruno Leti: Small Oils – New  Monotypes – Artist’s Books (1996)
Exhibition Catalogue.


BEWARE books by artists
(1994)
Special catalogue as artist’s book to accompany first artists’ books fair in Australia. State Library of Queensland, 24 & 25 September. 17 b&w illustrations plus entries. numero uno publications. Photographer Carl Warner.
Edition: 250 each with an original print as bookmark by:
Nos. 1-62 drypoint bookmark by Juli Haas
Nos. 63-125 etching bookmark by John Honeywill
Nos. 126-188 linocut bookmark by Ron McBurnie
Nos. 189-250 screenprint bookmark by Normana Wight


Catalogue for (International Works on Paper Fair ’93)


Powerhouse Museum, Sydney.
Edition of 100 plus 5 APs resevered for each of the artists who produced the original special covers. 28 pp., 16.8 x 12 cm., covers open to 16.8 x 50 cm.
Artists:
Ray Arnold ‘Ridge’, 1993. Etching with platetone. Edition 1-20 plus 5 AP, books 1-20.
Juli Haas ‘Last dance with the pieman’, 1993.  Hand-coloured drypoint.  Edition 1-20, books 21-40 plus 5 AP.
John Honeywill, Untitled 1993.  Watercolour.  Edition 1-20, books 41-60 plus 5 AP.
Ron McBurnie ‘Gluttony, Lust and Power’, 1993.  Etching.  Edition 1-20, books 61-80 plus 5 AP.
Milan Milojevic ‘Bronte park (Fragment)’, 1993. Four colour screenprint. Edition 1-20, books 81-100 plus 5 AP.


Artists’ Books – The Catalogue (1991)

Exhibition catalogue to accompany exhibition of artists’ books,
16 October – 9 November 1991. 42 pp
Special edition: 100 with original works by 10 artists:
Carolyn Dodds, Untitled, linocut.
John Honeywill, Spanning a chasm, hand-coloured rubber stamp
Peter Liddy, Untitled, cyanotype
Anne Lord, Pie in the Sky or TAAC? wood engraving
Ron McBurnie, the black rhinoceros and the moon girl, hand-coloured rubber stamp
Milan Milojevic, Great white Hunter in Dangerous Times, rubber stamp
Tim Mosley, Untitled, lithograph
Wim de Vos, June Winter Night, soft ground etching and embossing
Normana Wight, Tanti auguri, screenprint, 8 colours (both sides)
Lansheng Zhang, Untitled (book seal), chop.
Limited Edition with hand screenprinted cover by Mike Schlitz. Numbered 1/100-100/100 plus 10 AP’s reserved for collaborators. Standard edition: 200 Numbered 101/200-200/200. numero uno publications. Photographer Carl Warner.