Posts in Exhibitions
Sights Unseen: Recent Acquisitions from the Moreland Art Collection

We are delighted that our artists’ book, Salvaged Relatives, edition III will be on display.

In recent years the Moreland Art Collection has experienced significant gains through purchases, commissions and a marked increase in the receipt of philanthropic donations.

Sights Unseen: Recent Acquisitions from the Moreland Art Collection draws together artworks held by the municipality not previously exhibited at the Counihan Gallery In Brunswick.

Comprising photography, painting, drawing, prints, collage, artists books and mixed media the artworks reflect a diverse range of contemporary practice as well as some fascinating historical offerings — a trove of cultural heritage for the City of Moreland.

Charles Blackman, Trevor ‘Turbo’ Brown, Noel Counihan, Julian Di Martino, Gabrielle de Vietri, Rennie Ellis, Helga Groves, Gracia Haby & Louise Jennison, Joy Hester, Deanna Hitti, Janelle Low, Kirsten Lyttle, Jordan Marani, Jill Orr, Louise Paramour, Wolfgang Sievers, Shaun Tan, Stephanie Valentin, Stephen Wickham, James Wigley


Sights Unseen: Recent Acquisitions from the Moreland Art Collection

Saturday 27th July – Sunday 18th August, 2019
Counihan Gallery In Brunswick
233 Sydney Road, Brunswick

Gracia Haby & Louise Jennison
Salvaged Relatives, edition III
2014–2015
Artists’ book, unique state, featuring 21 individual collages on cabinet cards with pencil and paint additions (by Gracia Haby)
Housed in a three-colour cloth Solander box (by Louise Jennison) with inlaid collage, In the borrowed costume of a Polovtsian warrior (Prince Igor c. 1909–37)

Salvaged Relatives

Recently landed: Salvaged Relatives, a new article on Marginalia (by Gracia) takes a look back at an artists’ book soon to be on display as part of Sights Unseen: Recent Acquisitions from the Moreland Art Collection

Iurii Annenkov, La Nijinska, Ballet Russes (Poster for Les Biches and Le Train Bleu created by Bronislava Nijinska for the Ballet Russes), 1924, lithograph with hand additions

Like Light

Recently landed: Like Light, a new article on Marginalia (by Gracia) looks at the installation process of It came like light out of the walls

Cutting into the vinyl pieces and making them into something new was even more enjoyable than we’d expected it to be. We had followed a plan for the top peaks and bottom pools, and allowed our scissors to glide in the middle. And we’ll do it again with what remains. We are so glad we had the chance to make this piece, to reinvent the original printing of Ripples in the Open.

File under ‘Eye’

Recently landed: File under ‘Eye’, a new article on Marginalia (by Gracia) takes you on a virtual tour of Through a glass eye at the Australian Print Workshop

Gracia Haby & Louise Jennison, Through a glass eye, at the Australian Print Workshop until Saturday the 29th of June, 2019 (image credit: Tim Gresham)
(This work was produced with APW Printers at Australian Print Workshop, Melbourne, as part of Australian Print Workshop’s French Connections project curated by APW Director Anne Virgo OAM)

It came like light out of the walls

You’re invited.

Gracia Haby & Louise Jennison
It came like light out of the walls
and
Kyoko Imazu
In the Neighbourhood

Thursday 13th June – Sunday 21st of July, 2019
West Gallery Thebarton
32 West Thebarton Road, Thebarton, South Australia

If you live nearby or are passing through, please call in to explore our collage with your own eyes. And should you feel inclined, please share an image or two (#Itcamelikelightoutofthewalls).

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“The stability of nature can no longer be taken for granted”

Recently landed: “The stability of nature can no longer be taken for granted”, a new article on Marginalia (by Gracia) looks at our functioning (or not) ecosystem on the page as part of our forthcoming exhibition, It came like light out of the walls

A Pacific walrus rests at the top of steep cliffs in Russia, still from ‘Frozen Worlds’ episode, Our Planet, 2019 (image credit: Sophie Lanfear/Silverback/Netflix)

Keep an eye on

Recently landed: Keep an eye on, a new article on Marginalia (by Gracia) introduces you to the prints within our current exhibition

Gracia Haby & Louise Jennison, Not a royal residence but a garrison fortress, lithograph with hand-colouring. Image drawn directly on to the lithographic plates by the Artists and processed, proofed and printed in three colours from three plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

In the museum

Recently landed: In the museum, a new article on Marginalia (by Gracia) introduces you to the specimens within Through a glass eye

(This work was produced with APW Printers at Australian Print Workshop, Melbourne, as part of Australian Print Workshop’s French Connections project curated by APW Director Anne Virgo OAM)

Watercolour and pencil, blue, green, more

Recently landed: Watercolour and pencil, blue, green, more, a new article on Marginalia (by Gracia) looks at the hand-colouring process of our Through a glass eye prints, created as part of the Australian Print Workshop’s French Connections project

(This work was produced with APW Printers at Australian Print Workshop, Melbourne, as part of Australian Print Workshop’s French Connections project curated by APW Director Anne Virgo OAM)

Through a glass eye

We are delighted to invite you to our exhibition Through a glass eye at the Australian Print Workshop. If you are free and curious to see this work with your own eyes, we’d love to see you at the opening.

APW President Joe Connor & APW Director Anne Virgo OAM invite you to the first exhibition of APW’s French Connections project

Australian Print Workshop is proud to present the results of a major international project French Connections, curated by APW Director Anne Virgo OAM, planned in collaboration with the National Gallery of Australia and made possible by the generous support of The Collie Print Trust.

Four leading contemporary Australian artists, Martin Bell, Megan Cope, Gracia Haby & Louise Jennison joined APW on an ambitious research trip to Paris (May 2018), to explore French Connections with our region — with a particular emphasis on the interplay of natural history, the history of science, empire, art and anthropology relating to early French exploration of Australia and the Pacific, as well as other French/Australian connections.

APW and the Artists’ privileged access to study rarely seen and highly significant collections in leading museums has informed and inspired the production of an exciting new body of work in the print medium. This is the first of a series of French Connections exhibitions at APW Gallery.


Opening
2 pm – 4 pm
Saturday 1st of June, 2019

The exhibition runs until Saturday the 29th of June, 2019.

Australian Print Workshop
210 Gertrude Street, Fitzroy
Tuesday to Saturday 10 am – 5 pm

#FrenchConnectionsAPW

Gracia Haby & Louise Jennison, At the Musée Fragonard d’Alfort, etching with hand-colouring. Image drawn directly on to the copper plate by the Artists and processed, proofed and printed in an edition of 20 (plus proofs), in three colours from one plate, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Imprint: A Survey of the Print Council of Australia

Lovely to see our Print Council of Australia 2004 commission, A lament to the sleeping kingfisher, on display as part of Imprint: A Survey of the Print Council of Australia at Parliament House, Canberra, until the 12th of May, 2019.

This special exhibition featuring prints from the Print Council of Australia’s archival collection includes some of the first prints created by significant Australian artists, including the first Print Commissions, John Brack’s Untitled (Skaters), 1967, and Fred Williams’ Lysterfield, 1968, and the first Indigenous Australian Print Commission, Bush Figures by Ku Ku Imidji man Arone Raymond Meeks, along with works produced by PCA founders Grahame King and Udo Sellbach.

The Commission, which began in 1967, invites artists to submit a limited-edition print for consideration by the PCA and its members. This has resulted in an archive of more than 600 prints, illustrating the rich history of contemporary Australian printmaking.

Works of master printers and innovators including Noel Counihan, Barbara Hanrahan, David Rose, Ray Beattie, Bea Maddock, Earle Backen, Ruth Faerber, Hertha Kluge-Pott, Olga Sankey, Judy Watson, Janet Dawson, Mary MacQueen, Raymond Arnold, G.W. Bot, Yvonne Boag, James Taylor, John Coburn, Jenuarrie Warrie, Maria Kozic, Wilma Tabacco, Rick Amor, Treahna Hamm, Robert Jacks, Bruno Leti, John Olsen, Michael Kempson, Susan Pickering, Andrew Ngungarrayi Martin, Belinda Fox, Georgia Thorpe, Gracia Haby & Louise Jennison, Gosia Wlodarczak, Rebecca Mayo, Janet Parker-Smith, Rona Green, Sophia Szilagyi, Glen Mackie, Tama Favell, Elizabeth Banfield, David Fairbairn, Graeme Drendel, Deanna Hitti, Sue Poggioli, Maria Orsto, Samuel Tupou, Pia Larsen, Deborah Klein, Cat Poliski, Heather Koowootha and Glenda Orr will also be on show, as will a diverse range of printing techniques representing styles from the late 1960s: from relief printing (carving into lino or wood where recessed areas don’t hold ink and transfer to paper ink-free) to intaglio (etching, engraving, aquatint, drypoint, mezzotint) and planographic (lithography and screen-printing) as well as digital printing.

While the exhibition is mostly Print Council of Australia works — fifty-eight works — the remainder are from the Australian Parliament House Art Collection, including two new acquisitions, linocuts by artist Jenny Kitchener, recipient of the 2017 Print Council Commission.

The Print Council of Australia was established in Melbourne in 1966 by printmakers Udo Sellbach, Grahame King and curator Dr Ursula Hoff to promote the artform of printmaking. The 1940s–60s had seen the return to Australia of European-trained artists, sparking a resurgence in the importance of printmaking and its commercial viability.
(Print Council of Australia)

Lovely to see our Print Council of Australia 2004 commission,  A lament to the sleeping kingfisher,   hanging on the wall

Lovely to see our Print Council of Australia 2004 commission, A lament to the sleeping kingfisher, hanging on the wall

Open until the 28th of January!

Hoot! Hoot! Our exhibition, Ripples in the Open, was meant to close today at 5pm, however we are delighted to announce that it will be open for tomorrow’s public holiday, Monday the 28th of January, from 9am to 5pm.

Ripples in the Open
ArtSpace at Realm
Ringwood Town Square (opposite the Ringwood Railway Station)
179 Maroondah Highway, Ringwood, 3134

Gracia Haby & Louise Jennison, Ripples in the Open, 2018 (image credit: Andrew Curtis)

Focus on the Collection: Gracia Haby & Louise Jennison

Based in Melbourne, we work from home. And more often than not, we collaborate with each other. We rather fell into collaboration, many years ago now, and it is one based on harmony. To date, we have made 99 artists’ book titles and 127 zine titles.

We decided early on in our collaboration, through an organic process, not to polish the same skills. We naturally lent towards different things and now bring those different things together to make one work not possible without the other. Working this way, a third work is made that belongs to us both.

The two of us have been fans of the book for a long time now, and it is perhaps because no work is ever as you’d imagined or saw in your mind’s eye, that we keep working with books. Every step, every part of the process, every learning curve, holds us entranced. We love the challenge artists’ books present, the possibilities and history they hold, and the intimacy they can awaken in the reader. The flexible medium of the book holds us in its palm rather than us holding the book in our own palms. In the beginning, the medium of the artists' book seemed, to us, to be free of rules and regulations. It also presented many new things to consider, from page layout and sequence to typographical decisions, and such things we tossed in the air and arranged upon their landing. Working together has meant we were able to figure out the particulars through trial and error, and groundwork.

You can see an exhibition of our artists’ books at Artspace Mackay until the 3rd of February, 2019.

Focus on the Collection: Gracia Haby & Louise Jennison
Foyer Gallery
Artspace Mackay
Civic Centre Precinct, Gordon Street, Mackay, Queensland

The exhibition is drawn from the Mackay Regional Council collection, and it includes
Find your place, 2007
Small collection, 2008
Postcards from... a key to make your own world visible, 2009
A vagary of impediments & a sneak of weasels, 2009
Tumble & fall, 2009
This evening, however, I am thinking of things past, 2009
Closer to natural, 2016
Prattle, scoop, trembling: a flutter of Australian birds, 2016
Paw Pad Path, 2018

Gracia Haby & Louise Jennison, Paw Pad Path, 2018, artists’ book

Dear you, dive in

Dear you,

You're invited to explore a collaged landscape comprised entirely from images scanned from borrowed library books, and studded with lenticular prints.

Cue: birdsong.

Ripples in the Open is a collage, 15 metres in length, commissioned for ArtSpace at Realm.

Ripples in the Open
Saturday 10th of November, 2018 – Sunday 27th of January, 2019
Gracia Haby & Louise Jennison
ArtSpace at Realm
Ringwood Town Square (opposite the Ringwood Railway Station)
179 Maroondah Highway, Ringwood, 3134

Officially opening this Thursday the 15th of November, 6–8pm (including a talk, by us, somewhere in the wilderness).

Cue: distant roar.

Yours, wading,
Gracia and Louise
#RipplesintheOpen

Gracia Haby & Louise Jennison, Ripples in the Open, 2018

Ripples at Realm

You’re invited to our exhibition, Ripples in the Open, and we’d love to see you there.

Join us for the exciting exhibition opening of Ripples in the Open by Melbourne based artists Gracia Haby and Louise Jennison.

6pm to 8pm Thursday 15 November at ArtSpace Realm

To be opened by the Mayor of Maroondah City Council on Thursday 15 November at 6pm, to be followed with a talk by the artists about the process of imagining and creating their captivating works — from the intimate to the monumental.

Gracia Haby and Louise Jennison have been commissioned to create a huge collage for ArtSpace at Realm, presented as a floor-to-ceiling printed landscape featuring portholes of moving collage comprised of stunning lenticular prints of animals. 

This exhibition invites you to join the artists in an exploration of things hidden in plain sight and to be immersed in an imaginary and not-so imaginary world.

Exhibition Dates: 10 November 2018 to 27 January 2019

ArtSpace at Realm
Ringwood Town Square (opposite Ringwood Railway Station)
179 Maroondah Highway
Ringwood 3134
03 9298 455

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