Museum of Contemporary Art Australia (MCA)
12 Oct 2006 to 25 Mar 2007
Enrico Baj, George Brecht, Ian Burn, Patrick Caulfield, Marcel Duchamp, Lucio Fontana, Richard Hamilton, Jasper Johns, R. B. Kitaj, Colin Lanceley, Roy Lichtenstein, Peter Phillips, Tom Philips, Robert Rauschenberg, Joe Tilson, Andy Warhol, Joseph Beuys, Aleks Danko, Earthworks Poster Collective, Michael Callaghan, Chips Mackinolty, Marie McMahon, Toni Robertson, Asko Sutiner, Katharina Fritsch, General Idea, AA Bronson (a.k.a Michael Tims), Felix Partz (a.k.a Ron Gabe), Jorge Zontal (a.k.a Jorge Saia), Ian Hamilton Finlay, Garry Hincks, Richard Hamilton, Tim Johnson, Maria Kozic, Museum Curators Class, Redback Graphix, Johnny Bulunbulun, Mary Callaghan, Gregor Cullen, Osmond Kantilla, Marrnyula Mununggurr, Neville Namingyulk, Ray Young, Leonie Lane, Toni Robertson, The Women’s Domestic Needlework Group, Paul Worstead, Carl Andre, Christo, Walter de Maria, Mark di Suvero, Dan Flavin, Donald Judd, Sol Lewitt, Richard Long, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Smithson, Art Against Aids (Various Artists), Sophie Calle, Felix Gonzales-Torres, Guerilla Girls, Fiona Hall, Damien Hirst, Jenny Holzer, Deborah Kelly, Danius Kesminas, Michael Stevenson, Mike Kelley- Sonic Youth, Sherrie Levine, The Museum of Jurrassic Technology, David Noonan, N.U.C.A (Network of Un-Collectable Artists), Chris Palethorpe, Raquel Ormella, Regina Walter, Raymond Pettibon, Redhand Prints, Franck Gohier, Manfred Schmieder, Jim Shaw, The Dogz, David Shrigley, Ricky Swallow, Third Drawer Down, Chicks on Speed, Royal Art Lodge, Holly Story, Peter Tyndall, Richard Tipping, Rosemarie Trockel, Gavin Turk, Louise Weaver
Multiplicity: Prints and Multiples from the Collections of the Museum of Contemporary Art and the University of Wollongong explored the development of prints and multiples from the 1960s to 2006. Both art collections house significant works by Australian and international artists who use prints and multiples as their primary medium, or who have made critical contributions to this area of artistic practice.
The exhibition demonstrated the breadth and variety of works in these complementary collections, presenting a selection of prints and multiples that embodied an alternative and often humorously irreverent approach to art making. This influential area of artistic production emerged from the pop art and conceptual art movements of the 1950s and 1960s. Until then the production of prints and multiples had been viewed as secondary to the more ‘important’ media of painting and sculpture. The experimentation with process and institutional critique that marked the development of conceptual art led to a major shift in this hierarchy.
Works in Multiplicity: Prints and Multiples from the Collections of the Museum of Contemporary Art and the University of Wollongong were presented over three specific periods – the 1960-70s, 1970s-80s and the 1990s to 2006. The impact developing technologies made on artistic practice over these 46 years was clear. The diversity of media and techniques included silkscreens, artists’ books, photo lithographs, wallpaper, photocopied ‘zines, limited edition ready-mades, mass-produced objects such as golf balls, record and CD covers and web-based works made for the express purpose of downloading, printing and distributing to as broad an audience as possible.
Through this wide range of production and dissemination, prints and multiples are arguably the most democratic of art forms, often inexpensive and available through alternative channels. In some cases they are made with the express purpose of free distribution, such as Deborah Kelly’s Hijab Furore (2002-03) and her other web-based works where members of the public could obtain their own copy of the artwork by downloading pdfs from the MCA’s website.
Visitors to the exhibition could also view editions of the ‘zine Flaps by artists Raquel Ormella and Regina Walter. A specially commissioned edition of the ‘zine was available from the MCA store. In this way, the artists demonstrated the blurring of boundaries between the exhibition spaces and the artwork as collectible commodity, interrogating the very nature of prints and multiples and the original work of art.
Presented in partnership with the University of Wollongong.
Tweed River Art Gallery: 3 May – 17 June 2007
Lake Macquarie Art Gallery: 27 July – 9 September 2007
Redland Art Gallery: 30 September – 4 November 2007
Port Macquarie Hastings Art Gallery: 11 December 2007 – 27 January 2008
Dubbo Regional Gallery: 9 February – 30 March 2008
Anne & Gordon Samstag Museum of Art 18 April – 1 June 2008
Latrobe Regional Gallery: 1 July – 30 August 2008
Wollongong City Gallery 28 February – 21 June 2009