Closely examines the work of contemporary Australian printmakers, listed alphabetically - Includes Davida Allen - Rick Amor - Yvonne Boag.

Volume 17 of the Australian Dictionary of Biography contains 658 biographies of individuals who died between 1981 and 1990. The first of two volumes for the decade, it presents a colourful mosaic of twentieth-century Australian life. It contains biographies of well-known identities such as Sir Henry Bolte, Sir Robert Askin, Sir Reginald Ansett, Sir Macfarlane Burnet, Sir Raphael and Lady Cilento, Sir Arthur Coles, Robert Holmes-O-Court, Sir Warwick Fairfax, Sir Edmund Herring, Albert Facey, Donald Friend, Sir Roy Grounds, Sir Bernard Heinze and Sir Robert Helpmann. Eminent Australian women in the volume include Dame Elizabeth Couchman, Dame Kate Campbell, Dame Doris Fitton, Dame Zara Holt and Lady (Maie) Casey. Although many of the women achieved prominence in those professions conventionally regarded as the preserve of women, othersandmdash;such as Ruby Boye-Jones, coast-watcher; Ellen Cashman, union organiser; Elsie Chauvel, film-maker; Dorothy Crawford, radio producer; Ruth Dobson, diplomat; Mary Hodgkin, anthropologist; Margaret Kelly, restaurateur; and Patricia Jarrett, journalistandmdash;demonstrate that some women at least were breaking free of the constraints of traditional expectations. The lives of fifteen Indigenous Australians are included, as are those of a number of immigrants who fled from persecution in Europe to establish a new life in Australia.

Grahame Kings life as an artist began with his mastery of the new art of colour reproduction as a photolithographic colour etcher in Melbourne in the 1930s. At the same time, study at the National Gallery Art School with George Bell assisted his development as a painter. After war service and travels abroad, King returned to Melbourne with his wife, the sculptor Inge King. The two held a number of joint exhibitions of paintings and sculptures in Australia throughout the 1950s and then, from c.1962 Grahame King turned his attention, increasingly, towards the art of lithography becoming a master in this field of printmaking. He has also devoted himself to promoting the art of lithography and printmaking generally through the Print Council of Australia. He is often called Australias patron saint of printmaking. The book examines his seven decades working as an artist in Melbourne and is lavishly illustrated with colour reproductions throughout.

Widely regarded as the authoritative reference on Australian art with its extensive colour plates and 4500 entries. Fully illustrated with more than 700 images on 1200 pages. Entries include: Aboriginal art, Abstractionism, art links, sculptors, photographers, craft workers and printmakers and much more.

"...excellent coverage...essential to worldwide bibliographic coverage."--AMERICAN REFERENCE BOOKS ANNUAL. This comprehensive reference provides current finding & ordering information on more than 75,000 in-print books published in or about Australia, or written by Australian authors, organized by title, author, & keyword. You'll also find brief profiles of more than 7,000 publishers & distributors whose titles are represented, as well as information on trade associations, local agents of overseas publishers, literary awards, & more. From D.W. Thorpe.

Grishin examines the nature of Australian printmaking and its role in contemporary art and visual communication - George Baldessin - Bea Maddock - Barbara Hanrahan - Martin Sharp - Brett Whitely; Screenprint - Etching - Linocut - Lithograph - Woodcut - Woodblock print.

This anthology, the first of its kind, presents thirty-two texts on contemporary prints and printmaking written from the mid-1980s to the present by authors from across the world. The texts range from history and criticism to creative writing. More than a general survey, they provide a critical topography of artistic printmaking during the period. The book is directed at an audience of international stakeholders in the field of contemporary print, printmaking and printmedia, including art students, practising artists, museum curators, critics, educationalists, print publishers and print scholars. It expands debate in the field and will act as a starting point for further research.

A collection of essays