The following is a brief preview - the full content of this page is available to premium users only.
Click here to subscribe...
Elastic: Printed Project is a notable first, an unusual publication to emerge somewhat incongruously from Sydney's famously cash-strapped community of artist-run spaces.
Nothing of the kind has been produced by a like collective, and unlike the Xerox and hand-crafted artists' books and journals usually associated with such spaces (highly desirable items in themselves), this is a top-end production of non-mainstream art. In short, it is a coup for the artists (with thanks to the generous support of the Australia Council for having the wisdom to fund it).
Not only does it look great - and this might seem a trivial point to mention - but it has a spine thick enough to mark its own place on your bookshelves (which means it will not get lost or be hidden away in those thick brown cardboard sleeves which bury more modest publications in public libraries). Elastic: Printed Project achieves its first goal even before you have opened the cover. It signals that the artist-run collective has well and truly arrived as a self-determined entity capable of holding its own, easily matching any mainstream museum production. And further, it comes without the curatorial baggage of the art establishment.
It demonstrates that artist-run collectives are to be taken seriously in their capacity to organise, show, document, and most importantly, to produce great work. An impressive list of artists is showcased: TV Moore, Deej Fabyc, Sarah Goffman, Andrew Hurle, Elvis Richardson, Jay Balbi, Anne Kay, Mark Hislop, Elizabeth Pulie, Lisa Andrew, Alex Gawronski, Lisa Kelly, Carla Cescon, Sadie Chandler, Ryszard Dabek, Josie Cavallaro, Robert Pulie, Andy Davey, and many more (forty artists in all), of whom ten were also curators. But it is also... The rest of this article is available to subscribers of Eyeline