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Reading Spaces
The catalogue for the exhibition Reading Spaces, by Caren Florance. It features collaborative work with poets in the form of artist books and other publications.
Lost in Case
Poetry. Women's Studies. LGBTQIA Studies. Art. "Are you feeling helpless and angry? I am. I'm having a quiet rage against the material and immaterial machine. Thank you for holding me. This book is a shard of frustration. It's a place to process emotion. Angry and curious, I recently dived into some dark online spaces that I hope one day will be lost, and documented words and phrases used about and against women. I'm working with the concept of printing itself: its terminology and actions are historically drawn from the human body. As an experimental letterpress printer, I often use words to give paper a hard time, and the audience can usually witness the marks left by my processes. In this physical book I have had to think flatter, within the restrictions of contemporary digital print processes."--Caren Florance
Tracers
Poetry chapbook
Proseity
Proseity is an artist's book that plays with the visual poetics of the printed text-block via the proseity of brown paper and ink. Artist Caren Florance has arranged offset letterpress prints into a series of 'lineated' visual poems that riff upon textual dynamics. This is also a celebration of the serendipitous marks that arise during print production. Simple and elegant, the work acts as a meditation on publishing.
Member's Only
1962. Menzies was in power, Whitlam was deputy Opposition Leader, and the cold war was in full swing. Canberra was steadily transforming froma town in a paddoc to a city with a lake. This is a year in the life of the building that held all the action: Old Parliament House. One of the outcomes of a collaborative project between poet Melinda Smith and artist Caren Florance, this poetic work is an exercise in re-voicing the past and placing it in conversation with the present.
Listen, Bitch
Poet Melinda Smith and artist Caren Florance are back with another excursion into the linguistic and visual pleasures of found text, a joint practice which brought us 2017's Members Only. With this book, Listen, bitch, they turn their attention to misogynist language, working with a corpus of several decades' worth of statements by powerful Australian public figures (and other blokes with big platforms). By listening very closely to the snarlings of what Kate Manne calls the law enforcement branch of the patriarchy, these poems attempt to map the lines women are still not supposed to cross in contemporary Australia, and to document the consequences suffered when they do. The results are sometimes harrowing, sometimes ridiculous, and always thought-provoking.
Swipe
In this ongoing series of publications Caren Florance has been giving her photocopied zine to poets and artists and asking for a response. The images show a hand above a scanner against a black background (with some distortions and scanning artifacts due to movement). Collaborators to date are: Owen Bullock, Monica Carroll, Tania de Rozario, Angela Gardner, Philip Gross, Nicci Haynes, Jacqui Malins, Paul Munden, Shags, Melinda Smith, Shane Strange, Jen Webb. The initial volume from the set is Caren Florance's original zine.
Expanding the Field
This is a catalogue of artwork by UK Frederick resulting from a three year Australian Research Council funded project exploring a creative-practice approach to archaeology. It incorporates essays by the artist, art historian Susan Lowish and archaeologists Anne Clarke, Catherine J Frieman and Matthew Spriggs.
Released
A meditation on losing an object and gaining a thing.
Robbery Under Arms
Robbery Under Arms was acclaimed as an Australian classic almost immediately after it appeared in book form in the late 1880s. It was praised for its excitement, romance and authentic picture of 1850s colonial life. As the first writer to attempt a long narrative in the voice of an uneducated Australian bushman, Rolf Boldrewood had created a story with enduring cultural resonance. Its continuing appeal and popularity have seen the tale frequently adapted for stage, radio, film and television. During all of this time the novel's text was not stable. It lost some material accidentally in its early typesettings, and these omissions were never repaired. It was later abridged by its author at the...
