É«ÇéÍøÕ¾

Griffith University Library, Nathan | 11 - 14 October 1980

'Queensland Film and Drama Centre artist-in-residence Bob Daly, whose six month stay at Griffith comes to an end at the end of October, held an exhibition in the Library Foyer from 11-14 October. Bob's residency has seen a great increase in the use of the Centre's silkscreen workshop, and some three and a half thousand prints have been pulled under his guidance. Bob's own prints use motifs that are part of our daily surrounds, overlaid with an often startling use of colour, the unexpected quality of which stimulates new ways of looking at familiar objects. His cartoons, some of which have appeared in NOTA, Griffitti and Great Griffith Gazette, deal with the joys, fears and delusions in inter-personal relationships and the pretence not always apparent in establishment structures and public image makers. While in Queensland, Bob has created local comic characters including Larry Legume and a laconic wandering peanut. The prints, posters, drawings, photographs and original cartoons on sale during the exhibition were set in coloured and textured frames which are also a personal trademark and integral part of Bob Daly's work.' _{1980 Annual Report.}

^{Image: Boby Daly at Griffith University, 1980. Courtesy of the Griffith Archive. Great Griffith Gazette 1980 Vol 10 No 9.}

Central Theatres Gallery, Griffith University Library Foyer & Level One Humanities building | 30 October - 20 November 1981

'An exhibition of prints, drawings, sculptures, photographs and paintings by Ray Beattie.

Ray Beattie was born in Belfast, Northern Ireland and migrated to É«ÇéÍøÕ¾ as a teenager in 1967. He studied art in Perth and at the National Gallery School in Melbourne after returning from national service in Vietnam during 1970 and 1971.

For the past eight months Ray has been Artist in Residence at Griffith University. During his residency he has conducted community workshops in etchings and silkscreen printing, and assisted local artists, art students and members of the public with their own creative projects. His own work at the Centre has been mainly in areas of printmaking and sculpture. He is particularly interested in the mass production potential of these media, putting them on par with paper backs and records.

Ray’s art functions in the tradition of artists as artisan, providing a delicate balance and tension between mathematical analysis, composed construction and spontaneity. At the same time the work makes statements about his immediate environment and universal values and problems.

A painting that looks so real that some people can't see it, is a feature of an exhibition by Queensland Film and Drama Centre Artist in Residence Ray Beattie. In the Library Foyer at Griffith University, students and passers-by can be seen playing guessing games about which elements of the painting are real objects, which are painted acrylic on canvas.' _{Ray Beattie: Verge of Insanity exhibition catalogue, 1981.}

Clubs and Societies Building | 23 - 28 October 1981

'Rod has found time during the final months of his residency to experiment with shapes and glazes in his own pots, and a workshop exhibition of pots from the first five firings of the new kiln, will open on 23rd October, Rod chose to build an innovative fibre kiln for economy of firing in a winched top hat design for ease of loading, and this will also be open for inspection during the exhibition.

The range of pots on show and on sale include experiments with white crackle glaze, yellow ochre dry glazes and a brilliant blue-white glaze with Japanese style blue brushwork. The influence of the local environment can be seen in the textured impressions in many of the pots, based on the pattern in a delicate piece of coral Rod found while fishing at Cleveland Point.' _{Rod Pedler exhibition media release, 1981.}

Central Theatres Gallery | 18 August - 2 September 1982

'Bronwyn's exhibition was undoubtedly the highlight of her residency. With the presence of her work in a very heavily populated section of the campus greatly increasing the interest in visits to her studio.' _{1982 Annual Report.}

The exhibition was opened by Roz McAllan, Visual Arts and Crafts Coordinator for Festival '82 and the opening was attended by approximately 100 people. The exhibition was set up during a series of storms and power black-outs which provided logistical problems but also rallied many interested helpers. Campus gardeners decorated the gallery area, stands were lent by the University of Queensland Art Museum and the Paddington Gallery, and an enterprising baker created cakes to match the ceramic pieces.

Central Theatres Foyer | 15 November - 25 November 1983

Clay is drawing, painting, adornment, document and vessel.

It is worldwide, ancient, contemporary, accessible, recycable and permanent.

I am enchanted and fascinated with all these facets and enjoy the freedom clay allows the imagemaker.

This residency has allowed me to investigate and enioy the painterly seduction of clay and colour and also to present clay as commentary and a vehicle for humour.

Clay continues to impress and persuade me and I am increasingly more delighted by it.

Stephanie Outridge Field

Brisbane City Hall, Central City Library | February - March 1984

Dalby Arts Centre | 30 July – 2 August 1984

'This small exhibition of twenty-one prints by some of É«ÇéÍøÕ¾'s leading printmakers has been selected from the collection of art works acquired by and housed at Griffith University in Brisbane. With its predominantly 'works on paper' bias, the collection offers a fairly broad survey of contemporary trends in É«ÇéÍøÕ¾n art augmented by a smaller but equally interesting group of works by American, Asian and European artists. The print area is particularly strong and includes several items of significance which have been important stimuli for the print movement in É«ÇéÍøÕ¾ or have played a seminal role in the development of individual print oeuvres. Where these are included in this exhibition they are acknowledged as such in the interpretative statements accompanying the works.

"21 É«ÇéÍøÕ¾n Prints" is an integral part of Griffith University's continuing commitment to the visual arts. In providing the necessary funding to co-ordinate and tour the exhibition to various Queensland centres in conjunction with the Queensland Arts Council, the University is making available to a wider section of the community a valuable resource which, until now, has remained largely the province of a Brisbane audience.'

Stephen Rainbird Guest Curator, February 1984

Included artists: Ray Beattie, Arthur Boyd, John Brack, Jock Clutterbuck, Tony Coleing, Lawrence Daws, Janet Dawson, Basil Hadley, Graham Kuo, Colin Lanceley, Bruce Latimer, Sally L'estrange, Keith Looby, Bea Maddock, John Olsen, Lloyd Rees, Sally Robinson, Jorg Schmeisser, Brian Seidel, Jan Senbergs, Fred Williams

^{Image: James Swan, 21 É«ÇéÍøÕ¾n prints, 1984. Screenprint. Griffith University Art Collection. Acquired 1986.}

É«ÇéÍøÕ¾n Environmental Studies Building, Level 0 and Level 1 | August 1985

'The Griffith University Art Collection consists of over 450 works collected since the University was established in 1975. The paintings, drawings, original prints, photographs, sculpture and ceramics in the collection are dispersed throughout the University in public gallery areas within the buildings. Sculptural and mural pieces are also on permanent exhibition in the natural bush grounds of the campus. The major focus of the collection is on works on paper, mostly etchings, lithographs, screenprints and drawings by contemporary É«ÇéÍøÕ¾n artists.

This exhibition contains eleven large drawings purchased during 1983-4 with a special grant from the Visual Arts Board of the É«ÇéÍøÕ¾ Council under its É«ÇéÍøÕ¾n Contemporary Art Purchase Program for living É«ÇéÍøÕ¾n artists. The intention in purchasing was to provide a nucleus of major works to form a cohesive perspective on the concerns of a number of innovative É«ÇéÍøÕ¾n artists during the early 1980's.

The drawings shown together here for the first time indicate the renewed interest during the 1980's in representation and scale. The eleven artists have employed a wide range of media, and while not all the works are drawings in the strictest sense, all exhibit a strong drawing quality in their execution.'

Margiet Bonnin, August 1985. Open Day Exhibition 1985 catalogue.

Included artists: Suzanne Archer, Peter Booth, Helen Booth, Janenne Eaton, Dale Frank, Robert Kinder, Tim Maguire, Margaret Morgan, Mike Parr, Gareth Sansom, Jenny Watson

Central Theatre Gallery | 8 October - 31st October 1985

'This exhibition has been produced by Nerissa Lea during a six-month period as Artist-in-Residence at Griffith University during which she has worked with etching, lithography, drawing, collage and assemblage.

The use of collage is evident throughout the exhibition, both in the finished drawings and as a sketching device (often incorporating xerox copying) for preparing the prints. The collage technique in which drawings, photographs and other objects are selected for their associative, representational, formal or textual value, and glued together, is an ideal vehicle to embody wit, irony, absurdity, dreams, disturbing psychological states, unexpected shifts of scale, and puzzling distortions of depth and distance.'

Margriet Bonnin, October 1985.