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City of Sydney Cultural & Creative Sector Forum Report by Louise Anderson

city of sydney cultural forum

Big Fag Press Associate Partner Louise Kate Anderson writes:

I just thought I’d do a quick post on this. Last Wednesday I attended the City of Sydney’s Cultural and Creative Sector Forum representing the Big Fag Press. I thought it was a really interesting couple of hours, and I was inspired to know how invested the council is in listening to the thoughts and ideas of people who work in creative fields, in order to see how best to help them be able to use the city as a canvas for their creative endeavours.

Furthermore, it couldn’t have been a better place for networking – my table had a guy who works for the City of Sydney outdoor event management, a woman from ArtsHub, a woman from the Red Room Company, a guy who works in the youth music industry, one of the founders of the College of Event Management, and a woman from Waverley Council.

At the beginning I wasn’t really sure I would have anything to contribute, but the discussion led to many things I had ideas about. Our table came up with a few collective agreements. One was that Sydney is very much a lively place in terms of art and culture. “Top down” events like Vivid Sydney, the Biennale, Chinese New Year and the NYE fireworks are very successful. We also agreed on the fact that the government does a lot to support smaller initiatives, but that maybe these efforts could be slightly better directed.

In terms of “grassroots” initiatives, there was much talk on making it more accessible to individual young artists or smaller collectives wanting to just get out there and express creativity. I spoke of how, last year with my Ivory Tower posters, there was just no place to go out and put them. The dedicated City of Sydney poles for posters just get covered by advertising, and anywhere else they got ripped down. It would be so great if there was just spaces around for spontaneous public art. Places where you don’t need to be a verified “emerging creative” to use. The Guerilla Photography project on Elizabeth St by Fairfax photographers was something that was brought up – but nobody really knows if doing something like that is okay. Is it considered defacing public property? If Clover Moore hadn’t particularly liked those photographs installed in that place, would they have received fines for doing it?

Another thing I brought up was along the same lines – to me, at least when I’m walking around the streets instagramming things, it’s the oddities, the interesting graffiti, the chic little cafes, and the funny coloured walls that get my attention. I like things that are different, and provide an alternate to a cookie cutter town of gloria jeans, lowes and perfectly arranged front gardens. A point was brought up about spaces being unused at certain times – there are many places that, for example, are in use Monday to Friday 9-5pm, but completely useless at other times. So here is where my idea comes through – why can’t artists be the ones to decorate the city – to make the boring interesting. Why can’t we designate it a business carpark by day and a pop-up art gallery by night? Why does a wall have to be a brick wall – getting a company building wall graffitied by local artists could attract valid attention to your business.

And thus brings up another point. About legal, OH&S, and regulatory council hoops to jump through. I remember when I was doing my Open House project in Foley St in 2010, we had a lot of forms to fill out and information to gather, like making sure people had their RSA’s and everything. I know it’s a lot to do with people’s safety, which definitely should be put above all else. But getting through all that bureaucracy is a major hurdle for an artist or a small collective wanting to set up a guerilla pop-up gallery.

Much of our other discussion was about live music venues and making sure under drinking age teenagers also have access to entertainment, which I think is equally important.

Many of the other tables came up with similar points about reducing the “red tape” for artists and giving more opportunities to “grassroots” programs. Overall I found the forum had a very positive outcome, especially if some of these ideas are taken on by the City of Sydney. They could even have a direct impact on ARI’s like the Big Fag Press, like Runway, like Firstdraft. Very exciting!

Netwalking: Sydney

netwalking flyer

Acclaimed UK artist Simon Pope invites you to join him in a walk around Woolloomooloo.

Following a short talk at the Big Fag Press in which the artist will introduce his work with walking and dialogue, he will invite Sydney inhabitants to take part in a walk in which they reflect on relationships with the people of the city.

Details:
Saturday April 13th 2013 11am – 4pm
Big Fag Press
First Draft Depot
15-17 Riley Street
Woolloomooloo
Sydney

Please bring sunhat, water bottle, lunch, comfortable walking shoes

The event is free of charge.

Places are limited so registration is essential.
http://ada.net.nz/netwalking/#register

Launch of the Firstdraft Print Edition 2013, featuring Marking their territory by Joan Ross

Big Fag Press just finished printing the latest of FirstDraft Print Edition, which will be launched as part of ArtMonth this coming Saturday.

Continue reading…

Emerging Artist Residency – Pat’s Notes

I’ve printed on the Big Fag before, but that was a pretty simple job so I was really excited by the prospect of spending three weeks in the company of the big rig.

Drawing drawers
Drawing drawers

I make zines and comic books. I’m not really interested in fine art or gallery work but I really love carefully produced published material and art books. My favorite kinds of artwork can be sent through the mail.
Continue reading…

Big Fag Press Emerging Artists Residency – Laura’s Studio Notes

I should begin by confessing that I am a novice printmaker, my only firsthand experience being crude linocuts and one attempt at etching back in high school. In many ways my current practice could be seen as the antithesis to printmaking, using video, performance and installation to avoid a finished work. Yet there is something in the methodology of printing that resonates with me; perhaps it is the re-mediation of an image into multiples or the construction of a work through layers.

blackboard_web
working sketch

A print can imply the history of its own making if you know how to read it; colour variation though halftone, spatial depth by overlap, movement by misaligned registration. In most cases a correct image does all these things and erases evidence of itself in the final product. This may sound fairly obvious to someone fluent in design and picture making but to me it is a perplexing sequential process for which I’m missing the instructions. Which perhaps suggests why I am drawn to disciplined compositional work like Joseph Albers’ Homage to the Square series.
Continue reading…

Residency Programme Launch BBQ

bbq launch flyer

Join us at Big Fag Press for a BBQ on Sat February 2nd – to celebrate the conclusion of our Emerging Artists Residency Programme.

Artists Laura Hindmarsh (Tas) and Pat Grant (NSW) will be on hand showing what they’ve made in the Big Fag workshop over the last few weeks.

Pat and Laura have set up shop in the very sexy (and triangular!) First Draft Depot Project Space, and will be installing their work for a special “one-afternoon-only” public event.

If you’re a friend of the Big Fag, come down and join us for a shandy and a BBQ. (STOP PRESS! – the BBQ will now also include vegie sausages!).

If you’ve never been to the Big Fag Press, now’s a great time to come along and see what we’re all about.
We’ll have the machine rolling so you can smell the ink and dream about one day making your own print with us!

Details:
Big Fag Press Emerging Artists Residency Programme BBQ
Sat 2nd February 2013
3pm-5pm (or so)…
First Draft Depot
13-17 Riley Street
Woolloomooloo
(enter via Haig Lane)

Big Fag Press Emerging Artists Residency Programme

Announcing our first project for 2013:
the Big Fag Press Emerging Artists Residency Programme.

For three weeks in January 2013, Big Fag Press will host two emerging artists in its Woolloomooloo workshops. In fact, they both showed up this morning all starry eyed and excited about starting a new project from scratch!

Who are they? Laura Hindmarsh (from Hobart) and Pat Grant (from Wollongong).

pat grant

Pat Grant churning through prototypes for his Big Fag project…

Laura is known for her video and performance work; Pat is an accomplished comic book maker. Both are committed to interdisciplinary practice, collaboration and experimentation, which makes them ideal for our residency programme.

laura hindmarsh

Laura Hindmarsh developing new ideas on “Day One” of the residency…

The idea is to provide an opportunity to artists who would not normally be able to afford such a luxurious period of time playing around on our machine. It also means that we at the Big Fag extend ourselves, trying out ways of working that are outside of our normal methods.

In Sydney, Pat and Laura be accommodated by Artspace‘s residential studios in Woolloomooloo (10 minutes walk from Big Fag Press). Artspace has been a terrific supporter of Big Fag, ever since we moved to Woolloomooloo a few years ago.

Pat and Laura will work intensively with Big Fag Press personnel. The advantage of having two simultaneous artists in residence is that their projects can cross-pollinate as they evolve. They may, if they choose, even collaborate with each other!

At the end of the residency period, we’ll host an informal launch at the First Draft Depot, so you can see what Laura and Pat have come up with. (The launch will probably take place on the afternoon of February 3rd – we’ll update here shortly). Many thanks to First Draft Gallery for supporting this whole programme!

Meantime – if you’d like to pop down between now and the beginning of February, please get in touch – we’ll put on the kettle for ya!

- – -

The Big Fag Press Emerging Artist Residency Programme is supported by the Australia Council for the Arts’ grant for Artist Run Initiatives.

ozco logo

Working with Old Plates

knab everyday plate cleaner

photo by Louise Anderson

Warning!! Boring Technical Blog Post

Sometimes we store offset litho plates we’ve used, thinking, “maybe we’ll do a reprint of this one”.

Rarely do we do a reprint…

But we’re in the process of getting around to reprinting the popular Mapping Sydney prints of Jane Shadbolt, and also those of Naomi Stead, Katrina Schlunke and Trina Day.

We still have the plates from way back in 2009 when we produced a non-editioned set of these works for a show at UTS.

Yesterday, when we retrieved the Sydney Letters plate, it looked pretty rough. It still had old ink on it, which we couldn’t remove with our normal plate cleaner (“gum washout”), and it looked like it hadn’t been “gummed” before going into storage.

Usually this means that the non-printing areas of the old plate have been exposed to air, and thus corroded, and the ink will be attracted to the raw metal corroded ‘pits’.

When we tried to print it (as part of the process of testing whether we needed to get new plates made), the non-print areas of the plate were indeed ‘dirty’ – and we were getting specks and smudges transferred to the blanket and thus the paper.

Louise and I were resigned to the idea of having to chuck out the plate and get a new one made.

But before we gave up entirely, I googled “lithographic plate corrosion” and found this fabulous name for our problem: Ink Dot Scum

Ink Dot Scum:

A printing problem found on aluminum plates used in offset lithography characterized by thousands of tiny, inked dots in non-image portions of the plate. Ink dot scum is caused by corrosion of the aluminum, which forms thousands of tiny pits that, when the film of fountain solution wears off, fill with ink.

The corrosion is commonly caused by adding a layer of water to the surface of the plate and allowing it to evaporate slowly, providing enough time for oxidation of the metal surface to occur. It is also found frequently in a band corresponding to the position of a wet dampening roller.

If the scumming is caught in time, and its effects are still localized within a small region of the plate, a solution of phosphoric acid and gum arabic can be used to eliminate it. If it has progressed far, the plate may be unusable.

That sounds pretty much spot on.

I then rummaged around in our chemical cupboard and lo and behold, I found the above bottle. (Who knows where it came from – so many of our printing supplies are “hand-me-downs” from defunct commercial printing presses).

I rang KNAB, the manufacturer, who had cleverly put their phone number on the bottle. Indeed, this stuff was a mixture of phosphoric acid and gum arabic! The very helpful fellow from Knab said it might work, depending on how far gone the corrosion was. Basically, as I understand it, the acid cuts through the ink build-up on the plate, and then a new layer of gum is put over the top. This thin gum-film stops the inking rollers from coming into contact with the corroded pits in the plate.

We tried it (clean soft rag, gently rubbing it in the areas of “Ink Dot Scum”.

It worked! The Ink Dot Scum came off, and didn’t come back.

Here endeth the lesson.

We started with zero knowledge about offset printing in 2004 when we got the Big Fag Press, and it was a steep learning curve. And we still learn something new, pretty much every time we throw the 3-phase switch and our steel monster comes shuddering to life…

News from the centre of the Universe

dafi kuhne with his fag press

Dafi Kuhne is an artist and printmaker in Switzerland – at the heart of Mordor, so to speak, in terms of the FAG corporation.

We’ve been corresponding with Dafi for a few years now. Users of FAG machines tend to look out for each other and enjoy hearing that other FAGs are still trucking along, all around the world.

Dafi uses letterpress rather than offset, and he has created a website to celebrate the letterpress side of the FAG empire.

In his blog entry, which I’ve cut and pasted below, he kindly makes a concession to us, including our FAG OP-104 offset proofing press in his canon of classic heavy metal machines.

Dafi found and used the video below – which shows Dr Greg Turner, a big fan of the Big Fag, helping to print DJ Spooky‘s print Nauru Elegies.

(More info on the print with DJ Spooky here).

Cheers to you and your letterpress children, Dafi, from your lithographic brothers in Sydney.
– – –

Brothers in mind in Sydney, Australia
by Dafi Kuhne.

FAG did not only make letterpress cylinder proof presses but also flatbed offset proof presses. Already in 1972 (the same year they developed the Swiss Proof Presses!) they released their first offset proof press: The ‹FAG Offsetpress 7654›. In 1977 they released the bigger ‹FAG OP-104›, a 4.5 meters long, 3.5 tons heavy flatbed offset proof press in that could fit 70x100cm sheets. The press came with two interchangeable complete inking units including its motors and wash-up units. This inking system made 4 color proofs much easier and faster to handle, since the time consuming washing of there rollers is carried out outside the press. This massive press was a big success and sold to all five continents until the late 80ies.

New quality control tools and the first inkjet proof systems made the use of more expensive offset proofs obsolete and so FAG moved its efforts towards quality control in the aspect of all kinds of densitometers for offset production presses.

The point where this chapter about FAG offset proof presses ends is the point where the story of ‹Big FAG Press› in Sydney begins… In 2004 four artists from Sidney could buy an old FAG OP-104 for the nominal value of $50 at an auction.

They say on their webpage: «In 2004, one unfortunate printer in Sydenham (an inner-Sydney suburb) didn’t see this change coming, and went bust. The liquidation auction was very sad. Nobody wanted his equipment despite the large number of print professionals in the room. Instead, they just picked over the carcasses of his office furniture. Having received a tip off from our local Master Printer, Jens Hausch, Big Fag Press attended the auction and placed the winning (and only) bid on the big beautiful FAG 104 Offset Proof Press. Our bid was fifty dollars.»

You can see in the video that the offset plate is on the right side – laying flat. Then the cylinder (including the watering system and some ink rollers) rolls over the plate to the right side. With this process the rubber blanket on the cylinder picks up the ink. On its way back the rubber blanket applies the ink to the sheet laying flat on the left side. You can also see that the offset plate is not mirrored – of course, it’s offset! And even the guy in the video says: «Its magic!»

Until now, the www.proofpress.ch Webpage is limited to registrations of letterpress proof presses – but maybe soon be opened to studios/artists working with FAG flatbed offset proof presses…

Big Fag Prints at Wollongong City Gallery

prints at wollongong city gallery

Currently on show at Wollongong City Gallery are three works created on the Big Fag Press, as part of the Green Bans Art Walk project (2011).

They are showing as part of the Wollongong City Gallery’s exhibition commemorating 20 years of its artist in residence programme.

Details of the exhibition, which runs until 18 November, are here.

The two works on the left in the photo above are lithographic prints made from watercolours by Fiona MacDonald, produced after archival photographs of the Green Bans in Sydney in the 1970s.

On the right is an elegant map (front and back both exhibited!) produced collaboratively by Pat Armstrong from Big Fag, and Jo Holder from Cross Arts Projects, entitled Green Bans Civic Walking Map.

Find out more about these prints and the whole Green Bans Art Walk project over here.



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