Listing of downloadable catalogues, reviews and articles from solo and group exhibitions:
Navigations: artist books and folios, and mixed media works, Barratt Galleries, Alstonville, NSW, 2008’Navigations – artist books & folios, & mixed media works’ an exhibition of works covering a range of media including artist books, prints, graphic works on wooden panels, and small bronzes cast from cuttlefish.
‘Profiles in Print – Dianne Longley’, Sasha Grishin, Craft Arts International, No 74, pg 67-70, 2008
Crossfire, print & glass, essay ‘Cross Currents’, Sasha Grishin, Wagga Wagga Art Gallery, 2008
Nevermore: artist books and multiples, Art & Heritage Collections, Cultural Illumination, Barr Smith Library, University of Adelaide, 2008
Remember to Die, Remember to Livewas purchased for the 2008 Southern Cross University Acquisitive Artists’ Book Award, and was selected for the Burnie Print Prize 2009. ‘2008 SCU Acquisitive Artists Book Award’, essay Victoria Cooper, Art of Books – Books of Art, Number 20 – Two, 2008
‘2008 South Cross University Acquisitive Artist’s Book Award’, Victoria Cooper, Imprint, vol 43 no 4, pg 24-25, 2008
Spirited Away, Adelaide Central Gallery, 2007’Spirited Away’ at Adelaide Central Gallery in late 2007, included artists Shaw Hendry, Dianne Longley, Sue Lorraine, Catherine Truman & Sera Waters. The mix of artists have an association with Japan, and have an interest in the aesthetics of Japanese art.
‘Dianne Longley: 25 Years, Anniversary feature article’,Geoff Gibbons, Artdate, Issue 81, June/July, pg 6-7, 2007.
Hedgemaze, Light Square Gallery, Adelaide Centre for the Arts, Adelaide, SA, 2007Hedgemaze is a South Australian artist studio comprising a mercurial mix of established and emerging visual artists. They began working at Port Adelaide in October 2005. They had their first exhibition as a group at Light Square Gallery, as part of the 2007 Adelaide Fringe. Studio artists are Roy Ananda, Deidre But-Husaim, Dianne Longley, Ros Matson, Mary-Jean Richardson, and Sera Waters. Dianne Longley left the studio in January 2008 due to beginning PhD studies.
Silver Threads, Barr Smith Library, University of Adelaide, SA, 2007’Silver Threads’, an exhibition of an ‘artist’s book’, which takes the form of a suitcase of memories and a chequerboard website with linkages between memories via words, a colour or a smell, a taste or a picture.
Sweet Monsters and Scallywags, Adelaide Central School of Art, Studio Gallery, Adelaide, SA, 2007 ‘Sweet Monsters and ScallyWags’ was a delightful and otherworldly mix of curious characters and absurd and intriguing scenarios. The combination of pokerwork on wood, and oil paint and surface textures, intensifies the drama of these small works.
For the love of making books, curated by Noelle Griffiths, Wrexham Arts Centre, Wales, UK, 2007
‘Converging Technologies’, Dianne Longley, ‘Imprint’ Vol 34 No 1, 2006
31st Fremantle Print Award, Judges’ Commentary:Jennifer Duncan, Fremantle Arts Centre, WA, 2006
Print Matters, 30 years of the Shell Fremantle Print Award,‘Prints in the City of Fremantle Art Collection’, André Lipscombe, Fremantle Arts Centre, 2005
Emporium, Adele Boag Gallery, Adelaide, SA, 2005The exhibition invitation/catalogue was written by Sera Waters.Catalogue 30 x 21 cm, colour, essay by Sera Waters, produced by Adele Boag Gallery.
‘Connections in the Space-Time Continuum’, Dianne Longley, ‘Artdate’, Issue 64, pg 5 2004
Avarice, Artspace, Festival Centre, Adelaide, SA, 2004The exhibition was co-curated by Dianne Longley and Craigh Marsden to coincide with Wagner’s Der Ring des Nibelungen. Artists in the exhibition included Roy Ananda, Shaw Hendry, Dianne Longley, Craigh Marsden, Christine McCormack, Christopher Orchard, Olga Sankey, Sandra Starkey Simon.
Tracing the Echo, artist books and folios 1978-2001,Flinders University Art Museum, Adelaide, 2001, then touring SA in 2002-03, QLD, NSW 2003-2005This catalogue was produced in conjunction with the exhibition of the same title and traces the artist’s journey of twenty-two years of investigation into artist book production using traditional techniques and more recently, combining traditional and new digital technologies.Catalogue 27 x 21 cm, 40 pages, 8 in colour, essays by Pamela Zeplin, Stephanie Radok, Olga Sankey, Illumination Press, Adelaide, South Australia, 2001.
‘Embracing change in print form’, Wendy Walker, The Advertiser, 2001
‘Tracing the Echo, artist books and folios 1978-2001’, Wendy Walker, Imprint, 2001
‘That’s a print!’, The Northern Rivers Echo, pg 24, July 22, 2004
Cats, Cakes, Clothes and Cups,booklet from playing card boxed set by Dianne Longley
Printed Matter,Robert Steele Gallery, Adelaide, 1999Printed Matterwas an exhibition of photopolymer prints, artist books, and a series of prints created using a combination of etched tin plates and photopolymer plates.Catalogue 29.5 x 21, 4 pages, all colour, essay by Pamela Zeplin, Illumination Press, Adelaide, South Australia, 1999.
‘Challenging Representations’, Farley Wright, ‘On Dit’
‘And in the end there is still The Word, but which word?’, Chris Reid, ‘CAC Broadsheet’ jpeg review
‘Obiter ducta’, Printed Matters, John Neylon, ‘The Adelaide Review’, 1999
‘On the horn of a dilemma’, Adam Dutkiewicz, ‘The Advertiser’, 1999
Sensory Memorandum,Robert Steele Gallery, New York, 1998The works taken to New York for Sensory Memorandum included the metal sense monitors and armorial works, as well as the folio of relief photopolymer prints The Golden Rose.Catalogue 29.5 x 21, 4 pages, 2 colour, 2 b/w, essay by Olga Sankey, Illumination Press, Adelaide, South Australia, 1998.
‘Three South Australian Digital Printmakers‘, Catherine Speck, ‘Imprint’, Vol 33 No 1, 1998
‘An illustrated history in data processing’, Adam Dutkiewicz, ‘Business Review Weekly’, pg 94, 1997
New York Residency, ‘Artdate’, Sept 1997
the Echo,Flinders University Art Museum, SA, 1996An exhibition of works made and exhibited for Longley’s MA exhibiton at Flinders University. Traversing the Echo was an exhibition of computer generated prints, books and folios. It was also the title of an interactive work within the exhibition. The interactive was a working model, destined for future placement on CD-ROM or the Internet. The electronic book was designed to showcase three limited edition printed works; two artist books and a folio (Compass of Change, Night Sea Crossing, and The Golden Rose).Catalogue 21 x 15, 8 concertina pages, all colour, essay by Dianne Longley, Illumination Press, Adelaide, South Australia, 1996.
Flower of Destiny, Sir Hermann Black Gallery, Sydney University, NSW, 1996An exhibition of computer generated artist’s books andand mixed media works.The images in ‘Flower of Destiny’ incorporate a visual language of symbolic references which relate to the notion of a journey and at times they explore the sense of dislocation that accompanies the traveler. Other works address fundamental issues of the human condition that transcend the personal. Artists through history have used those technologies available to them. The exhibition, ‘Flower of Destiny’, incorporates electronic media techniques combined with traditional symbolic references. Longley examines the current shift in book format from codex to electronic. The origins of the three books in the exhibition is digital; drawings were scanned and manipulated using Adobe Photoshop. Other works critique the place of new technologies in art and life.Catalogue 29.5 x 21, 4 pages, all colour, essay by Pamela Zeplin, Sir Hermann Black Gallery, The University of Sydney Union, NSW, 1996.
‘Sun power creates new art’, Carolyn Littleton, ‘Eastern Courier’, Sep 4, pg 6, 1996
Armorial, Adelaide Central Gallery, Adelaide, , 1995’The works in the exhibition represent a fusion of the artist’s practice. Longley has a national and international profile as a printmaker/book artist. While she originally worked primarily in the etching medium, she has more recently embraced computer technology in her work, not replacing the old technology with the new, but rather moving back and forth between the two. Much of her recent work involves a discussion of this relationship: one between the physicality of traditional techniques – the creation of the etched plate through the corrosive action of acid on metal and the physical process of printing images on a press for example – and the less physical process of creating artworks on the screen.’ From the catalogue essay.Catalogue 29.5 x 21, 4 pages, all b/w, essay by Olga Sankey, The Print Studio, Adelaide, South Australia, 1995.
Night Sea Crossing, artist book reviews‘New sections upstage the print awards’, Nikki Miller, ‘The West Australian’, pg 29, 1994
‘Digital art wins out in book awards’, Philippa Yelland, ‘The Australian’, pg 29, 1994
‘The high art quest’, Ken Bolten, ‘The Advertiser’, 1991
‘Tracing the journey of human existence’, John Emery, ‘The Advertiser’, 1990
‘Thought-provoking views of the world’, Stephanie Schrapel, ‘The Advertiser’, 1988
‘End of journey as beginning’, arenas of Embarkation, Louise Dauth, ‘CAC Broadsheet’, 1988