Richard Harding




RMIT University, Australia


Richard Harding is a print based artist and the Studio Coordinator of the Printmaking Studio at the School of Art, RMIT University Melbourne Australia.
Harding utilises print media, traditional and electronic, as a vehicle for an ongoing art practice. He has produced two-dimensional, installation, video and object based work.
Harding's research interests are focused on the use of architectural metaphors to discuss sexual orientation, masculinity and codes of representation. He is currently undertaking a PhD by project titled, Juxtapose: an exploration of gay masculine identity and its relationship to the closet. Through this project Harding is exploring printmaking's intrinsic qualities of sameness and difference with the merging of traditional and contemporary print mediums to discuss the construction and deconstruction of gender and sexuality.


Print as other, the future is Queer


This paper will attempt to locate printmaking's current position within contemporary art practices using the socio-political notion of otherness. The framework for this discussion will utilise identity politics of gender and sexual orientation as an analogy for Printmaking's position within a historical and ongoing medium hierarchy. I will make connections between Printmaking's reproductive foundations and its qualities of sameness & difference with gender and sexual orientation to better understand complicated and uncertain knowledge in both arenas of endeavour.
By assigning Print the title of 'other' this discussion will be set within what I call a 'painting normative' culture. Through outlining a number of key protocols and attitudes, past and present, towards print practices I am attempting to identify a space where print practices can position themselves with equity and fluidity. As debates of gender and sexual orientation have entered an expanded phase of questioning through Queer, so to can printmaking's ubiquitous position within the general art community. With this in mind the key question before us is, how can printmaking move past its historical and current cultural position into a more equitable state while it operates in and by the dominant cultural practices of the constructed notion of the original?


Tuesday 27 September


1:30pm - 3.00pm




Other activities Chair: Tuesday 27 September, 1:30pm - 3.00pm
Back to program
Back to home page