Andrew Hurle




College of Fine Arts, University of New South Wales, Australia


Born in Geelong, Australia in 1962. Academic background: M.V.A. in Printmedia (Sydney College of the Arts, University of Sydney 2001—2002), Grad. Dip Fine Arts in Printmedia  (Victorian College of the Arts 1990—1992), B.A. Fine Arts in Printmaking (Canberra School of Art 1982—1987).  Currently in final year of PhD in Media Studies at COFA, University of New South Wales.  Andrew Hurle studied printmaking at the Canberra School of Art in the early 1980s, working with photocopiers and screened image processes. For the past decade his artwork has been concerned with the techniques and sociology of printed currency and image publication.

Paper title



This paper considers the changes made by digital and communications technologies, to aspects of artistic identity, inasmuch as this identity has traditionally formed around the notion of a singular creative will allied to a particular medium. In the late 1980s I used the term reprography to distinguish my printed art-work (which at the time consisted of plain paper photocopies) from the practice of conventional print-making. The word was lifted from an obscure term used in the 1960s to describe the processes of document reproduction and the attraction for me was that it delimited an area of production rather than a medium: a banal kind of no-man's land close to print's border with photography but a world away from that medium's historical obsessions with tonal nuances and rarified editions. Reprography was separated from traditional printmaking by its proximity to the machinery of commercial publishing - a perilous process in which artistic identity was devalued (but of course, also promoted) by the inflationary effects of mass, uneditioned reproduction. Perhaps this is a natural extension and consequence of the reproductive logic of print - as it has served the business end of art since the first reproductive engraving workshops of the late Renaissance. It could be that for the younger artist (or art student) the preeminence of print and the transcendence of the press into pixel, has made of every artist a publisher and turned a once discrete and introspective vocation into a constant, restless freelancing in a market made insatiable by creative overpopulation. In this paper I will compare my wilfully indeterminate posture as a young artist with the 'opportunities' offered to the current generation of creative practitioners for whom versatility gives a greater advantage than does the anchoring of ones identity onto the mantle of artist or designer.


Thursday 29 September


11:00am - 12.30pm





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