Steve Lovett




Manukau School of Visual Arts, New Zealand


Steve Lovett is a New Zealand based artist an art educator. He led the redevelopment of the print media programme at Manukau School of Visual Arts. This critical movement in print delivery saw print media embrace new approaches to media, print delivery and student research outcomes, greatly expanding the concept of what print could be in New Zealand at the start of the 21st Century.

Steve Lovett’s research work is focused on printed media as a distinct field of practice that extends into related drawing and lens-based media. Lovett continues to exhibit work nationally and internationally. Current print media projects under development investigate digital to hand-printed interactions and reflect on our relationships with notions of relative velocity and the bodily impacts these have for us.

Alongside practical studio outputs Steve Lovett has presented critical print and design research at conferences and symposia both nationally and internationally.


Where is the next generation of printmakers who will follow after the next generation of printmakers?


Hugh Merrill posed the question of what will happen to courses in printmaking in1991. The question remains moot today. Print, once framed as a discipline isincreasingly absorbed into multidisciplinary open studio art programmes. This change indelivery is to intended to model aspects of contemporary multidisciplinary art practice.The shift to the open studio multidisciplinary delivery model was initiated at ManukauSchool of Visual Arts (MSVA) in 2007, and models an international trend. We might askwhat is the place for a discipline specific art practice in our teaching institutions and ultimately in contemporary art? Is there a place in open studio programmes for discipline specific delivery outside of a workshop programme? Does print (and disciplines likepainting, sculpture, photography, jewellery) only function now as a practice colonized by practitioners for associated fields of art practice? Is there even an expanded field for printed work now, in the ways the Weisberg was conceptualizing in 1991? How are we equipping students to become savvy, skillful and imaginative printed image-makers? There is a certain degree of urgency in the questions facing print educators, practitioners,students today. In the context of the open studio delivery model and multidisciplinary artpractices, the question can be focused on the tension between developing a breadth ofinterdisciplinary knowledge or a depth of discipline specific knowledge. The current shape of the debate, especially in undergraduate fine arts programmes provides a renewedimpetus for Merrill's original question. It is also a given that print operates in a terrain already divided by andragogical issues, noted by Jill McIntosh and Professor Carole Shepheard, and shifts in curatorial practices that have divided practitioners and educators along technology, media selection, critical and inter-generational fault lines.


Thursday 29 September


1:30pm - 3.00pm





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