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Details
- Place where the work was made
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Launceston
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Tasmania
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Australia
- Date
- 1993-1998
- Media category
- Materials used
- incised, editioned drawing worked with Launceston ochre over blind letterpress and hand-drawn script
- Dimensions
- 36.0 x 84.0 cm frame
- Credit
- Gift of Daniel Thomas AM 2023
- Location
- Not on display
- Accession number
- 151.2023
- Copyright
- © Estate of Bea Maddock
- Artist information
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Bea Maddock
Works in the collection
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About
Bea Maddock was one of the most important Australian printmakers to emerge in the 1970s. Her best-known work is from this period, in which she utilised a pop aesthetic of found images and text, and pioneered the use of photo-etching. The Queensland Art Gallery and National Gallery of Australia organised a major touring retrospective in 1982–83, with another by the Museum of Contemporary Art in 2002. A major catalogue raisonné was published in 2011.
This work is sheet 30 from a major work Maddock completed in 1993–98. The work is a panoramic circumnavigation of the coastline of Tasmania, as if seen from the sea, inscribed with Indigenous place names. Long resident in Launceston, Maddock worked from maps to trace the edges of the entire island. Troubled by the erasure of Indigenous histories from Tasmania, the work was intended to ‘make a statement about the whole of Tasmania’ (Maddock, Queen Victoria Museum and Art Gallery, 1998), which she saw as defined as a coastline that encloses a whole. -
Bibliography
Referenced in 3 publications
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Bea Maddock, Terra Spiritus...with a darker shade of pale, 1999.
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Elspeth Pitt, Know My Name, 'Bea Maddock', pg. 240-241, 2020.
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Irena Zdanowicz, Print Quarterly XXVIII, 'Geography with a Purpose: Bea Maddock's "Terra Spiritus"', pg. 471-477, Dec 2011.
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