Susan White produces her own prints, by hand, in her studio. A complete list of the artist's editioned prints (about 100) is in The Printworld Directory of Contemporary Prints and Prices (2006).
Since 1980, White's prints have represented Australia in over 50 international biennales and exhibitions in Japan, Korea, UK, USA, The Netherlands, France, Germany, Italy, Yugoslavia, Poland, etc.
The National Gallery of Australia collection has many of the artist's prints, from 1960 onwards. The lithograph Thieves at the Market, produced while a student, dates from this time.
The freedom and versatility of lithography appeals to the artist. In 1975, she began establishing lithographic facilities in her studio, initially producing prints from metal plates passed through a small wooden wringer on a bed of plywood - Pedestrian Crossing (1977) is an example of this grainier technique.
In 1978, she acquired a professional lithographic printing press, and produced lithographs with up to 15 colours, most requiring separate plates. The Front Veranda (1986) is an example. Later, the artist installed a C19 cast-iron press and equipment for stone lithography. White prints woodcuts and blockprints carved from fibreboard. The artist has produced some etchings, the earliest dating from 1960.
PRINTS
Susan White produces her own prints, by hand, in her studio. A complete list of the artist's editioned prints (about 100) is in The Printworld Directory of Contemporary Prints and Prices (2006).
Since 1980, White's prints have represented Australia in over 50 international biennales and exhibitions in Japan, Korea, UK, USA, The Netherlands, France, Germany, Italy, Yugoslavia, Poland, etc.
The National Gallery of Australia collection has many of the artist's prints, from 1960 onwards. The lithograph Thieves at the Market, produced while a student, dates from this time.
The freedom and versatility of lithography appeals to the artist. In 1975, she began establishing lithographic facilities in her studio, initially producing prints from metal plates passed through a small wooden wringer on a bed of plywood - Pedestrian Crossing (1977) is an example of this grainier technique.
In 1978, she acquired a professional lithographic printing press, and produced lithographs with up to 15 colours, most requiring separate plates. The Front Veranda (1986) is an example. Later, the artist installed a C19 cast-iron press and equipment for stone lithography. White prints woodcuts and blockprints carved from fibreboard. The artist has produced some etchings, the earliest dating from 1960.
THEME:
Scenes
1960–present
Scenes
23 Works to view
23 Works to view
Scenes: Atmospheric landscapes composed in the studio: trees, rivers, rocks, cliffs. Plein air (early works) include bush, desert, sunsets and coastal scenes. City scenes include: streets, buildings, backyards, factories, and construction sites.
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Mongarlowe River - Upstream, 1978
lithograph (on washi paper)
63 x 86.5 cm
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Two (etching - van Dyke brown), 1978
etching
35.5 x 27 cm
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Where Children Play, with Rozelle Bay Gantry and White Bay Power Station (lithograph), 1978
lithograph (bleed print)
75 x 51 cm
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Evening Factory Valley, no. 2, 1978
lithograph
60 x 80 cm
Collections: National Gallery of Australia; Westmead Hospital, Sydney
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Flooded Mongarlowe River: Downstream, 1978
lithograph (dyptych, 8 colours)
55 x 80 cm
AMP Society Collection
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Flooded Mongarlowe River: Upstream, 1978
lithograph (dyptych, 8 colours)
55 x 80 cm
AMP Society Collection
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Colo Plateau, no. 1, 1977
lithograph (2 colours)
40 x 100 cm
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Colo Plateau, no. 2, 1977
lithograph (2 colours)
40 x 100 cm
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Old Banksias after Bushfire, 1977
lithograph (5 colours)
53 x 76.5 cm
AMP Society Collection
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Coast Banksias / Bunga Banksias, 1976
lithograph
56 x 76 cm
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Ghost Gums at Maitland / Ghost Gums, 1975
woodcut
76 x 56 cm
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Banksias after Bushfire, 1975
lithograph (6 colours)
56 x 76 cm
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Cattai / Cattai Ridge, 1975
lithograph (3 colours, 3rd state)
56 x 76 cm
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Glowing Rock, 1975
lithograph (3 colours)
76 x 56 cm
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Haze, 1975
lithograph
55 x 79 cm (var.)
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Silent River, 1975
stone lithograph
38 x 56 cm
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Sunlit Gully, 1975
lithograph
56 x 76 cm
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Tea Tree and Gum / Easter Landscape, 1975
lithograph (3 colours)
52.5 x 72 cm
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Sydney: Construction City (final state), 1972
unique linocut (2 colours, 2nd state)
38 x 38 cm
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Sydney Smog (final state), 1972
unique stone lithograph (4 colours, 3rd state)
29 x 50 cm
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Ochre Glade / Golden Valley / Autumn Hollow, 1972
stone lithograph (5 colours)
38 x 53 cm
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Ivymeade Stable Ruins, 1960
unique stone lithograph
30 x 40 cm
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Desert Bush / One Bush, 1960
dry point etching (aluminium)
15 x 22 cm
Collection: Broken Hill Technical College