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
20 Works to view
20 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.
  • Where Children Play, with Rozelle Bay Gantry and White Bay Power Station (lithograph), 1978
    lithograph (bleed print)
    75 x 51 cm
  • Evening Factory Valley, no. 2 (lithograph), 1978
    lithograph
    60 x 80 cm
    Collections: National Gallery of Australia; Westmead Hospital, Sydney
  • Flooded Mongarlowe River: Upstream, 1978
    lithograph (dyptych, 8 colours)
    55 x 80 cm
    AMP Society Collection
  • Flooded Mongarlowe River: Downstream, 1978
    lithograph (dyptych, 8 colours)
    55 x 80 cm
    AMP Society Collection
  • Colo Plateau, no. 2, 1977
    lithograph (2 colours)
    40 x 100 cm
  • Old Banksias after Bushfire, 1977
    lithograph (5 colours)
    53 x 76.5 cm
    AMP Society Collection
  • Coast Banksias / Bunga Banksias, 1976
    lithograph
    56 x 76 cm
  • Ghost Gums at Maitland / Ghost Gums, 1975
    woodcut
    76 x 56 cm
  • Banksias after Bushfire, 1975
    lithograph (6 colours)
    56 x 76 cm
  • Cattai / Cattai Ridge, 1975
    lithograph (3 colours, 3rd state)
    56 x 76 cm
  • Glowing Rock, 1975
    lithograph (3 colours)
    76 x 56 cm
  • Haze, 1975
    lithograph
    55 x 79 cm (var.)
  • Silent River, 1975
    stone lithograph
    38 x 56 cm
  • Sunlit Gully, 1975
    lithograph
    56 x 76 cm
  • Tea Tree and Gum / Easter Landscape, 1975
    lithograph (3 colours)
    52.5 x 72 cm
  • Sydney: Construction City (final state), 1972
    unique linocut (2 colours, 2nd state)
    38 x 38 cm
  • Sydney Smog (final state), 1972
    unique stone lithograph (4 colours, 3rd state)
    29 x 50 cm
  • Ochre Glade / Golden Valley / Autumn Hollow, 1972
    stone lithograph (5 colours)
    38 x 53 cm
  • Ivymeade Stable Ruins, 1960
    unique stone lithograph
    30 x 40 cm
  • Desert Bush / One Bush, 1960
    dry point etching (aluminium)
    15 x 22 cm
    Collection: Broken Hill Technical College

PRINTS : Scenes 20 Works
PRINTS : Scenes 20 Works


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