The Woodblock Painting of Cressida Campbell

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9780958872218: The Woodblock Painting of Cressida Campbell
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Born in 1960 in Sydney, Cressida Campbell is one of Australia's most uncompromising artists. She studied at East Sydney Technical College (now the National Art School) and the Yoshida Hanga Academy in Tokyo. As well as holding twenty solo exhibitions in Sydney, Brisbane and London, she has also contributed to numerous group exhibitions. Her work has been acquired by many public collections including the National Gallery of Australia, the Art Gallery of New South Wales, the British Museum and by private collectors in Australia and internationally. The Woodblock Painting of Cressida Campbell, a comprehensive survey of her work from 1984 to 2008, spanning 25 years, displays an artist who works from inner compulsion rather than public ambition. Assembled here are nearly 300 images, carefully edited into nine distinct sections. It s a book that displays a sensitive and introspective imagination at work; a book that allows the pictures to speak for themselves. Edited by Peter Crayford, with an Introduction by John McDonald, art critic of the Sydney Morning Herald, a Forward by Edmund Capon, director of the Art Gallery of NSW, and a catalogue raisonne by Brett Stone. A boxed, signed, limited edition is also available from Rex Irwin Art Dealer (Sydney), Philip Bacon Galleries (Brisbane) and Sophie Gannon Gallery (Melbourne) and at Cressida Campbell's website.

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About the Author:

John McDonald is the senior art critic at the Sydney Morning Herald and was formerly the Head of Australian Art at the National Gallery of Australia. He is the author of "Jeffery Smart: Paintings of the 70s and 80s" (1990) and recently published the first of three volumes on the history of Australian Art.

Review:

Cressida Campbell seems never to have looked over her shoulder to see what other people are doing, or tried to second-guess trends and institutional taste. She has simply concentrated on making her subtle and distinctive woodblock prints, and has gradually become one of those artists that collectors wait in line to acquire. She has never worried about the tribe of curators and catalogue-essay writers and the art establishment has consequently ignored her. The paucity of her bibliography is striking, especially considering the quantity of verbiage heaped on far less significant artists. Curators have no idea what to make of her... the functionaries of contemporary art are guided by brands and slogans, not by visual appreciation. Campbell's work belongs to a different world altogether: it is quiet, self-possessed, entirely confident in its own vocation; the stillness and lucidity of her compositions speak of sustained attention and an almost perfect harmony between her vision and her craft. - Christopher Allen, art critic --The Australian 31/1/08

Undoubtedly the most beautiful book of [2008] was The Woodblock Painting Of Cressida Campbell (Public Pictures, $130), edited by the husband of the Bronte artist, Peter Crayford. Campbell slept next to the press when it was printed in Singapore, so she could check the colouring of every plate and the result is something to be cherished by those of us who can only dream of owning one of her prints. -Catherine Keenan. --Sydney Morning Herald, 21/12/08

Undoubtedly the most beautiful book of [2008] was The Woodblock Painting Of Cressida Campbell (Public Pictures, $130), edited by the husband of the Bronte artist, Peter Crayford. Campbell slept next to the press when it was printed in Singapore, so she could check the colouring of every plate and the result is something to be cherished by those of us who can only dream of owning one of her prints. -Catherine Keenan --Sydney Morning Herald, 21/12/08

Undoubtedly the most beautiful book of [2008] was The Woodblock Painting Of Cressida Campbell (Public Pictures, $120), edited by the husband of the Bronte artist, Peter Crayford. Campbell slept next to the press when it was printed in Singapore, so she could check the colouring of every plate and the result is something to be cherished by those of us who can only dream of owning one of her prints. -Catherine Keenan --Sydney Morning Herald, 21/12/08

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