|
Navigations: artist books and folios, and mixed media works, Barratt Galleries, Alstonville, NSW, 2008 'Navigations - artist books & folios, & mixed media works’ an exhibition of works covering a range of media including artist books, prints, graphic works on wooden panels, and small bronzes cast from cuttlefish. |
 |
'Profiles in Print - Dianne Longley', Sasha Grishin, Craft Arts International, No 74, pg 67-70, 2008 Crossfire, print & glass, essay 'Cross Currents', Sasha Grishin, Wagga Wagga Art Gallery, 2008 Nevermore: artist books and multiples, Art & Heritage Collections, Cultural Illumination, Barr Smith Library, University of Adelaide, 2008 |
 |
Remember to Die, Remember to Live was purchased for the 2008 Southern Cross University Acquisitive Artists' Book Award, and was selected for the Burnie Print Prize 2009. '2008 SCU Acquisitive Artists Book Award', essay Victoria Cooper, Art of Books - Books of Art, Number 20 - Two, 2008 '2008 South Cross University Acquisitive Artist's Book Award', Victoria Cooper, Imprint, vol 43 no 4, pg 24-25, 2008 |
 |
Spirited Away, Adelaide Central Gallery, 2007 'Spirited Away' at Adelaide Central Gallery in late 2007, included artists Shaw Hendry, Dianne Longley, Sue Lorraine, Catherine Truman & Sera Waters. The mix of artists have an association with Japan, and have an interest in the aesthetics of Japanese art. pdf catalogue |
 |
'Dianne Longley: 25 Years, Anniversary feature article', Geoff Gibbons, Artdate, Issue 81, June/July, pg 6-7, 2007. |
 |
Hedgemaze, Light Square Gallery, Adelaide Centre for the Arts, Adelaide, SA, 2007 Hedgemaze is a South Australian artist studio comprising a mercurial mix of established and emerging visual artists. They began working at Port Adelaide in October 2005. They had their first exhibition as a group at Light Square Gallery, as part of the 2007 Adelaide Fringe. Studio artists are Roy Ananda, Deidre But-Husaim, Dianne Longley, Ros Matson, Mary-Jean Richardson, and Sera Waters. Dianne Longley left the studio in January 2008 due to beginning PhD studies. |
 |
Silver Threads, Barr Smith Library, University of Adelaide, SA, 2007 'Silver Threads', an exhibition of an ‘artist’s book’, which takes the form of a suitcase of memories and a chequerboard website with linkages between memories via words, a colour or a smell, a taste or a picture. pdf invitation pdf Loving Holding Hands 1.3mb jpeg blog review |
 |
Sweet Monsters and Scallywags, Adelaide Central School of Art, Studio Gallery, Adelaide, SA, 2007 |
 |
For the love of making books, curated by Noelle Griffiths, Wrexham Arts Centre, Wales, UK, 2007 pdf catalogue 2.1mb |
 |
'Converging Technologies', Dianne Longley, 'Imprint' Vol 34 No 1, 2006 pdf article |
 |
31st Fremantle Print Award, Judges' Commentary: Jennifer Duncan, Fremantle Arts Centre, WA, 2006 Print Matters, 30 years of the Shell Fremantle Print Award, 'Prints in the City of Fremantle Art Collection', André Lipscombe, Fremantle Arts Centre, 2005 |
 |
Emporium, Adele Boag Gallery, Adelaide, SA, 2005 pdf invitation/catalogue 1mb |
 |
'Connections in the Space-Time Continuum', Dianne Longley, 'Artdate', Issue 64, pg 5 2004 jpeg article |
 |
Avarice, Artspace, Festival Centre, Adelaide, SA, 2004 |
 |
Tracing the Echo, artist books and folios 1978-2001, Flinders
University Art Museum, Adelaide, 2001, then touring SA in 2002-03, QLD, NSW
2003-2005 pdf catalogue 1mb 'Tracing the Echo, artist books and folios 1978-2001', Wendy Walker, Imprint, 2001 |
 |
Cats, Cakes, Clothes and Cups, booklet from playing card boxed set by Dianne Longley pdf booklet |
 |
Printed Matter, Robert Steele Gallery, Adelaide, 1999 Printed Matter was an exhibition of photopolymer prints,
artist books, and a series of prints created using a combination
of etched tin plates and photopolymer plates. 'And in the end there is still The Word, but which word?', Chris Reid, 'CAC Broadsheet' 'Obiter ducta', Printed Matters, John Neylon, 'The Adelaide Review', 1999 'On the horn of a dilemma', Adam Dutkiewicz, 'The Advertiser', 1999 |
 |
Sensory Memorandum, Robert Steele Gallery, New York, 1998 |
 |
'Three South Australian Digital Printmakers', Catherine Speck, 'Imprint', Vol 33 No 1, 1998 |
 |
'An illustrated history in data processing', Adam Dutkiewicz, 'Business Review Weekly', pg 94, 1997 |
 |
New York Residency, 'Artdate', Sept 1997 jpeg residency NYC |
 |
Traversing
the Echo, Flinders University Art Museum, SA, 1996 |
 |
Flower of Destiny, Sir Hermann Black Gallery, Sydney University, NSW, 1996 The images in 'Flower of Destiny' incorporate a visual language of symbolic references which relate to the notion of a journey and at times they explore the sense of dislocation that accompanies the traveler. Other works address fundamental issues of the human condition that transcend the personal. Artists through history have used those technologies available to them. The exhibition, 'Flower of Destiny', incorporates electronic media techniques combined with traditional symbolic references. Longley examines the current shift in book format from codex to electronic. The origins of the three books in the exhibition is digital; drawings were scanned and manipulated using Adobe Photoshop. Other works critique the place of new technologies in art and life. |
 |
'Sun power creates new art', Carolyn Littleton, 'Eastern Courier', Sep 4, pg 6, 1996 jpeg review |
 |
Armorial, Adelaide Central Gallery, Adelaide, , 1995 'The
works in the exhibition represent a fusion of the artist's practice.
Longley has a national and international profile as a printmaker/book
artist. While she originally worked primarily in the etching medium,
she has more recently embraced computer technology in her work, not
replacing the old technology with the new, but rather moving back
and forth between the two. Much of her recent work involves a discussion
of this relationship: one between the physicality of traditional techniques
- the creation of the etched plate through the corrosive action of
acid on metal and the physical process of printing images on a press
for example - and the less physical process of creating artworks on
the screen.' From the catalogue essay. |
 |
Night Sea Crossing, artist book reviews 'New sections upstage the print awards', Nikki Miller, 'The West Australian', pg 29, 1994 'Digital art wins out in book awards', Philippa Yelland, 'The Australian', pg 29, 1994 |
 |
'The high art quest', Ken Bolten, 'The Advertiser', 1991 jpeg review |
 |
'Tracing the journey of human existence', John Emery, 'The Advertiser', 1990 jpeg review |
 |
'Thought-provoking views of the world', Stephanie Schrapel, 'The Advertiser', 1988 jpeg review |
 |
'End of journey as beginning', arenas of Embarkation, Louise Dauth, 'CAC Broadsheet', 1988 jpeg review |
