Co-curated with Maria Kunda

Plimsoll Gallery

Centre for the Arts

Hunter Street, Hobart

Exhibition 21 December 2012 – 18 January 2013

Download PDF: Exhibition Catalogue

Download PDF: Review – A World Between, Artlink

Foreword: Paul Zika

Milan Milojevic completed his studies at the Tasmanian School of Art in 1976, and after an influential stint as a master printer at Landfall Press in Chicago, commenced teaching here in 1979. He recently retired, and this exhibition is a celebration of his exceptional output as an acclaimed printmaker. His extensive body of work illustrates research and production at the highest level across the discipline, working both in traditional techniques and frontier digital processes. More importantly there is the emergence of a highly individual and stunning visual language that is testament to his high standing as an image-maker. As a supplement to the exhibition, this catalogue backgrounds his outstanding artistic output. Jonathan Holmes writes about that formative period in the metropolis of Chicago and its influence upon a fledgling young artist from Tasmania; Peter Hill backgrounds the critical sequence of regular European residencies starting in 1986, with a concentration on Scottish print workshops; Anne Kirker and Maria Kunda extensively discuss the evolution of his work, the influences, sources and the reoccurring themes; and there is an illuminating conversation between Milan and fellow band members and contemporary artists David Keeling and Leigh Hobba. What this exhibition and catalogue are unable to convey is the immense impact Milan has had on this School over more than thirty years through his undergraduate teaching, postgraduate supervision, curatorial initiatives and ongoing contribution to the Plimsoll Gallery Committee. The fact that this is an Art School in which the Printmaking Studio still commands such a prominent position and influence is the most telling evidence of his longstanding commitment, passion and drive. There are many to carry the flag, but in their own way. He was not a teacher who demanded nor sought slavish following, but always advocated independence and self-direction. This catholic attitude to teaching and supervision is also reflected in his own prints and in the wonderland to which he transports us. Paul Zika, Co-curator