Milan Milojevic retired in 2012 after 33 years of teaching at the Tasmanian School of Art. As Head of the Printmaking Studio and a Chief Investigator and member of the Digital Art Research Facility, Milojevic has been invaluable in the education of art students and the development of digital printmaking.
He has exhibited widely in Australia and internationally including solo shows in Brisbane, Melbourne, Sydney, Adelaide, Canberra, Hobart and Dundee, Aberdeen in Scotland. Recent group shows include: IV International Digital Art Exhibition and Colloquium 2002, Havana Cuba; 8 Triennial Form and Matter, Museum of Decorative Arts, Frankfurt /Art Gallery of South Australia; Moving Cities – Australian Artists in Berlin 2000, Berlin; The Print scene in Scotland, St Andrews; The Power to Move, Queensland Art Gallery and Skin and Division, Brisbane. He has received awards from major bodies including the DAAD, the Australia Council, the Australian Research Council, and has undertaken four residencies in Scotland. Most recently he has received a New Work grant from the Australia Council for the Arts for 2004.
His work is held in major public and private collections in Australia and Europe including Artbank, the National Gallery of Australia, Parliament House, Queensland Art Gallery, State Library of Queensland, State Library of NSW, Art Gallery of South Australia, Tasmanian Museum and Art Gallery, the Montrose Academy and the Aberdeen Infirmary, Scotland, and the Bureau of Artistic Exhibitions, Poland.
His work evolves from two worlds – one evocative of a European landscape and the other reminiscent of a Tasmanian one. The images change so that one world disintegrates as the other gradually comes to the surface. These complex constructions originate from a collection of marks and textures built up over many years that have been borrowed from wood engravings dating back to the nineteenth century. The marks are scanned into the computer and then reconstructed into imaginary landscapes. They are a “hybrid”.
“Hybridity” also refers to Milojevic’s approach to printmaking media – one of applying or layering traditional methods onto new technologies. Digital/woodcut refers to the layering of the inkjet print with woodblocks.
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. – Paul Zika, co-curator: A WORLD BETWEEN – A SURVEY OF PRINTS by MILAN MILOJEVIC