Appears inVisual Art and Prints

Julia Church

Blind Dates

1982, screenprint on paper

This 1982 poster is the cover image of Megalo Print Studio’s first calendar series and shows artist Julia Church ‘scandalously nude’ with boyfriend and fellow artist Mark Denton.

Contemporising Adam and Eve’s original sin to be a computer dating scandal, this screenprint is a bold statement on youth sexuality.

Funded by the ‘Registry of Women Artists’, each calendar month featured Canberra female artists as a response to the limited opportunities for women in the arts in the 1980s as Canberra commercial galleries at this time who preferenced established male artists.

This ‘female only’ artist calendar was a prelude to a larger project in development by Julia Church and Alison Alder, “True Bird Grit”, a handprinted book about Canberra women in the arts released the following year in 1982-3.

Printed at Megalo International Screenprint Collective (Ainslie, ACT)

This work forms part of Mandy Martin’s poster collection that she gifted to Canberra Museum and Gallery in 1998. In her role as Lecturer in the Printmaking Department at the Canberra School of Art, Mandy Martin brought both practical knowledge and an infectious, fearless spirit for making screen-prints to a generation of artists only a few years younger than herself. Battling against a perception that it was a commercial process with application only in community arts, Martin struck initial resistance to the idea that screen-printing was a valid medium to be taught at art school.

With limited employment pathways out of art school, Martin helped facilitate the establishment of ACME Ink through the shifting of her print table to Gorman House in Braddon in 1981. In the cramped conditions of the heritage building Julia Church, Mark Denton, Kath Walters and Alison Alder spent a frenetic few years making posters and prints for causes and events as well as their own creative endeavours. These posters were unleashed on Canberra’s unsuspecting community with its’ carefully planned streets, generating instant attention for a small art community eager to gain visibility and activate change. As commercial galleries were initially reluctant to show their work, this circle of artists contributed to the establishment of Bitumen River Gallery in a car park at the Manuka shops, which continues today as a venue for Canberra Contemporary Art Space. Martin’s print table remains in use at Megalo Print Studio in Kingston.

ACME Ink. had its genesis in the relocation in 1981 of my screenprinting equipment to a separate studio at Gorman House, Braddon ACT. An informal screenprinting cooperative developed; many of its members were graduated students or staff from the Canberra School of Art. The prints they produced addressed social issues and events associated with Canberra…I formed this archive as a personal reference collection.

- Mandy Martin, Donation Statement 1998


428 x 327 mm


Visual Art


Canberra Museum and Gallery, donated through Australian Government's Cultural Gifts Program by Mandy Martin 1998