University Associate
BA
| M.Milojevic@utas.edu.au |
Milan Milojevic completed a Bachelor of Arts (Visual Arts), Tasmanian School of Art, Hobart in 1976. In 1977-1978 Milan was Master Printer, Landfall Press, Chicago U.S.A. and in 1986/7 he was awarded a D.A.A.D Post-graduate Research Grant, Federal Republic of Germany, Hochshule fur Bildende Kunste Hamburg. Milan was appointed by the University of Tasmania in 1981 and since 1987 has been head of the Printmaking Studio at the Tasmanian School of Art. From 1996 to 2006 he was a member of Digital Art Research Facility.
Milan has exhibited nationally and internationally and has held regular solo exhibitions over the past two decades and contributed to group exhibitions throughout Australia, USA, UK, Europe and Asia. He has received awards from major national funding bodies including DAAD, the Australia Council and the Australian Research Council. He has undertaken several international residencies in Scotland including: Peacock Arts in Aberdeen and at the Glasgow School of Art.
His work is held in major public and private collections in Australia and Europe, including Art Bank, Art Gallery of South Australia, National Gallery of Australia, Art Gallery of NSW, Queensland Art Gallery, Parliament House, Canberra, Tasmanian Museum and Art Gallery, Montrose Academy, Scotland and the Bureau of Artistic Exhibitions, Poland.
For the past 20 years Milan Milojevic’s research has explored issues surrounding identity and and his reflection upon his own cross-cultural position as a first-generation Australian, born of German and Yugoslav parents. Initially these ideas were explored through traditional photographic printmaking media utilising images from the family archive.
In more recent years, these issues of identity have taken form in his construction of imaginary beasts, based on those described by poet and writer Jorges Luis Borges in his Book of Imaginary Beings - a dictionary of fictitious creatures. In these prints, Milan brings together unlikely and impossible combinations of animal parts, such as the double-headed boar or a deer with the body of a bird, as a means of referring to cultural displacement and his own hybridity. The zoological displacements and dislocations of these images reflect geographical, historical and cultural displacement and their backgrounds have been developed by combining Australian and European engravings.
"Hybridity" also refers to his approach to printmaking media - one of applying/layering traditional methods onto new technologies. In this case over printing woodblocks and etchings onto digitally printed images.
Milan Milojevic was a member of Digital Art Research Facility from 1996 to 2006 and with the assistance of Australian Research Council funding and the University of Tasmania’s Internal Research Grant scheme has researched the interface between traditional and digital printmaking media.
For further information visit the University of Tasmania Research Listing
Research Project/s