Career Summary
Milojevic completed a Bachelor of Arts (Visual Arts), Tasmanian School of Art, Hobart in 1976
1977 - 1978: Master Printer, Landfall Press, Chicago. U.S.A.
1986/7 D.A.A.D Post-graduate Research Grant, Federal Republic of Germany, Hochshule fur Bildende Kunste Hamburg.
Milojevic 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. Since 1996 he has also been a member of DARF (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.
Research Interests
For the past 20 years 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, Milojevic 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.
Milojevic has been a member of DARF since 1996 and with the assistance of ARC funding and the University of Tasmania’s Internal Research Grant scheme has continued researching the interface between traditional and digital printmaking media.
|
