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Adrian Dixon

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If anyone is ultimately responsible for damaging Xerox, if indeed that is what happens; it will be Mr Deason and his wild accusations and avarice for a higher payout. The Fujifilm deal is a lifeline - just as they provided a lifeline in 2001 under Paul Allaire when Xerox was close to Ch11 bankruptcy. No one can blame Deason for wanting more money I guess, but please spare us the pseudo-altruistic babble about 'saving a great American brand....going forward into Asia..etc etc' As he concluded in his original co-statement with Mr Ichan; it's all about getting more than $9.80 a share as a special shareholder bonus when the deal goes through. ...
As a lover of colour this is exciting news! I wonder what other new colours will be released in the future, with electronic print being used not just for function design, but for art practices too. Oh the possibilities! ...
Perhaps the people who sold the equipment in the first place - suppliers as represented by GAMAA (now Visual Connection) should be approached for support, both financial and intellectual. They do excellent funding of scholarships and other grants - have they been approached? ...
Thanks to James Cryer and the contributors to this debate. It is relevant to note that MMOP is not a company, it is a heritage charity, registered with the ACNC. It exists for the communities it serves - the printing community, the design community, historians, librarians, archivists, researchers . . . and the general public and tourists. The founder has built this for the community, and cannot profit from it. He will be lucky if he can even save his family's home. Perhaps, if he had known that the industry would never help, he might have saved his resources for other community projects. If the Museum had received the needed start-up funding - it is the only major museum that has to pay commercial rent and make it from activities - it would be covering its expenses by now. In the expectation that MMOP would get some help, the landlord was keen to help, but it must have gone to far for comfort. The collection is enormous because the "craft and business of printing and associated industries" is an enormous field. It's not just a studio, and not just letterpress. The years of change 1960 to 1990 were very complex and very interesting and well represented. Today's great invention is tomorrow's museum piece. Plausibly, the whole web of industries: printing, publishing, packaging, advertising, signage, design including online, will benefit when and if MMOP is properly financed, working well seven days a week, interacting with thousands of people a month. The machinery is less than half the collection . . . the rest is archival material and libraries. MMOP is largely about the day-to-day business of the ordinary printer. There's little revenue from archives, etc.: they are there for research, and most researchers cannot pay. The paid activities (professional development, student workshops, guided tours and general admission) are profitable but need staff so they can be upscaled and properly marketed. Many people in the community have little concept of these important industries. MMOP and other and printing museums could change that, possibly improving recruitment. Australia's 20 or so smaller museums of printing will be welcome to use MMOP's "museum service program" offering training to their volunteers and supplying fonts of movable type (made on site) and other hard-to-get items. The majority of the machinery, equipment and archives have not been catalogued and curated and of course give a poor impression. With adequate resources, it will take some years to complete. Then some less important items will be offered to other museums or disposed of. The collection of a museum - any museum - that has to pay rent, is forever in jeopardy. For anyone with something to say, please email our Curator, curator@mmop.org.au ...

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