Posts tagged Australian Print Workshop
2019 Geelong acquisitive print awards

We are delighted that our print, A little palace of pink marble and porphyry, is on display as part of the 2019 Geelong acquisitive print awards until the 24th of November, 2019.

This nationally acclaimed acquisitive prize exhibition features entries from around Australia by established and emerging printmakers representing the diversity of current practice through both traditional printmaking techniques as well as contemporary processes.

36 works by 37 leading and emerging Australian artists have been shortlisted for the 2019 Geelong acquisitive print awards.⁠ Showcasing diverse contemporary Australian printmaking practice, the acquisitive awards and biennial exhibition will feature works by Alison Alder, Rosalind Atkins, GW Bot, Susanna Castleden, Tony Coleing, Christine Courcier-Jones, Marian Crawford, Phil Day, Marieke Dench, Clive Dickson, Dianne Fogwell, Graham Fransella, David Frazer, Silvi Glattauer, Jackie Gorring, Gracia Haby and Louise Jennison, Rew Hanks, Kyoko Imazu, Locust Jones, Martin King, Barbie Kjar, Steve Lopes, Tim Maguire, Marion Manifold, Jordan Marani, Laith McGregor, Glenn Morgan, Stieg Persson, Brian Robinson, Teho Ropeyarn, Jonas Ropponen, John Ryrie, Heather Shimmen, Ruth Stanton, Anne Starling, and Joel Wolter.⁠

Congratulations to 2019 Geelong acquisitive print awards winning artists:
  — Teho Ropeyarn winner of the Geelong acquisitive print award of $5,000 
  — Brian Robinson winner of the Ursula Hoff Institute award of $5,000
  — Marian Crawford winner of a 5–day printmaking residency at Queenscliff Gallery & Workshop

The selection panel for the 2019 Geelong acquisitive print awards included Danny Lacy (Senior Curator, Mornington Peninsula Regional Gallery), Trent Walter (Director, Negative Press), and Lisa Sullivan (Senior Curator, Geelong Gallery).


2019 Geelong acquisitive print awards

Friday 20th September – Sunday 24th November, 2019
Geelong Gallery
Little Malop Street, Geelong

Gracia Haby & Louise Jennison, A little palace of pink marble and porphyry, lithograph with hand-colouring. Image drawn directly on to the lithographic plates by the Artists and processed, proofed and printed in two colours from two plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

File under ‘Eye’

Recently landed: File under ‘Eye’, a new article on Marginalia (by Gracia) takes you on a virtual tour of Through a glass eye at the Australian Print Workshop

Gracia Haby & Louise Jennison, Through a glass eye, at the Australian Print Workshop until Saturday the 29th of June, 2019 (image credit: Tim Gresham)
(This work was produced with APW Printers at Australian Print Workshop, Melbourne, as part of Australian Print Workshop’s French Connections project curated by APW Director Anne Virgo OAM)

Keep an eye on

Recently landed: Keep an eye on, a new article on Marginalia (by Gracia) introduces you to the prints within our current exhibition

Gracia Haby & Louise Jennison, Not a royal residence but a garrison fortress, lithograph with hand-colouring. Image drawn directly on to the lithographic plates by the Artists and processed, proofed and printed in three colours from three plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Watercolour and pencil, blue, green, more

Recently landed: Watercolour and pencil, blue, green, more, a new article on Marginalia (by Gracia) looks at the hand-colouring process of our Through a glass eye prints, created as part of the Australian Print Workshop’s French Connections project

(This work was produced with APW Printers at Australian Print Workshop, Melbourne, as part of Australian Print Workshop’s French Connections project curated by APW Director Anne Virgo OAM)

French Connections, rewound

In May this year, French Connections commenced with a two-week study tour of Paris.

French Connections is part of an international project instigated and led by Anne Virgo OAM, Director of Australian Print Workshop, which aims to generate a significant body of work in the print medium.

We were thrilled to be invited, alongside two other artists, Martin Bell and Megan Cope, and now that we have returned, we are keen to make new work inspired by all the incredible material we saw, collections we explored, and places we scampered through. 

But before we do, rewind to see the story so far,
French Connections, part 1
French Connections, part 2
French Connections, part 3
French Connections, part 4
French Connections, part 5
French Connections, part 6
French Connections, part 7

Inspired by the theories of the ‘state of nature’ expounded by Jean-Jacques Rousseau, La Hameau de la Reine was built between 1783 and 1786, under the supervision of Richard Mique, and drew influence from the traditional rustic architecture of Normandy, replete with a decorative windmill, dovecote, and dairy

Inspired by the theories of the ‘state of nature’ expounded by Jean-Jacques Rousseau, La Hameau de la Reine was built between 1783 and 1786, under the supervision of Richard Mique, and drew influence from the traditional rustic architecture of Normandy, replete with a decorative windmill, dovecote, and dairy

Paris Opera Ballet to awake the sense of wonder

Recently landed: Paris Opera Ballet to awake the sense of wonder, a new article on Marginalia (by Gracia), part 6, takes a closer look at a recent study tour to Paris as part of a project with the Australian Print Workshop and the National Gallery of Australia

The movements of spring, summer, autumn, and winter, rose, blew, rippled, and shook, and we took shelter beneath Chagall’s painted ceiling, on fold-down place in the Orchestra seats (image credit: Anne Virgo)

In the archives

Recently landed: In the archives, a new article on Marginalia (by Gracia), part 4, takes a closer look at a recent study tour to Paris as part of a project with the Australian Print Workshop and the National Gallery of Australia

Deep within the Musée des Archives nationales

Deep within the Musée des Archives nationales

In Josephine’s garden, in search of black swans

Recently landed: In Josephine’s garden, in search of black swans, a new article on Marginalia (by Gracia), part 3, takes a closer look at a recent study tour to Paris as part of a project with the Australian Print Workshop and the National Gallery of Australia

Whether before Josephine’s le cygne noir at Malmaison or in the reading room at the Louvre , one crouches for a closer look, iPhone or magnifying lens in hand, and listens to the floorboards creak as one pads across the room, presence detected

Whether before Josephine’s le cygne noir at Malmaison or in the reading room at the Louvre, one crouches for a closer look, iPhone or magnifying lens in hand, and listens to the floorboards creak as one pads across the room, presence detected

A room with a view, quite

Recently landed: A room with a view, quite, a new article on Marginalia (by Gracia), part 2, takes a closer look at a recent study tour to Paris as part of a project with the Australian Print Workshop and the National Gallery of Australia

With Voltaire in the crypt below my feet and in my ear, ‘the more I read, the more I acquire, the more certain I am that I know nothing’

French Connections

Recently landed: French Connections, a new article on Marginalia (by Gracia) takes a closer look at a recent study tour to Paris as part of a project with the Australian Print Workshop and the National Gallery of Australia

The joy of Henri Matisse’s  La Danse  at the Musée d’Art Moderne  is doubled when you catch Centre national de danse contemporaine d’Angers (Robert Swinston) rehearsing Merce Cunningham’s  Event #7

The joy of Henri Matisse’s La Danse at the Musée d’Art Moderne is doubled when you catch Centre national de danse contemporaine d’Angers (Robert Swinston) rehearsing Merce Cunningham’s Event #7