Posts tagged printmaking
Of pink marble and porphyry

Recently landed: Of pink marble and porphyry, a new article on Marginalia (by Gracia) with a Western pygmy possum (Cercartetus concinnus) and Powerful owl (Ninox strenua)

2019 Geelong acquisitive print awards (photo: Andrew Curtis)

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.

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.

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

Tracing the Line

Our two prints, Giving libation to John Singer Sargent’s dead bird study of 1878 (limestone and rose) and Giving libation to John Singer Sargent’s dead bird study of 1878 (limestone and gold), are currently on display at Port Jackson Press Print Gallery as part of their winter group exhibition, Tracing the Line in Australian Contemporary Printmaking.

Tracing the Line is on until the 27th of August, 2017.

Port Jackson Press Print Gallery
84 Smith Street
Collingwood

gracialouise_PortJacksonPress02.jpg
Wrap Up

Louise's two lemonwood engravings, Sea otter (2015) and Snow leopard (2015) will be exhibited as part of the group exhibition, Wrap Up, at Port Jackson Press Print Gallery.

Wrap Up
Port Jackson Press Print Gallery
84 Smith Street, Collingwood, Victoria
Wednesday 25th of November – Wednesday 23rd of December

Delivering a suite of   Snow leopards   and   Sea otters   to the gallery

Delivering a suite of Snow leopards and Sea otters to the gallery

Fruits of the working table

Recently landed: Fruits of the working table, a new post on Elsewhere (by Louise)

 Our collage, Underneath Soane's 'star-fish' ceiling, the library at No. 12 proved anything but quiet, on the cover of The La Trobe Journal, No. 95, March 2015