It’s been some time since we have been able to make a call for new members, but we are now ready to accept your submissions. Please give it a go if you would like to be considered for membership of our thriving organisation.
All the information you need is HERE
Applications close on Friday 4th February 2022, so there’s plenty of time to get things together.
Luciano Rossetto, President of Associazione Nazionale Incisori Contemporanei, has encouraged us to enter work for this exhibition opportunity.
Members of Sydney Printmakers have been invited to participate in the project WorldWide Prints, launched a couple of years ago and that will last for several years. There were two exhibitions for this project planned in 2020, but they were cancelled because of Covid-19. Now they are planned for spring 2022. At the moment there are about 450 artists participating with more than 800 prints from 60 Countries, but only 4 artists from Australia. You can see the Countries, the artists and the prints participating so far, on the website at https://www.incisoricontemporanei.it/sezioni/Collections_1220.htm
The project description with instructions on how to participate can be downloaded from https://www.incisoricontemporanei.it/en/articles/Project-Description_1181.htm
Your entry must be marked Printed Matter No Commercial Value.
There is no set deadline.
For any questions please feel free to contact us at wwprintmaking@gmail.com
Barbara Davidson showed a collection of her books at Sydney Contemporary this year.
Only six days to go to see this impressive exhibition!
Splash page image: Nathalie Hartog-Gautier, Looking for Paradise, Handmade raw cotton paper in collaboration with Darren Simpson from Creative Paper Tasmania and Penelope Lee, 12 books, unique state.
ON PAPER contest 2022
8th ANNUAL INTERNATIONAL PRINTMAKING CONTEST
AWARD 1000€
DEADLINE April 1st 2022
FEE 26€
Tinta Invisible, (Barcelona, Spain) in July 2022
The contest is open to anyone. Application is online at www.onpapercontest.com
Rules available in ENGLISH, CATALAN and SPANISH
Purpose of the Waterhouse Natural Science Art Prize
The Waterhouse Natural Science Art Prize was launched in 2002 and commemorates the birth of the South Australian Museum’s first curator, Frederick George Waterhouse. The prize is an opportunity for artists to investigate the world around them, and present their perspectives on natural science. It encourages artists to make a statement about the scientific issues facing our planet, and offers a valuable platform for them to contribute to the environmental debate. Over the years the competition has become a much loved fixture on the arts calendar, allowing artists and audiences to explore natural science through a range of creative outlets.
Prizes:
Two main award categories are available, these being an Open Prize with a $30,000 prize and an Emerging Artist Prize with a $10,000 prize.
Visitors to the South Australian Museum exhibition can also vote on The People’s Choice Dr Wendy Wickes Memoriam Prize, awarded to a finalist artist who has been judged by the people to have communicated the most significant scientific message within the spirit of the competition.
The People’s Choice Dr Wendy Wickes Memoriam Prize is generously provided by her life’s companion.
Important Dates:
Entries may be submitted from Monday 25 October 2021 until 5pm Friday 25 February 2022.
The selected works must arrive at the South Australian Museum between Monday 2 May and Friday 13 May 2022.
For further information, including full competition rules and entry form, please CLICK HERE.
More information:
For further information please contact waterhouseartprize@samuseum.sa.gov.au.
The exhibitions page has links to a short Film of the installed work, the online catalogue, and Sasha Grishin’s Opening Address.
Go Here.
How does your work address the theme ‘To the Edges’?
For myself, this has been a very apposite theme for a number of reasons. The initial reason being direct experience of the bush fires in 2019/2020. I live on a hundred acres in remote NSW South Coast and watched the sky turn a livid brown and the sun turn an angry orange as the flames from the Currowan Fires crept closer, until we were surrounded and parts of our land a-flame. Myself, husband, dog, were literally ‘on edge’ for days and nights with fire hoses out, water pumps on and waking every couple of hours through the night to check that fallen and smoking trees had not re-ignited and started a fresh fire. So the first piece in the trio deals with this aspect of the theme.
The second piece ‘Chaos’ suggests that humanity’s greed, carelessness and poor behaviour has lead to chaos and disaster – a theme influenced by Mario Vargas Llosa’s book ‘The Storyteller’ – and here we see flood, fire, calamity inflicted on the world. Finally, man’s poor environmental record has brought man and planet to the edge of extinction – sea levels have risen and imagined, monstrous sea creatures dominate …
Can you describe the technical process you went through to achieve the finished work and what technical challenges you encountered along the way?
Technically, the pieces were reasonably straight-forward, any difficulties tended to be in cutting the detail and ensuring clarity. Perhaps my choice of fibrous Japanese Unryu paper – chosen because I felt the woody fibres would enhance the message of the pieces – did make it harder to get solid blacks where I really needed them and as a result I did end up printing them all by hand.
What do you see as the role of Sydney Printmakers for the next 60 years?
Like other successful printmaking groups, we can show the great expressive possibilities of our craft, the wonderful images that can be achieved using only print techniques; that printmaking skills are great tools for everyone to use either alone or in combination with other media.
How do you see the role of printmaking in general, contributing to the conversation about contemporary art practice.
Printmaking utilises numerous flexible and dynamic tools and can probably lead or assist art practice to move in a multitude of directions.
To the Edges is open for visitors again, but if you just can’t make it, here is a video walk through of the show hosted by the curator, Katherine Roberts. The exhibition closes on the 7th of November.
Thanks to Nathan Lewis and Matt Creswell for making the video.