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Gosford Art Prize Call For Entries

May 27, 2025 by Ro Murray Leave a Comment

GAP25 Terms and Conditions

The competition is open to all artists across Australia and attracts entries in all mediums from traditional forms to new media artworks.

Gosford Art Prize 2025 – Call for Entries

16 May 2025 – 07 July 2025 9:30am – 4:30pm
Gosford Regional Gallery 

Entries close on 7 July 2025 at 4pm

Enter here: Gosford Art Prize 2025

This year the prize pool has increased in all categories. The acquisitive Gosford Art Prize winner is awarded $25,000, the Ceramics Prize $10,000, the First Nations Artist Prize $10,000 and the inaugural Moving Image Art Award $10,000.  Entrants in all categories are eligible for the major award.

The winners will be announced at the exhibition opening event Friday September 5 starting at 6pm

Filed Under: Call for Entries, Call for Exhibitors, News Tagged With: Acquisitive Prize, call for entires, Gosford Art Prize, open to all media

Andrew Totman Exhibitions

May 26, 2025 by Ro Murray Leave a Comment

Andrew Totman, Moon Shadows, (detail) 2025, multiplate monotype, 50 x 50 cm.

ALCHEMY OF THE NIGHT

The process of printmaking is one of a delicate dance between the press, the plate and the artist.

Print Council of Australia Studio 2 Guild

152 Sturt Street Southbank VIC 3006

Opening reception: 5–7pm Thursday 12 June

10am–4pm Tuesday to Friday from 10th to 27th June

printcouncil.org.au

also showing until 6th July

HABITAT

Belconnen Arts Centre

an open printmaking exhibition across Australia

exploring the places where humans, plants,and animals live and coexist

Filed Under: Exhibitions, Print Council of Australia, Uncategorized Tagged With: Andrew Totman, Belco Arts, monotype, Print Council of Australia, printmaking

Barbara A. Davidson at Studio W

May 17, 2025 by Ro Murray Leave a Comment

Barbara A. Davidson Printmaking

Retrospective 1928-2022

10am-5pm 3-10 June 2025

Drinks 4pm Saturday 6th and Sunday 7th

6 Bourke St Woolloomooloo

Filed Under: Exhibitions Tagged With: Barbara A. Davidson, Respective, Studio W

Call for Entries: MAC Yapang Art Prize

May 12, 2025 by Ro Murray Leave a Comment

It is open to artists from all disciplines across Australia, with artworks in any medium.

MAC yapang Art Prize key dates2 June 2025 – Entries open online 
30 July 2025 – Entries close at 3pm
18 August 2025 – Finalists announced 
11 October 2025 – Delivery of Finalist artwork to MAC yapang (2A First Street, Booragul, NSW) 
17 October 2025 – Exhibition opening and award announcement at Museum of Art and Culture, yapang from 6pm
18 October – 7 December 2025 – Exhibition on view 

Enter the MAC yapang Art Prize 2025

Read all of the details for the competition and enter by clicking below. 

Enter the MAC yapang Art Prize

Filed Under: Art Prize, Call for Entries Tagged With: art prize, Call for Enties, MAC Yapang

Sandi Rigby at Grace Cossington Smith Gallery

May 12, 2025 by Ro Murray Leave a Comment

Filed Under: Uncategorized

New Member Ro Murray

May 12, 2025 by Ro Murray 1 Comment

Ro Murray, One Thousand Metre Contour, lino print on pianola rolls, 2025

Ro Murray is a multi-disciplinary artist, who moves between Mt Victoria, Sydney and Killcare. Her art practice is influenced by a career in architecture and later attending the National Art School. Since 2018 her practice has focussed on lino printing, both with uncarved blocks of colour and with carved blocks. She builds series of unique and repeated prints. Ro has enlarged her prints into wall paintings and wall constructions. Her recent lino prints on pianola rolls connect narrative and place in a landscape journey. They combine personal experiences of the location with topographic and historical research.

Ro has staged many solo exhibitions and been selected for many art prizes and awards. In the last year her printed rolls were selected for the Canberra Art Biennial, Arte Laguna Prize Venice, and Artist Book Awards Manly Library, and acquired by the State Library NSW.

She is part of the mountains-based collaboration Murray and Burgess making installations about the environment, and a committee member of Modern Art Projects Blue Mountains.

www.romurray.com.au @romurray

Ro Murray, Where the River Meets the Sky, lino print on pianola rolls, 2024
Ro Murray, Brief Statement of Facts, lino print on pianola roll reproduced in vinyl, 2024

Filed Under: New Members Tagged With: canberra Art Biennial, installation, lino print, pianola roll, Ro Murray

Call for Entries: National Still Life Award 2025

May 6, 2025 by Anthea Boesenberg Leave a Comment

STILL: National Still Life Award 2025

STILL: National Still Life Award is Yarrila Arts and Museum’s national biennial acquisitive art award. Established in 2017, STILL aims to recognise excellence, diversity and innovation in contemporary still life practice while broadening the interpretation of this enduring genre.

STILL: National Still Life Award is open to artists at all stages of their practice and working across all mediums, including but not limited to painting, photography, printmaking, sculpture, video and installation. 

STILL 2025 has a prize pool of $36,000.

Awards

STILL: National Still Life Award: $30,000 (acquisitive) 

Coffs Coast Artist Award: $5,000

People’s Choice Award: $1,000

Award winners will be selected by a panel of judges.

Key dates

Applications open 1 April, 9am

Entries close 6 July 

Finalists announced 18 July

Artwork deliveries 11-15 August

Exhibition opens Saturday 6 September

Exhibition closes Sunday 9 November

Key information

Artist must be an Australian Resident
Artists may submit up to 3 entries.

Download the Conditions of Entry here

ENTER HERE

Do you have a question? Email us at still@chcc.nsw.gov.au

Filed Under: Art Prize, Call for Entries, Call for Exhibitors Tagged With: acquisitive, Biennial, National Still Life Award, Still, Yarrila Arts and Museum

Introducing a new Member: MJHarvey

May 5, 2025 by Anthea Boesenberg Leave a Comment

MJHarvey, Collar Down, pulp print made from artist recycle black shirt, 42 x 30cm

Recycled Dreams: My Journey with Paper and Pulp

I have recurring dreams that infiltrate my life and influence my practice. One of these dreams is of endless hills of discarded clothing, and the quality of the dream is that I must find homes for every item. A heavy weight to bear. Coupled with growing up on a remote dairy farm with an acute awareness of resource limitation, I vividly remember my mother repurposing old cloth to make new clothes for me. These experiences are some of the reasons why recycled cotton pulp medium is at the forefront of my practice, alongside my concern for the environmental issues that fast fashion causes.

I am also drawn to and affected by undulating textural elements in my lived environment. When I traverse the cityscape, I photograph and mentally absorb surfaces for future reference in my studio. Textures of hard mottled concrete, brick and bitumen surfaces sprayed with paint by graffiti artists, council and construction workers hold my attention.

My pulp medium is made from a cutting, tearing, and mechanical beating process of cotton clothing and domestic cloth. I receive donated used cloth from my immediate community, holding the accompanying story of each item along with my own experiences to retell stories through the medium of pulp prints and objects that are meticulously layered with delicately sprayed textural surfaces.

I am constantly developing my practice and learning new techniques. I find traveling and visiting artists’ studios an important part of my practice. Most recently, I was accepted as an artist-in-residence at the Morgan Conservatory in Cleveland, USA, where I had a month to explore my practice using top facilities and to share and learn new techniques.

While I was in America, I visited New York City and Dia Beacon gallery where I was deeply inspired. One artist who particularly moved me was Senga Nengudi, for the way they use weight and color in their sculptures. Another significant influence is Katharina Grosse, whose immersive, large-scale painted installations challenge conventional relationships between architecture and painting. Grosse’s bold approach to color and texture resonates with my own explorations in pulp medium, inspiring me to push boundaries between materiality and space.

Through my work with Sydney Printmakers, I hope to continue exploring these themes of sustainability, texture, and storytelling, bringing my unique perspective on recycled materials to our collective exhibitions and sharing my techniques with fellow artists in the community.

www.melissajharvey.com

www.instagram.com/melissa_j_harvey

MJHarvey, Silent Pool, installation, Lismore Regional Gallery, Pulp sprayed large paper works made from recycled sheets and jeans.

Filed Under: Membership of Sydney Printmakers, New Members Tagged With: MJHarvey, new members, Paper pulp, Recycled clothes, Sydney Printmakers

Andrew Totman wins the 4th Biennial National Monoprint Prize

May 2, 2025 by Anthea Boesenberg Leave a Comment

4th Biennial
National Monoprint Prize
Winners Announced​ 

First Prize: Andrew Totman Second Prize: Lesley Duxbury

Exhibition Dates: 24th April – 17th May

FIRESTATION PRINT STUDIO 2 Willis Street Armadale Victoria 3143 Australia Ph 03 95091782
OPEN: Wednesday – Saturday 11am – 4pm 


View 35 selected Monoprints HERE

Filed Under: Monoprint, Print Prizes Tagged With: 4th Biennial National Monoprint Award, Andrew Totman, Firestation Print Studio Australian Monoprint Award, Lesley Duxbury

Hazelhurst Art on Paper Award Call for Entries

April 17, 2025 by Anthea Boesenberg Leave a Comment

Now in its 13th year, the biennial Hazelhurst Art on Paper Award promotes excellence and innovation in the field of art on paper while supporting and encouraging artists who specialise in this medium.

Curator of the exhibition, Dr Victoria Wynne-Jones, tells ArtsHub, “The most interesting thing about the Award is that paper is not just a medium – it can also be the subject matter.”

She continues, “In the past we’ve had quite large-scale installations, we’ve had photographs printed on paper, we’ve video installations incorporating paper – they all engage with the materiality of paper without making work on paper.”

Wynne-Jones says the Award has a broad remit of material definitions, and can include painting, drawing, sculpture, installation, photography, mixed media, performance and video. Over the history of the Award, Wynne-Jones says she has observed that artists have become “more creative and innovative. I think every time works are chosen by the judge to be the winners, they sort of push the envelope”. She adds that some of the works have also become more expansive in scale with time.

Entries for the Hazelhurst Art on Paper Award have opened and, with a prize pool of $26,000 and an average of 80 finalists chosen each year, it is a good one to consider. The judge for this year’s prize is Daniel Mudie Cunningham, a previous Curator at Hazelhurst Arts Centre, and now Director of Wollongong Art Gallery.

Wynne-Jones says that, as a curator working on the Award exhibition , she has found its diversity “quite liberating”, adding that she is “an artist-led curator, and I just try and create a cohesive journey for gallery visitors through the space”.

More than a drawing prize – it’s about paper as a medium

Hazelhurst Art on Paper 2023, installation view. Photo: Silversalt Photography.

Simply, the Award recognises outstanding artworks created with, on, or about paper. It is about celebrating the potential of paper as a medium for artistic expression.

Wynne-Jones reflects, “I think often, still in this day and age, art is very hierarchical, and painting reigns supreme. It’s just nice to have an award that celebrates paper, and I think differentiating it from drawing is a key aspect. While drawing is a preparatory process for many artists, the Award demonstrates that working on paper is an end in itself.”

She adds that this very familiarity with paper as a material makes the exhibition extremely accessible. “I think it’s very elemental,” says Wynne-Jones. “I feel like working with paper is something humans have been doing for a very long time. I guess, if you think about it, drawing on paper is the first art that we make as children. So it’s very accessible in that way too.”

Wynne-Jones continues: “It can also be quite an intimate medium. And, in this day and age, there’s also the element that it is a natural material, so it’s biodegradable and not terribly hard on the environment. That’s probably an added attraction for many artists. And it’s also very cheap (!), which also makes it accessible.” And her tips for entering? “Just take risks and be brave.”

Key information for your diary

  • Entries close: 30 June 2025 To learn more and apply, head to the Hazelhurst Art on Paper Award.
  • Finalists announced: Friday 1 August 2025. The finalists will be exhibited at Hazelhurst Arts Centre from 27 September to 25 January 2026.
  • The prize pool of $26,000 includes a $15,000 Major Award, $5000 Young and Early Career, a $5000 Friends of Hazelhurst Local Artist Award, a People’s Choice and a Preparator’s Residency Award, which is a four-week residency in the Hazelhurst Cottage.
  • The entry fee is $50 per artwork.

Filed Under: Art Prize, Call for Entries, Call for Exhibitors Tagged With: Hazelhurst Art on Paper Award, National Call for Entries

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