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Apply Now – Megalo Online Exhibitions
Today’s the day! Megalo is launching an exciting range of dynamic print focused online exhibitions. Each curated exhibition will highlight a different print medium, relief, screen on paper, intaglio, lithography and screen on fabric. Below you can find out more about each exhibition and how to take part. This opportunity is open to both national and international artists.
Our first exhibition will be a Relief exhibition and the deadline for submissions is 5pm Monday 4th May. Works can be made using any of the relief processes such as woodcut, linocut, wood engraving etc. as the primary medium.
We are aware that many printmakers are unable to currently access their normal printing spaces and studios. With this in mind, all work submitted to the exhibition can be from January 2019 onwards. You can find out more information by visiting our website or through the links below!
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Peter Lancaster: Fijian Dreamin’ from Pine, Copper, Lime.
Written by Miranda K. Metcalf Published 23rd October 2019
This article is significant in a number of ways. One is that it marks the one year anniversary of pine|copper|lime. An undertaking which is the very definition of a passion project born out of my love for printmaking. My love, and well, a little bit of panic. In late 2017 I was informed by then-employer that after six years as the director of contemporary printmaking at his gallery, he’d be downsizing and neither I, nor my co-director could expect to have a job the following June. How many jobs are there in contemporary printmaking in the world, and how many of those are outside of teaching? I am going to go out on a limb and say between 50 and zero.
I studied printmaking during my master’s in art history and loved every minute of it, making me, and I don’t know if this is an exaggeration to say, one of the few people working within the contemporary printmaking global community strictly as a curator, writer, and advocate without a personal printmaking practice. I’ve dabbled of course, but always, when looking over my attempts, come back to the apt phrase: stay in your lane. This is when I first had the idea for PCL. I wanted a place where our close knit, but geographically divided community could gather, share our stories and learn from one another – our successes as well as our filled in tusche washes.
Lancaster always had a strong interest in drawing. He drew nonstop growing up, and even studied the techniques and images of the old masters. So when it came time to apply for college he was certain he would get into the drawing course to which he had applied at the University of Melbourne. He was, however, not admitted. It was then that someone suggested to him that he try printmaking, if he enjoyed drawing as much as he did this would give him a chance to exercise that interest. Lancaster started to hang around the print studio at the university and did a bit of etching, but it was when he first saw someone drawing on a “bloody big rock” that he knew he’d found his calling. He was hooked – and like the rest of us – he never looked back.
Like many lithographers – and one could argue that perhaps it is a necessary if not sufficient quality to be a lithographer – Lancaster enjoyed the challenges of all things lithography. When something doesn’t go the way it should, there are innumerable possibilities. In lithography one is dealing with mercurial chemistry, the temperature and humidity of the day, or even where the sun comes in through the window. All of that could affect how the printing went. Lancaster eventually found his way to the Tamarind Book of Lithography, which he lovingly refers to as the bible during our interview, and admits that he probably highlighted the book from cover to cover before he was done with it while mastering the craft.
When he learned about the Tamarind course he knew he had to attend. He got his references, applied, packed up and moved from Melbourne to Albuquerque to attend their printer trainer program. At the time, what is now a year long course was condensed into four and a half months, “It was like military school,” he recalls. From that first year of students, then as now, only two people are selected to go on to the second. In the second year, students work in the Tamarind editioning studio alongside the master printer creating lithographs with incredible artists from around the world. Tamarind has produced editions with George Miyasaki, Jim Dine, Judy Chicago, Nick Cave and Kiki Smith to name a few. Yet, Lancaster didn’t even apply for the second year. He was too keen to get to Melbourne are start his own print shop.
Once he was back in Australia, he worked for a year as the technician at the University of Melbourne before he threw it all in to focus on his own publishing shop. “People thought I was crazy, it was a regular salary,” he says, “but I was driven to start my own print shop.”
To read further, or to listen to the podcast, please go here.
To subscribe to Pine Copper Lime go here.
Chinese prints at AGNSW
Ruth Burgess organised two outings for Sydney Printmakers to the Art Gallery of New South Wales Study Room to view prints she had collected for the art gallery during her many trips to China. It was a very interesting and rewarding opportunity. Ruth told many stories about her escapades in China and showed us some extraordinary prints.
Ruth would like to remind us that the Study Room is a free service by the Art Gallery. You can book time in the Study room and request specific prints and the work of specific artists to be made available to you.
More information and booking details here.
Geelong Acquisitive Print Awards
Deidre Brollo
Fathom 2013
archival pigment prints, papercuts, embossing (artist book); edition 3/7
Geelong Gallery
Ursula Hoff institute award (winner), 2015
Courtesy of the artist
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Geelong acquisitive print awards
The Geelong Gallery invites artists to submit entries for the 2017 Geelong acquisitive print awards. This acquisitive prize and exhibition has been conducted by the Gallery since 1996.
An exhibition of selected prints will be held at the Gallery from 5 August to 8 October 2017, from which, prizes totalling $8,500 will be awarded consisting of: the Geelong acquisitive print award of $5,000, the Ursula Hoff Institute award of $3,500 and additional acquisitions up to $3,000.
The prize-winning prints will be announced at the opening of the exhibition on Friday 18 August 2017 and will become the property of the Gallery upon payment of the prize money (of $5,000 and $3,500 respectively) to the winning entrants and to the artists whose works are acquired (to the value of the nominated purchase value).
For the first time, one additional artist will be selected by the judging panel and invited to take up a 5-day printmaking residency at Queenscliff Gallery and Workshop (QG&W). This award includes five days studio access and basic materials. Accommodation, specialist editioning paper and inks are not included.
Please note: the 2017 Geelong acquisitive print awards is open to artists practicing in recognised printmaking processes (such as intaglio, relief, planographic and digital processes) and does not extend to photographic prints.
For further information and entry go here.