Members Evan Pank, Janet Parker Smith and Ben Rak have images in Megalo’s Screen on Paper Online Exhibition.
|
|
Exhibiting since 1961
Members Evan Pank, Janet Parker Smith and Ben Rak have images in Megalo’s Screen on Paper Online Exhibition.
|
|
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!
|
|
|
|
|
|
|
|
|
|
Sydney Printmakers: Borderless. Megalo Print Gallery, 21 Wentworth Avenue, Kingston. Until November 2. megalo.org.
Printmaking is probably the most collaborative of all of the major art mediums. Shared facilities and shared expertise have characterised printmaking since its earliest days and many printmakers see themselves as part of an extended network of professional artists.
Roslyn Kean, Weaving Ancestral Voices II in Sydney Printmakers at Megalo. Picture: Supplied
In the almost 60 years of its existence, Sydney Printmakers has included most of the major printmakers of the time and the situation has not changed.
Today, there are about 60 members in Sydney Printmakers, 33 of whom are included in this exhibition. It is an exceptionally rich and diverse show with some brilliant work.
As a sweeping generalisation, Sydney printmaking, as epitomised here, is becoming far less new-media driven and more artists focus on analogue techniques. Woodcuts, linocuts, etchings plus the occasional screenprint hold sway, while digital and inkjet prints are the exception. It may be foolhardy to leap to conclusions on the basis of this exhibition, but it appears that digital technologies are being increasingly absorbed into the toolbox of Australian printmakers rather than being seen as an end product. Many may employ computers to formulate an image but employ traditional technologies to realise the final print.
The exhibition is dominated by some brilliant and ambitious woodcuts worked on a large scale by established masters, including Roslyn Kean, Susan Rushforth, Anthea Bosenberg, Angela Hayson and Helen Mueller. Rew Hanks is represented by one of his unbelievably detailed narrative linocuts, Josephine’s Ark (2019), while Graham Marchant’s linocut, The Cranford Rose Garden (2015-18), has an intriguing complexity produced through a deceptive simplicity of means.
Seraphina Martin, Finding solace in the land, 2019 in Sydney Printmakers at Megalo. Picture: Supplied
It is exciting how some of the “elders” of the printmaking tribe are branching out in new directions. Seraphina Martin’s Finding solace in the land (2019) is a light and highly evocative etching with watercolour, while Susan Baran’s huge tour de force Allure (2019) is a complex piece where she has collaged etchings and relief prints into a rippling, intricate composition.
One beauty of printmaking is its sense of intimacy through which it can convey an artist’s personality. Examples include the refined lyrical sensibility of Tanya Crothers’ collagraph Black Springs re-visited (2019), Wendy Stokes’ delicate Blended geographies (2019) combining relief, monoprint and stencil, Salvatore Gerardi’s striking Pervading memories: shadow lines (2019) or Andrew Totman’s spatially ambiguous floating monoprint, Touch (2018).
There are also some of the classics of Sydney printmaking, such as Barbara Davidson’s etching collagraph Voters and parliamentarians (2019) with its humour and brilliance of observation, and Bernhardine Mueller’s All the rivers run? (2018) with its dry humour and a created personal narrative.
Nina Juniper, Self supporting #1, 2019, in Sydney Printmakers at Megalo. Picture: Supplied
There is a strong, punchy inkjet print by Marta Romer, Borderless (2019) and a bold, inventive screenprint by Nina Juniper, Self supporting #1 (2019), that depicts a crumbling industrial site she has screenprinted on a block of concrete. Her print conveys a range of possible readings with effective humour.
This is an exciting, adventurous exhibition that demonstrates that printmaking in Sydney is in ascendancy.
Sydney Printmakers who ventured to Canberra for the opening of our exhibition at Megalo had a wonderful time. Alison Alder, past Director of Megalo, opened the exhibition, and Susan Baran talked about the history of Sydney Printmakers. Here are some photos from the Opening, and from the party afterwards at Mark Lewis and Dianne Fogwell’s place. The pizza oven got a good workout. Thanks to all at Megalo and especially to Dianne for such warm and generous hospitality. We even had a peek inside Dianne’s studio.
The works exhibited at Megalo for our Borderless exhibition are now available for viewing on the website. Go here. They look even better in the gallery. Why not pay a visit to Canberra and visit Megalo?
While you’re there you could go and see Lichtenstein to Warhol at the NGA!
|
|
|
Megalo Print Studio + Gallery are pleased to announce the first Megalo International Print Prize with an impressive $18500 in prize money.
FIRST PRIZE – $10,000
SECOND PRIZE – $5000
PEOPLE’S CHOICE – $1000
LERIDA ESTATE ACQUISITIVE PRIZE – $2500
Artists may enter up to 2 works.
Entry fees are $40 for 1 work or $60 for 2 works.
KEY DATES FOR ENTRANTS:
• Entries open: 18 June 2018, 5pm AEST
• Entries close: 23 September 2018, 5pm AEST
• Finalists announced: 26 October 2018
• Prize winners announced: March 2019
• Exhibition Dates: 16 February – 6 April 2019
Conditions and entry form here.