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| Australian Print Workshop | |
|---|---|
| Name | Australian Print Workshop |
| Established | 1980 |
| Location | Fitzroy, Victoria, Australia |
| Type | Printmaking studio and gallery |
| Director | Suzanne Archer |
Australian Print Workshop Australian Print Workshop is a specialist printmaking studio and gallery founded in 1980 in Fitzroy, Victoria. The Workshop has been central to Australian printmaking networks, collaborating with artists, curators, collectors, and institutions across Victoria, New South Wales, Queensland, South Australia, Western Australia, Tasmania, and the Australian Capital Territory. It maintains links with major cultural organisations and artists, fostering practice-led research and public programs.
The Workshop was established in 1980 by a cohort connected to Victorian College of the Arts, National Gallery of Victoria, Australian Council for the Arts, and local artist-run initiatives in Fitzroy and Collingwood. Early residencies involved artists associated with Noel Counihan-influenced collectives, collaborations with curators from Museum of Contemporary Art Australia and exchanges with print workshops such as Lithography Workshop (Adelaide), University of Tasmania print studios, and international partners including TATE Modern, Printmaking Council of Japan, and artists linked to Royal College of Art. Over subsequent decades the Workshop intersected with events like the Melbourne International Arts Festival and the Sydney Biennale, supported by funding rounds from the Australia Council and philanthropic donors associated with Ian Potter Foundation.
Facilities include etching presses, lithography presses, stone and aluminum plates, a relief press, screenprinting suites, and conservation equipment comparable to university print studios at Monash University and RMIT University. The Workshop’s collection contains editioned works and artist proofs by practitioners connected to Peter Booth, Gordon Bennett, Tracey Moffatt, Emily Kame Kngwarreye, Vernon Ah Kee, John Olsen, Brook Andrew, Hany Armanious, Troy Emery and printmakers who have exhibited at Heide Museum of Modern Art and Art Gallery of New South Wales. Archival holdings include correspondence with curators from Art Gallery of South Australia, acquisition records involving the National Gallery of Victoria, and donor files referencing exhibitions at Queensland Art Gallery.
The Workshop runs a public exhibition program that has presented solo and group shows by artists who also show at institutions such as International Centre of Graphic Arts (Ljubljana), Gertrude Contemporary, Sullivan+Strumpf, and Anna Schwartz Gallery. Special projects have aligned with festivals including the Australian Print Triennial, collaborations with the Melbourne Festival, and touring projects to regional venues like Shepparton Art Museum and Bendigo Art Gallery. Curatorial initiatives have featured thematic exhibitions engaging with histories curated in dialogue with staff from State Library Victoria, researchers from Deakin University, and guest curators formerly of Artspace Sydney.
Educational activity encompasses short courses, intensive residencies, and masterclasses led by printmakers linked to Ian McLean, Geoffrey Ricardo, Kylie Stillman, Anita Traverso and visiting international practitioners from institutions such as School of the Art Institute of Chicago and Royal College of Art. Partnerships include student-placement arrangements with Victoria University, research collaborations with La Trobe University, and training programs co-developed with the Victorian College of the Arts Secondary School. Public workshops coincide with community initiatives supported by municipal partners in the City of Yarra.
The Workshop publishes catalogues and research outputs documenting editions, technical notes, and artist talks, collaborating with publishers and journals such as Art Monthly Australasia, Journal of Australian Studies, and exhibition catalogues produced with curators from Monash Gallery of Art. Research has addressed print conservation methods referenced by conservators at National Gallery of Australia and contributed to conference panels at forums like the Association of Art Historians and the Australian and New Zealand Art Association.
Governance is overseen by a board with representatives experienced in arts administration, collecting institutions, and philanthropy similar to trustees of the Ian Potter Cultural Trust and advisers with links to Australia Council funding programs. Core funding historically combines project grants from Creative Victoria, sponsorship from private foundations connected to Besen Family Foundation, earned income from studio rentals and edition sales, and partnerships with corporate supporters that align with procurement policies used by institutions like the National Gallery of Victoria.
Category:Art museums and galleries in Melbourne Category:Printmaking