Melbourne’s Esteemed Printmaking Hub Faces Uncertain Future After Funding Cut
A cornerstone of Australia’s fine art printmaking scene, the Australian Print Workshop (APW) in Melbourne, is grappling with a sudden and significant blow after the state government withdrew funding that has been vital to its operation for 45 years. The internationally recognised institution, a not-for-profit organisation, had been a recipient of four-year funding from Creative Victoria, amounting to $168,630 annually, which was slated to continue until the close of 2025.
This abrupt cessation of support has thrown the workshop into a state of emergency, forcing a radical reassessment of its future. Chief Executive and Artistic Director Anne Virgo described the situation as “setting the cat amongst the pigeons,” diverting critical energy and time away from artistic programming towards addressing an immediate crisis. “We don’t have an answer as to what our future holds,” Virgo stated, highlighting the profound uncertainty that now looms over the organisation.
The APW is more than just a workshop; it’s a vibrant hub where expert printmakers collaborate with established and emerging artists, as well as the public, to create original fine art prints. The calibre of work produced within its walls is evident in its inclusion in the collections of prestigious institutions worldwide, including London’s Victoria and Albert Museum. APW prints have graced exhibitions across numerous countries, from Russia and Germany to China and the United States, underscoring its global reach and influence.
Over its 45-year history, the workshop has been a crucial incubator for artistic talent. Many of Australia’s most celebrated artists, including the late Jeffrey Smart, John Brack, and Arthur Boyd, have honed their printmaking skills at the APW. Contemporary luminaries such as Patricia Piccinini and Shaun Gladwell have also contributed to its rich legacy.
A particularly significant and long-standing collaboration has been with Aboriginal artists from remote communities. For over three decades, the APW has fostered a deep connection with these artists, beginning with Gooniyandi artist Mervyn Street and his contemporaries in Fitzroy Crossing. The impact of this partnership is far-reaching; a print by Mervyn Street is currently featured in a nightly animation projected onto the iconic sails of the Sydney Opera House, a testament to the enduring power and visibility of these artistic exchanges.
“To think that all of that expertise, energy, government support over 44 years to build this knowledge and expertise could just stop, it’s just soul destroying,” Virgo lamented, expressing the profound sense of loss and disbelief felt by those connected to the workshop.
Immediate Repercussions and Artist Concerns
The immediate consequences of the funding withdrawal are already being acutely felt. The workshop has been forced to halt recruitment for its General Manager position, a crucial role for its operational stability. While Creative Victoria has offered a lifeline in the form of six months of interim funding, the APW has yet to receive any of these funds, further exacerbating the financial strain.
Victorian artist Lisa Waup, who has a long personal history with the APW, having visited its gallery since her student days in the 1980s and recently completed a residency there in 2024, expressed her dismay. “I just have great admiration for the Australian Print Workshop, and the thought of it not continuing in its full capacity is quite shattering to hear,” she said. Her sentiment is echoed by many in the arts community who recognise the APW’s invaluable contribution to artistic practice and dissemination.
Danie Mellor, an artist from New South Wales with experience on state and federal visual arts funding boards, also collaborated with the APW to produce a series of photo-based prints in 2025. He anticipates that the workshop will need to undertake a significant strategic overhaul. “It’s always something of a financial shock when there’s multi-year funding that doesn’t go ahead… the management of that can sometimes be a very hard call,” Mellor observed, acknowledging the difficult decisions faced by organisations in such circumstances.
This funding crisis unfolds against a backdrop of renewed public enthusiasm for fine art printmaking, as evidenced by the strong attendance at the recent Melbourne Art Print Fair. The APW also benefits from a $100,000 annual grant from the federal funding body, Creative Australia, alongside crucial philanthropic support.
A significant asset for the APW is its ownership of the Fitzroy building it has called home for decades. Furthermore, the workshop has accumulated cash reserves, which Virgo estimates will sustain operations only until the end of the current year. Without these reserves, the APW would be facing imminent closure.
Broader Implications for the Arts Sector
The Australian Print Workshop is not an isolated case; it is one of several smaller arts organisations that have been unsuccessful in securing Creative Victoria funding. David Latham from Save Our Arts has voiced strong criticism of these cuts, describing them as “an absolute pittance to the government, but a wrecking ball through small but important arts incubators and organisations.”
Latham further argued that such funding reductions will not only fail to address broader financial issues but will also create a significant cultural deficit. “Not only will these cuts to arts organisations not fix the debt issue, it will leave a cultural deficit, so you have to ask what the point is,” he stated, questioning the long-term value and rationale behind these funding decisions.
Creative Victoria has been approached for comment on the situation. The potential loss of the Australian Print Workshop would represent a profound blow to Melbourne’s vibrant arts landscape and a significant setback for the broader Australian arts community, impacting artistic innovation, cultural heritage, and the development of emerging talent for years to come.
