Committee Contacts 
Administration SECRETARIAT
Honour Roll by Year 
Zoom Session REQUEST FORM
APS Calendar 
Momento Pro PHOTO BOOK AWARDS
- MCPP - 2021
- Rules
- Calendar
- Judges
- Prizes
- Exhibition
- FAQ
- Finalists
- Winners
- The Mullins Story
- Winners Presentation
Eligibility to enter
Entrants must be:
- aged 18 years or over at the closing date for entries
- an Australian citizen or resident (including Australian citizens who live overseas), or an overseas member of Australian Photographic Society (‘APS’)
Judges are not eligible to enter. Staff of MRAC are not eligible to enter. Members of the current APS Management Committee are not eligible to enter. Any APS Member who has a role relating to the MCPP who has access to images being submitted prior to the images being judged and/or is/was involved in selecting the judges is not eligible to enter.
The entries
- Each entry must be a still work that has been substantially produced by photographic means, including analogue and digital photography, collage and mixed media.
- Each entry must be accompanied by an Artist’s Concept Statement of no more than 100 words. The statement must not identify the author.
- Each entry must not have been previously selected as a finalist in a Prize or exhibited at a major public institution.
- The entry title must not identify the author and must not include dates. A simple title is all that is required, and it should be precisely what would be used on exhibition cards or catalogues.
- Watermarked images will NOT be accepted.
- An entry may be either a single image or a series of 3 or 4 images.
- Entries must have been created in the twelve months preceding the closing date for entries.
- A maximum of four (4) entries may be submitted by any one entrant.
All works selected as finalists for exhibition must be for sale. The final sale price must be inclusive of 30% MRAC sales commission along with any relevant agent fees and commissions and GST if required. An ABN or completed Statement by Supplier form must be provided by authors of selected finalist works.
Entrants must warrant that each work submitted is original and does not infringe the copyright, moral rights or other rights of any third party and that the entrant owns all rights and interests in the work submitted. All entrants must indemnify and keep indemnified the APS, Muswellbrook Regional Arts Centre (MRAC) and MyPhotoClub against any claim by a third party in relation to their entries.
Entries selected as finalists must not be used in promotional material for any other event or exhibition until the conclusion of the MCPP 2021 exhibition.
Entrants must warrant that their entries are their original work. They must be the sole copyright holder and intellectual property owner of their entries in accordance with Australian law and warrant that any intellectual property rights and moral rights of a third party have not been infringed. Intellectual property rights in entries remain with the entrant as the copyright owner. It is a condition of entry that, if selected as a finalist, the entrant grants to the acquiring gallery (MRAC) and APS without conditions, a perpetual royalty-free licence to use, publicly display, publicise, reproduce the entry or part of an entry, including in electronic form and broadcast, for publicity, promotional, educational and administrative purposes associated with the MCPP and MRAC, in both digital and print mediums. For example, the work of previous finalists may be reproduced in publications promoting the MCPP or MRAC in future years. It is a condition of entry that the entrant grants to APS and MRAC without conditions, permission in perpetuity to supply copies of selected finalists to third parties for purposes associated with the MCPP or MRAC. All necessary acknowledgements of authorship will be duly made. Copyright of the work will remain the property of the artist.
Where required by law, entrants must warrant that they have obtained the consent of all persons whose likenesses appear in their entries. This includes the requirement that those persons understand their rights regarding the photograph being taken. Such consent must include use of the entry in perpetuity for all marketing, educational and publicity uses of such photographs and ensure that no additional consents or licences are required in respect of names, trademarks, designs, works of art or any other intellectual property depicted in the work. The persons must be informed that their image may be displayed in the exhibition and its tour, as well as featured in accompanying promotional and advertising material in print and online format. Where information is disclosed about any person in the artist statement, the entrant must also obtain permission for that information to be used in conjunction with the image. If a person is not able to legally give consent (for example, for reasons of age or administration), entrants are required to obtain the consent of someone who is able to give consent on their behalf. If an entrant’s work is selected for exhibition, APS might require them to provide written evidence of such consent.
Submission of entries
Each entrant may submit up to four entries for selection for the MCPP.
Each entry must be accompanied by a fully completed entry form as part of online registration of entry.
Entrants must submit an artist statement of maximum 100 words as part of the entry form. Where an entry is a series, only one artist statement is required. MPCC may edit artist statements for consistency prior to publication.
Fees
Entrants should not pay their entry fees until all their entries have been submitted.
The non-refundable entry fees are:
| Number of entries | APS Members | Non-APS Members |
| 1 | AUD $40 | AUD $70 |
| 2 | AUD $50 | AUD $90 |
| 3 | AUD $60 | AUD $110 |
| 4 | AUD $70 | AUD $130 |
Payments must be made with a debit/credit card using the MyPhotoClub payment portal.
Entrants whose payments cannot be processed will be considered ineligible.
Each entry must be submitted via the MPCC’s MyPhotoClub link as one digital file for single image entries, or 3 or 4 separate digital files for series entries. Each digital file (maximum 5 Mb) must be a JPG at up to 300 DPI, at least 2400 pixels wide or tall. Prints (hard copies) of entries will not be accepted for the judging and selection process. Entries will be accepted from 10 AM AEDT Friday 29 January 2021 until 11 PM AEST Friday 23 April 2021.
Size limits apply to finalist exhibition prints. No work is to measure more than 200cm on any side or exceed 20cm in depth, including the frame. Weight shall not exceed 25kg.
Prints may be framed; or may be unframed to be pinned to the wall. Please allow sufficient border for pinning unframed works.
Meet the Photographer Events
Available finalists/exhibitors are encouraged to spend time at the Gallery during the exhibition between 10 AM and 4 PM Mondays to Saturdays for ‘Meet the Photographer Floor Talk Events’. Exhibitors will be asked to notify the Gallery of their availability. Having photographers at the Gallery is very beneficial and available exhibitors are encouraged to make the effort to spend a couple of hours at least once during the exhibition period – it’s also a good time to encourage friends/family to meet at the Gallery.
FAQ
Q: What is Conceptual Photography?
A: Conceptual photography is photography that illustrates an idea. Conceptual photography means that you have a very specific idea you want to share with your audience. It can be something rather simple like happiness or sadness or something more complex such as gender identities, existential issues and so on. The ‘concept’ is both preconceived and, if successful, understandable in the completed image.
Q: I’d like to enter a series instead of a single photograph. If all the photographs in the series meet the criteria, is this possible?
A: Yes, a series of either 3 or 4 images may be submitted as one entry in the Series section. Those entries will be judged alongside those in the Single Image section.
Q: Are diptychs/triptychs/etc allowed?
A: Yes. So long as they are uploaded as one file and, if selected as a finalist, printed for exhibition as one work.
Q: The rules state that “each entry must not have been previously selected as a finalist in a Prize or exhibited at a major public institution”. Does this include FIAP-approved Salons/Exhibitions, or does it refer to prizes such as Head On or the National Portrait Prize? And is it a problem if the entries are entered in other competitions after the entry deadline (recognising that they may then go on to receive Awards or be exhibited after the entry deadline?)
A: The reference to Prizes or exhibition at major public institutions does not include FIAP-approved salons. It is about such things as the Head On Photo Awards, the National Photographic Portrait Prize, the Martin Kantor Portrait Prize, the Olive Cotton Photographic Portrait Prize, the Josephine Ulrick and Win Schubert Photography Prize, the MORAN CONTEMPORARY PHOTOGRAPHIC PRIZE, the William & Winifred Bowness Photography Prize, the Heritage Bank Awards, the Fremantle International Portrait Prize, and so on. Since the words in the Terms and Conditions say “must not have been previously selected” there is no barrier to entering the same images elsewhere after the closing date for the MCPP 2020.
Q: If I am an accredited photography judge does that mean I cannot enter?
A: It is only the judges of MCPP 2021 that cannot enter MCPP 2021.
Q: Since a warrant is a legal document, do I have to get a JP to confirm my statements?
A: No, the word warrant, as used in the terms and conditions, is a verb and simply means “to guarantee or provide assurance”.
Q: Can I use a courier to collect work from the Gallery after the exhibition concludes?
A: Yes, provided the Gallery is advised that you have authorised the courier to collect your work.
Q: Does the finished work have to be paper based? Are prints on acrylic or metal allowed?
A: The choice of medium rests with the finalists.
Q: Do finalist’s prints have to use acrylic glazing or Perspex if they have been printed on acrylic or metal?
A: Not necessarily. Special care should be made with packaging to protect exposed edges and particularly corners which are very vulnerable during transport.
| Entries Open | Friday 29 January 2021, 10AM AEDT |
| Entries Close | Friday 23 April 2021, 11PM AEST |
| Judging | Between 3 April – 14 May 2021 |
| Finalists Notified | Monday 17 May 2021 |
| Winners Announced | Tuesday 18 May 2021 |
| Exhibition Opening at MRAC | Saturday 3 July 2021 6.30PM – 8.30PM AEST |
| Exhibition at MRAC | Monday 5 July – Friday 20 August 2021 Mondays – Saturdays 10AM – 4PM |
Judges
- The judges will have absolute discretion in determining the eligibility of an entry based on their interpretation of the Terms and Conditions of entry. The judges’ decision will be final and not subject to discussion or appeal. No correspondence will be entered into.
- The judges will select a maximum of fifty finalist images from the digital images uploaded (“judging ready”).
- Entrants whose work/s have been chosen as finalists will be notified by APS (by email or telephone) of their success by 17 May 2021. Unsuccessful entrants will not be personally notified.
- All entries selected as finalists will be displayed on a-p-s.org.au and may also be displayed on social media at the discretion of the APS. They may also be displayed on the MRAC website and on social media at the discretion of MRAC.
- All finalists must sign and return a confirmation of entry form that will be emailed to them when they are notified. If the artwork is for sale, additional information will also be requested.
- The prizes will be judged from the digital images uploaded (“judging ready”).
Jacqui Dean
Dip Photog. APP.L, GM.Photog., FNZIPP, FAIPP, Hon FAIPP
Jacqui Dean is an award-winning Sydney based professional photographer and artist.
Her commercial work focuses on architecture and form, while her art practice explores the natural world, hidden forms and processes of change and transformation.
In 2012 her show TRANSLUCENCE was a featured exhibition at Head On. In 2014 it was exhibited at the Maud Creative Gallery, Newstead, Brisbane, and was also a featured show in Shimmer Photo Biennale, Port Noarlunga Art Gallery where Translucence was voted the most popular photographic exhibition and earned Jacqui the Robert McFarlane inaugural prize. In 2015 Translucence was also exhibited at Inverell Regional Art Gallery and also recently shown at Black Eye Gallery Darlinghurst, Sydney.
In 2000 her critically acclaimed show WANDERLUST reflected a range of Jacqui’s international editorial assignments.
Her work has been featured in numerous national and international publications including: The Good Weekend, Australian Geographic, Architectural Review, InDesign, Monument, Black+White, Photofile, Nikon Life and Gourmet Traveller.
She became an AIPP Grand Master Photographer in 2012. She has been awarded an Honorary Fellowship and a Fellowship of the AIPP and is also a Fellow of the NZIPP.
Dr. Judith Nangala Crispin
Judith Nangala Crispin is a poet and lens-based visual artist working between Yuendumu in the NT and regional NSW. Her photography is centred on Lumachrome Glass printing, a cameraless method she developed using elements of early photochemistry.
Judith has had a stellar academic career in music, winning international prizes for composition,
and teaching in Cairo, Paris and Berlin as well as in Australia. Moving to include photography among her avocations, Judith was invited to exhibit in the prestigious core programme of the 2011 Ballarat International Foto Biennale (BIFB). She has also exhibited works in galleries in Melbourne.
Julie Williams
Julie Williams is a photo-media artist living and working in the Central West region of NSW. Her art practice addresses our vulnerability as a species disconnected from nature. Across photography, video and installation, she utilises self-portraiture with multiple exposures; immersing herself deep within the landscape to highlight the search for reconnection and an ecological healing. When the artist appears in the imagery, it as a translucent figure displaced and searching. Her work queries the spirit of place and how humanity can inhabit a location more fully. Julie has exhibited widely: she has received commendations in national art awards, artist grants and sponsorship.
Internationally her work has recently been included in the 2018 Family of No Man exhibition and time capsule at Les Recontres de la Photographie, in Arles and the publication Dark Mountain Anthology issue #13 Being Human in the Thick of the Present.
The MCPP winner and the best entry by an APS Member (which may also be the winner) will be announced on Saturday 3 July 2021 at the 6.30 PM AEST opening of the exhibition of the finalists’ prints at Muswellbrook Regional Arts Centre (MRAC).
The author of the MCPP winner will be awarded $8,000 cash. The author of the best entry by an APS Member will receive $2,000 cash. If the MCPP winner is an APS Member, then that entrant will receive both cash amounts – totalling $10,000.
Another selected finalist will be awarded a $500 voucher generously provided by sponsor Emergent Designs.
One other selected finalist will be awarded a $250 voucher generously provided by Momento Pro.
And all finalists who are not APS members will be granted free membership of APS for twelve months from the date the finalists are announced at the opening of the exhibition. The granting of such free membership will not qualify the finalist for “best entry by an APS member” in this 2021 event.
Other prizes may be added as further sponsors are announced.
The MCPP is acquisitive; meaning the exhibited printed artwork of the winning entry immediately becomes the property of MRAC.
Finalist images selected for exhibition must comply with the following format rules:
- Size limits apply to finalist exhibition prints. No work is to measure more than 200cm on any side or exceed 20cm in depth, including the frame. Weight shall not exceed 25kg.
- Prints may be framed; or may be unframed to be pinned to the wall. Please allow sufficient border for pinning unframed works.
The organisers including MRAC will NOT pay for any costs incurred in the delivery of any entry, including freight, customs duty or import tax. Nor will they pay for any costs incurred in returning unsold prints to their authors.
Each finalist grants to the APS, MRAC, touring partners and sponsors a non-exclusive, perpetual, irrevocable, worldwide and royalty-free licence to use their image for advertising and promotion of the MCPP, APS or MRAC in any form of media now known or yet to be devised, both from the date the finalists are announced and in future years. Entrants acknowledge and agree that the APS, MRAC, touring partners and sponsors are not liable to pay the finalists any fee, royalty or other form of remuneration for this right.
Unless otherwise advised beforehand, finalists must arrange to have their work collected from MRAC during opening hours by Friday 3 September 2021. Finalists will be reminded by email regarding dates and times when they can collect their work. It is a condition of entry that finalists are willing to sign a “Confirmation of dispose of artwork” form authorising APS and MRAC to dispose of work that is not collected within the collection period.
Interstate and overseas exhibitors are required to advise MRAC of the cost of delivery to Gallery by Australia Post or Courier. Unsold works will be returned by the same delivery method using same packaging as far as possible. Authors will be invoiced for return delivery costs including repackaging time/labour, new packaging materials if required. If method of return of works is to be varied (e.g. personal pick-up) the gallery must be advised as soon as possible.
Finalists are advised to insure their works against loss or damage during the MCPP 2021 competition/exhibition period of travelling, handling, judging, exhibition and storage. All reasonable care will be taken with all entries, but the APS and MRAC take no responsibility whatsoever for loss or damage however caused to any works submitted.
All entrants agree to receive information and updates about the APS, MRAC and any other additional venues through their nominated email address.
Available finalists/exhibitors are encouraged to spend time at the Gallery during the exhibition between 10 AM and 4 PM Mondays to Saturdays for ‘Meet the Photographer Floor Talk Events’. Exhibitors will be asked to notify the Gallery of their availability. Having photographers at the Gallery is very beneficial and available exhibitors are encouraged to make the effort to spend a couple of hours at least once during the exhibition period – it’s also a good time to encourage friends/family to meet at the Gallery.
Q: What is Conceptual Photography?
A: Conceptual photography is photography that illustrates an idea. Conceptual photography means that you have a very specific idea you want to share with your audience. It can be something rather simple like happiness or sadness or something more complex such as gender identities, existential issues and so on. The ‘concept’ is both preconceived and, if successful, understandable in the completed image.
Q: I’d like to enter a series instead of a single photograph. If all the photographs in the series meet the criteria, is this possible?
A: A series of images could only be submitted as one entry if all images were contained within the one file uploaded and within the one print if selected as a finalist for exhibition. Multiple images intended to be presented as one work will be rejected if uploaded separately.
Q: Are diptychs/ triptychs allowed?
A: Yes. So long as they are uploaded as one file and, if selected as a finalist, printed for exhibition as one work.
Q: Can I enter 4 images that could be judged separately, rather than as a panel?
A: You can enter up to 4 separate images and each of them will be judged separately. In fact, you cannot have your entries judged as a panel.
Q: The rules state that “each entry must not have been previously selected as a finalist in a Prize or exhibited at a major public institution”. Does this include FIAP-approved Salons/Exhibitions or does it refer to prizes Head On or the National Portrait Prize? And is it a problem if the entries are entered in other competitions after the entry deadline (recognising that they may then go on to receive Awards or be exhibited after the entry deadline?)
A: The reference to Prizes or exhibition at major public institutions does not include FIAP-approved salons. It is about such things as the Head On Photo Awards, the National Photographic Portrait Prize, the Martin Kantor Portrait Prize, the Olive Cotton Photographic Portrait Prize, the Josephine Ulrick and Win Schubert Photography Prize, the MORAN CONTEMPORARY PHOTOGRAPHIC PRIZE, the William & Winifred Bowness Photography Prize, the Heritage Bank Awards, the Fremantle International Portrait Prize, and so on. Since the words in the Terms and Conditions say “must not have been previously selected” there is no barrier to entering the same images elsewhere after the closing date for the MACPP 2021.
Q: If I am an accredited photography judge does that mean I cannot enter?
A: It is only the judges of MCPP 2021 that cannot enter MCPP.
Q: Since a warrant is a legal document do I have to get a JP to confirm my statements?
A: No, the word warrant as used in the terms and conditions is a verb and simply means “to guarantee or provide assurance”.
Q: Can I use a courier to collect work from the gallery after the exhibition concludes?
A: Yes, provided the gallery is advised that you have authorised the courier to collect your work.
Q: Does the finished work have to be paper based? Are prints on acrylic or metal allowed?
A: The choice of medium rests with the finalists.
Q: Do finalist’s prints have to use acrylic glazing or Perspex if they have been printed on acrylic or metal?
A: Not necessarily. The only issue is the exposed edges and particularly corners which are very vulnerable during transport.
2021
MCPP Series Finalists
Artist Statement
1 - Fallen Memories 01
2 - Fallen Memories 02
3 - Fallen Memories 03
4 - Fallen Memories 04
Urban spaces defined by autumn colour. Walking on leaves, looking up, not down to define place. Yet underfoot, if one looks, ephemeral landscapes can be found. Here the fallen wait to return to an earth which gave them life. Feet tread them in, rain washes them, wind remodels them, but they hang on, resisting their extinction. Annually this vision appears and disappears, but the moment of glory, relating to place and season, becomes a memory for what was. This set of work denotes place and memory, depicting the fallen leaves upon the wet and worn streets of humankind.
MCPP Singles Finalists
Artist Statement
Shellharbour scuba diving with Grey Nurse Sharks. I found diving and photography perfect for relaxation. When you move elegantly and slowly, flowing physically in water, your mind flows with positive feelings and energy. Also, snapping images of nature is a very relaxing and calming activity for me. My world outlook changed and a feeling of what is happening around me. My photo projects can show my feelings, the beauty of a woman's body and the beauty of nature: a sense of peace and tranquillity.
|
First Name |
Last Name |
Type of Entry |
|
Gus |
Armstrong |
Series of 4 images |
|
David |
Bignell |
Single Image |
|
Stephen |
Blanch |
Single Image |
|
Brian |
Chandler |
Single Image |
|
Brian |
Chandler |
Single Image |
|
David |
Cossini |
Single Image |
|
David |
Cossini |
Single Image |
|
Luke |
David |
Single Image |
|
Luke |
David |
Single Image |
|
Chris |
De Blank |
Single Image |
|
Mark |
Forbes |
Single Image |
|
Mark |
Forbes |
Single Image |
|
Lyndall |
Gerlach |
Single Image |
|
Tony |
Harding |
Single Image |
|
Victor |
Hawk |
Single Image |
|
Jane |
Howie |
Single Image |
|
Jane |
Howie |
Single Image |
|
Todd |
Kennedy |
Single Image |
|
Todd |
Kennedy |
Single Image |
|
Todd |
Kennedy |
Single Image |
|
Tracy |
Lees |
Single Image |
|
Martin |
Leitch |
Single Image |
|
Henry |
Lewis |
Single Image |
|
Sandy |
Mahon |
Single Image |
|
Roza |
Marciniak |
Series of 4 images |
|
Charles |
McKean |
Single Image |
|
Anne |
O'Connor |
Series of 4 images |
|
Anne |
O'Connor |
Single Image |
|
Anne |
O'Connor |
Single Image |
|
Anne |
Pappalardo |
Single Image |
|
Judy |
Parker |
Single Image |
|
Jill |
Pontague |
Single Image |
|
Glenn |
Porter |
Series of 4 images |
|
Heather |
Prince |
Single Image |
|
Leanne |
Robson |
Single Image |
|
Leanne |
Robson |
Single Image |
|
Ian |
Skinner |
Single Image |
|
Greg |
Tate |
Single Image |
|
Ian |
Terry |
Single Image |
|
Ian |
Terry |
Single Image |
|
Michelle |
Thompson |
Single Image |
|
Rhonda |
Thwaite |
Single Image |
|
Clare |
Weeks |
Single Image |
2021
 |
|
Ashscapes by Ian Skinner
Ian is the second Canberran to win the MCPP following Judy Parker’s win in 2020. He is a member of the Australian Photographic Society and its Contemporary Group. He was also a finalist in 2020. His concept statement for Ashscapes reads: “The catastrophic fires in Southeastern Australia in 2019-2020 were shortly followed by torrential rain. The rivers and creeks disgorged vast quantities of debris from the conflagration into the ocean so that the waves turned grey with ash,and convulsed with charred remnants. Where the gentler waves reached their zenith on the beaches, small flecks of carbonised vegetation rested in ephemeral patterns suggesting the hills, ridges and valleys of their living selves.”Ian Terry of Hobart received the Emergent Designs Award (a $500 voucher) for his work entitled Night on the Tier. He was also a finalist in 2020 and is also a member of the Australian Photographic Society and its Contemporary Group. His concept statement for Night on the Tier reads: ‘This image is part of an ongoing project responding to the journeys of George Augustus Robinson who, assisted by palawa (Indigenous Tasmanian) guides, walked through Van Diemen’s Land in the 1830s to persuade palawa still on Country to give up their resistance to the European invasion of their island. In following Robinson with his journal in hand I am seeking to connect the historical with the contemporary, to make sense of my existence in this island of dreams which was stolen violently from its first people. This fractured landscape is where Robinson spent his first night on one conciliation expedition’ |
 |
|
Night on the Tier by Ian Terry
Ian Terry of Hobart received the Emergent Designs Award (a $500 voucher) for his work entitled Night on the Tier. He was also a finalist in 2020 and is also a member of the Australian Photographic Society and its Contemporary Group. His concept statement for Night on the Tier reads: ‘This image is part of an ongoing project responding to the journeys of George Augustus Robinson who, assisted by palawa (Indigenous Tasmanian) guides, walked through Van Diemen’s Land in the 1830s to persuade palawa still on Country to give up their resistance to the European invasion of their island. In following Robinson with his journal in hand I am seeking to connect the historical with the contemporary, to make sense of my existence in this island of dreams which was stolen violently from its first people. This fractured landscape is where Robinson spent his first night on one conciliation expedition’. |
|
|
|
A New Place to Stay by Anne Pappalardo
Anne Pappalardo of Brisbane received the Momento Pro Award (a $250 voucher) for her work entitled A New Place to Stay: Anne is also a member of the Australian Photographic Society and its Contemporary Group. She was also a prize winner in 2019. Her concept statement for A New Place to Stay reads: “For 50 years, mum and dad had Christmas holidays at the Tallebudgera Caravan Park on the Gold Coast, Queensland. This place was where our most cherished family memories were made. Age meant they reluctantly but bravely sold their vintage caravan and booked a spectacular high-rise beachfront apartment nearby at Burleigh, with high hopes for this journey toward a new tradition. It rained torrentially and constantly for their two-week stay, and I took these images to reflect the gloom of our spirits and my parents’ remorse at the disappointing beginning to this ‘fabulous’ new holiday ritual.” |
In 2009, Barbara Mullins provided the APS with a bequest in memory of her husband, the late Doug Mullins, President of the Society 1964-1966. This bequest was part of the proceeds from the sale of Mullins Gallery, the former headquarters of the South Australian Photographic Federation of which Doug was Patron.
At that time the bequest was intended to support the regular publication of an APS book of members’ work. In 2011 the first edition of APS Gallery was published. In 2012, the APS celebrated its 50th anniversary and a second book was published. No further books have been created and the balance of the bequest has since grown through interest earned.
Seeking to ensure the long-term future of its new Australian Conceptual Photography Prize introduced in 2019, the Society approached the Mullins family with a proposal that would satisfy the intent of honouring both Doug’s and Barbara’s significant contributions to the APS. There was much synergy in the proposal with the style of Doug’s exhibition photography in the Prize, and in Doug and Barbara’s generous support of the arts and the Art Gallery of SA.
In early December 2019, approval was received to apply the balance of the bequest funds to the Prize. The Society has, therefore, retitled the prize as the Mullins Conceptual Photography prize (MCPP) and it will be a permanent reminder of Barbara and Doug Mullins.
PO BOX 79
