tag:theconversation.com,2011:/au/topics/archibald-prize-2696/articles
Archibald prize – The Conversation
2023-05-05T08:10:37Z
tag:theconversation.com,2011:article/204262
2023-05-05T08:10:37Z
2023-05-05T08:10:37Z
As Julia Gutman’s maverick collage wins the Archibald prize, the award is truly in the hands of a new generation
<figure><img src="https://images.theconversation.com/files/524567/original/file-20230505-16043-mxnr1y.jpg?ixlib=rb-1.1.0&rect=0%2C5%2C4000%2C3676&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Winner Archibald Prize 2023, Julia Gutman, Head in the sky, feet on the ground, oil, found textiles and embroidery on canvas, 198 x 213.6 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter
</span> </figcaption></figure><p>Julia Gutman’s Archibald-winning portrait of the singer Montaigne and Zaachariaha Fielding’s winning entry, Inma, in the Wynne Prize have more in common than their youth – although it is worth noting they both represent a new generation of artists, a changing of the guard at the Art Gallery of NSW’s annual series of art prizes. </p>
<p>These works – with Montaigne as the sitter and Fielding as the painter – capture the culture of music and performance that is at the cutting edge of their generation.</p>
<p>Montaigne, the performing name of singer Jessica Cerro, is a longtime friend of Gutman. Both share an intellectual rigour and a highly personalised approach to their art. </p>
<p>It is fair to say that, until recently, Gutman’s portrait would probably not have been hung, let alone won, the Archibald Prize. </p>
<p>For most of the last century or so, entries were dominated by portraits accurately described as “pale, male and stale”. </p>
<p>The change from men in suits to women in jeans, from academic portraits in oils to a maverick collage, can be charted in the Australian Cultural Data Engine’s handy <a href="https://acd-engine.github.io/archies-analytics/Archies.html#prize-money">Archibald Prize</a> database, which shows the many changes over the years, from the nature of the sitters, the age and genders of the winners, increases of the prize money and even the palette used by the artists. </p>
<p>As J. F. Archibald’s will stipulated that the judges must be Trustees of the Art Gallery of NSW, it also shows the impact of particular trustees on deciding the winners.</p>
<p>When the President of Trustees David Gonski announced this year’s winners, he made a point of noting that particular consideration had been given to the views of the two artist trustees, Tony Albert and Caroline Rothwell. However, as the voting was unanimous, the trustees as a whole have endorsed this expansion of definitions of what a painting may be.</p>
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<p>
<em>
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Read more:
<a href="https://theconversation.com/i-think-archie-would-be-pleased-100-years-of-our-most-famous-portrait-prize-and-my-almost-50-years-watching-it-evolve-161575">'I think Archie would be pleased': 100 years of our most famous portrait prize and my almost 50 years watching it evolve</a>
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<h2>Self-contained and vulnerable</h2>
<p>The portrait of Montaigne, Head in the sky, feet on the ground, consciously quotes Egon Schiele’s <a href="https://en.wikipedia.org/wiki/Seated_Woman_with_Bent_Knees">Seated Woman with Bent Knees</a>, a deliberately awkward, edgy composition by the Austrian artist. </p>
<p>The pose shows the artist as both self-contained and vulnerable, hugging one knee to her body, her feet bare and open. </p>
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<a href="https://images.theconversation.com/files/524567/original/file-20230505-16043-mxnr1y.jpg?ixlib=rb-1.1.0&rect=0%2C5%2C4000%2C3676&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/524567/original/file-20230505-16043-mxnr1y.jpg?ixlib=rb-1.1.0&rect=0%2C5%2C4000%2C3676&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/524567/original/file-20230505-16043-mxnr1y.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=554&fit=crop&dpr=1 600w, https://images.theconversation.com/files/524567/original/file-20230505-16043-mxnr1y.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=554&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/524567/original/file-20230505-16043-mxnr1y.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=554&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/524567/original/file-20230505-16043-mxnr1y.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=696&fit=crop&dpr=1 754w, https://images.theconversation.com/files/524567/original/file-20230505-16043-mxnr1y.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=696&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/524567/original/file-20230505-16043-mxnr1y.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=696&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Winner Archibald Prize 2023, Julia Gutman, Head in the sky, feet on the ground, oil, found textiles and embroidery on canvas, 198 x 213.6 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
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<p>Gutman works in a combination of collage and paint, using materials either found or donated, roughly stitching the pieces of cloth together, happily revealing in the process. The modulated tones of the feet come from a combination of hessian and patches of gold cloth; a rainbow stripe helps define her top, a sleeve comes from the apron Gutman wore while teaching art to small children. </p>
<p>There is a delightful ambiguity in the landscape in which Montaigne is seated. The collage moves into paint, but the paint has been scratched so from a distance it looks as though it, too, is collage. </p>
<p>The painted trickery does not end here. Behind the figure a stitched in translucent panel reveals the struts supporting the painting’s stretcher: simultaneously revealing and concealing.</p>
<p>Including actual paint is a wise move as the Archibald has a history of <a href="https://www.smh.com.au/national/art-case-thrown-out-20060614-gdnr41.html">discontented artists</a> rushing off to the Supreme Court to contest the trustees decisions.</p>
<h2>Painting the music</h2>
<p>I first heard Montaigne’s distinctive soprano voice at a performance at the Giant Dwarf theatre in 2020, just after it was announced she would represent Australia at the Eurovision song contest, only days before the world locked down for COVID – and Eurovision was postponed for a year.</p>
<p>The same world-changing event took Zaachariaha Fielding away from performing music in the duo Electric Fields, to making art in his home country of Mimili in the APY lands in remote South Australia. </p>
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<a href="https://images.theconversation.com/files/524568/original/file-20230505-17-qxlqc9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/524568/original/file-20230505-17-qxlqc9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/524568/original/file-20230505-17-qxlqc9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=390&fit=crop&dpr=1 600w, https://images.theconversation.com/files/524568/original/file-20230505-17-qxlqc9.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=390&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/524568/original/file-20230505-17-qxlqc9.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=390&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/524568/original/file-20230505-17-qxlqc9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=490&fit=crop&dpr=1 754w, https://images.theconversation.com/files/524568/original/file-20230505-17-qxlqc9.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=490&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/524568/original/file-20230505-17-qxlqc9.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=490&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Winner Wynne Prize 2023, Zaachariaha Fielding, Inma, acrylic on linen, 306.2 x 198.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
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<p>Inma, which was awarded the Wynne Prize, is a visual celebration of the music he feels in the song and dance of this place of his childhood. Its limited palette emphasises the linear patterns and the music-like rhythm on the painted surface. </p>
<p>In his acceptance speech, which began with an attempt to have the waiting media throng respond to his song, Fielding paid tribute to the community arts workers of Mimili. He then led them in the song that is described in his gloriously complex and rhythmic painting.</p>
<p>Yet his was not the most surprising speech at the Archibald, Wynne and Sulman Prize announcements. </p>
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<a href="https://images.theconversation.com/files/524569/original/file-20230505-25-axhsvo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/524569/original/file-20230505-25-axhsvo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/524569/original/file-20230505-25-axhsvo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=435&fit=crop&dpr=1 600w, https://images.theconversation.com/files/524569/original/file-20230505-25-axhsvo.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=435&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/524569/original/file-20230505-25-axhsvo.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=435&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/524569/original/file-20230505-25-axhsvo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=547&fit=crop&dpr=1 754w, https://images.theconversation.com/files/524569/original/file-20230505-25-axhsvo.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=547&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/524569/original/file-20230505-25-axhsvo.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=547&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Winner Sulman Prize 2023, Doris Bush Nungarrayi, Mamunya ngalyananyi (Monster coming), acrylic on linen, 198 x 273.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
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<p>That honour goes to Doris Bush Nungarrayi, the senior Luritja artist who was awarded the Sulman Prize for her painting Mamunya ngalyananyi (Monster coming) – a painting showing Mamu, the shapeshifting malevolent spirits that haunt the Anangu. </p>
<p>Her acceptance speech, all in language, was a passionate celebration of her victory, but also a recollection of her mother’s country and the deprivations that she and her people have suffered.</p>
<p>As a new generation wins the Archibald and Wynne Prizes, tradition is reinterpreted in the Sulman.</p>
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Read more:
<a href="https://theconversation.com/from-joyous-celebration-to-the-depths-of-grief-the-new-orthodoxy-of-the-archibald-prize-is-there-is-no-orthodoxy-204261">From joyous celebration to the depths of grief: the new orthodoxy of the Archibald prize is there is no orthodoxy</a>
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<p><em>Correction: this article misstated the name of the Giant Dwarf. This has been corrected.</em></p><img src="https://counter.theconversation.com/content/204262/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn’s research includes the ACD Engine and has received funding from the Australian Research Council. </span></em></p>
This year’s Archibald and Wynne Prize winners show that a new generation of artists have now entered the mainstream.
Joanna Mendelssohn, Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/204261
2023-04-28T02:37:00Z
2023-04-28T02:37:00Z
From joyous celebration to the depths of grief: the new orthodoxy of the Archibald prize is there is no orthodoxy
<figure><img src="https://images.theconversation.com/files/523360/original/file-20230428-16-feaoqj.jpg?ixlib=rb-1.1.0&rect=11%2C11%2C3982%2C2928&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Archibald Prize 2023 finalist, Jill Ansell, Looking east, oil on board and assemblage in found tin, 10.8 x 16.5 cm </span> <span class="attribution"><span class="source">© the artist, image © Art Gallery of New South Wales, Jenni Carter</span></span></figcaption></figure><p>About 50 years ago an unknown artist entered a portrait of the artist Russell Drysdale in the Archibald Prize. They had painted the artist as a craggy head, emerging from the landscape. The gallery trustees, who knew Drysdale well, loved it – but it was never hung. In their collective opinion the Archibald Prize was a serious art competition. Its subject should never be mocked, even with affection.</p>
<p>How times have changed. The current generation of trustees still take the prize seriously, but not only as an exhibition. The prize has evolved to being an annual snapshot of Australia. It shows a selection of the personalities who are valued both by the artists who paint them and the trustees who select the lucky few to be on view (it is worth noting that while 57 works have been hung, 949 were entered). </p>
<p>This year the exhibition reveals a colourful display of a multitude of styles and subjects. The new orthodoxy is that there is no orthodoxy. There is a similar inclusive sensibility on display in the Wynne Prize for landscape painting or figurative sculpture, and the Sulman Prize for best subject painting, genre painting or mural project exhibitions, although these works tend to be overlooked in the annual festival of art.</p>
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<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/i-think-archie-would-be-pleased-100-years-of-our-most-famous-portrait-prize-and-my-almost-50-years-watching-it-evolve-161575">'I think Archie would be pleased': 100 years of our most famous portrait prize and my almost 50 years watching it evolve</a>
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<h2>The trifecta</h2>
<p>Perhaps the work that best encapsulates 2023’s Archibald is Kaylene Whiskey’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/30560/">Cooking my famous Indulkana soup</a>, a joyous celebration of raw ingredients, pop culture and Aboriginal heritage. It rightly hangs in a prominent position, opposite the podium where the final judgement will be announced. </p>
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<a href="https://images.theconversation.com/files/523345/original/file-20230427-28-hy8bzg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/523345/original/file-20230427-28-hy8bzg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/523345/original/file-20230427-28-hy8bzg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=551&fit=crop&dpr=1 600w, https://images.theconversation.com/files/523345/original/file-20230427-28-hy8bzg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=551&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/523345/original/file-20230427-28-hy8bzg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=551&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/523345/original/file-20230427-28-hy8bzg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=692&fit=crop&dpr=1 754w, https://images.theconversation.com/files/523345/original/file-20230427-28-hy8bzg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=692&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/523345/original/file-20230427-28-hy8bzg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=692&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Archibald Prize 2023 finalist, Kaylene Whiskey, Cooking my famous Indulkana soup, acrylic on linen, 152.3 x 122 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
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<p>Whiskey is also exhibiting <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2023/30627/">Come see Kaylene</a> in the Sulman Prize, a reworked Northern Territory tourism poster from the days when TAA flew “the friendly way”. Those who have come to see her include good friends Wonder Woman and Dolly Parton. </p>
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<a href="https://images.theconversation.com/files/523353/original/file-20230427-223-yfo67o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/523353/original/file-20230427-223-yfo67o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/523353/original/file-20230427-223-yfo67o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=966&fit=crop&dpr=1 600w, https://images.theconversation.com/files/523353/original/file-20230427-223-yfo67o.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=966&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/523353/original/file-20230427-223-yfo67o.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=966&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/523353/original/file-20230427-223-yfo67o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1214&fit=crop&dpr=1 754w, https://images.theconversation.com/files/523353/original/file-20230427-223-yfo67o.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1214&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/523353/original/file-20230427-223-yfo67o.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1214&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Sulman Prize 2023 finalist, Kaylene Whiskey, Come see Kaylene, acrylic on found poster, 96 x 59 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
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<p>Jason Phu has managed the trifecta this year, with entries hung in all three competitions. His Archibald portrait of William Yang, <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/30545/">cameras are the best, cameras are the worst</a>, implies Yang’s trademark low-key inscrutability. </p>
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<span class="caption">Archibald Prize 2023 finalist, Jason Phu, cameras are the best, cameras are the worst, acrylic on canvas, 153 x 137 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
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<p>In all three of Phu’s paintings thin paint runs down the surface, making it look as though we are seeing the images through wet glass. </p>
<p>This is most disconcerting in his Wynne entry, <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2023/30595/">EVERYTHING STINKS UNDER A STINKING HOT SUN, EVERYTHING GROWS UNDER A SEXY SEXY SUMMER SUN (after a pile of dead rats on a lovely flower bed in the rocks)</a>, based on memories of an incident when he was a “dish pig” in a tourist restaurant in The Rocks.</p>
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<a href="https://images.theconversation.com/files/523350/original/file-20230427-16-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/523350/original/file-20230427-16-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/523350/original/file-20230427-16-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=643&fit=crop&dpr=1 600w, https://images.theconversation.com/files/523350/original/file-20230427-16-kdf4gf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=643&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/523350/original/file-20230427-16-kdf4gf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=643&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/523350/original/file-20230427-16-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=808&fit=crop&dpr=1 754w, https://images.theconversation.com/files/523350/original/file-20230427-16-kdf4gf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=808&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/523350/original/file-20230427-16-kdf4gf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=808&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Wynne Prize 2023 finalist, Jason Phu EVERYTHING STINKS UNDER A STINKING HOT SUN, EVERYTHING GROWS UNDER A SEXY SEXY SUMMER SUN (after a pile of dead rats on a lovely flower bed in the rocks), acrylic on canvas, 213.5 x 198.3 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
</figcaption>
</figure>
<p>I suspect the Trustees will find it hard to judge this year’s Wynne as there are many very strong entries, including sculptures. </p>
<p>Billy Bain’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2023/30567/">Blak Excellence</a> is a light-hearted collection of five Aboriginal sports people, all of whom are both stars in their field, all of whom have helped change some negative stereotypes some would impose on Aboriginal Australians. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/523351/original/file-20230427-22-f3azca.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/523351/original/file-20230427-22-f3azca.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/523351/original/file-20230427-22-f3azca.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=263&fit=crop&dpr=1 600w, https://images.theconversation.com/files/523351/original/file-20230427-22-f3azca.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=263&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/523351/original/file-20230427-22-f3azca.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=263&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/523351/original/file-20230427-22-f3azca.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=331&fit=crop&dpr=1 754w, https://images.theconversation.com/files/523351/original/file-20230427-22-f3azca.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=331&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/523351/original/file-20230427-22-f3azca.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=331&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Wynne Prize 2023 finalist, Billy Bain, Blak excellence, ceramic with underglaze, glaze and enamel, dimensions variable © the artist, photo © Art Gallery of New South Wales, Jenni Carter.</span>
</figcaption>
</figure>
<p>Probably the most beautiful of the sculptural entries is Pippin Drysdale’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2023/30576/">Wolfe Creek Crater Installation</a>, consisting of 17 individual porcelain pieces. However the most memorable is James Powditch’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2023/30596/">The Wynne Club Championship</a>, a mock honour board for the previous winners of the grand old prize.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/523352/original/file-20230427-24-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/523352/original/file-20230427-24-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/523352/original/file-20230427-24-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=355&fit=crop&dpr=1 600w, https://images.theconversation.com/files/523352/original/file-20230427-24-kdf4gf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=355&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/523352/original/file-20230427-24-kdf4gf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=355&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/523352/original/file-20230427-24-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=446&fit=crop&dpr=1 754w, https://images.theconversation.com/files/523352/original/file-20230427-24-kdf4gf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=446&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/523352/original/file-20230427-24-kdf4gf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=446&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Wynne Prize 2023 finalist, James Powditch, The Wynne Club Championship, oil, acrylic and pen on board, found objects, 180 x 316 cm © the artist, photo © Art Gallery of New South Wales, Jenni Carter.</span>
</figcaption>
</figure>
<h2>Life is short, art is long</h2>
<p>But the Archibald remains the main game. </p>
<p>When trying to assess this year’s exhibition I keep on thinking of Sydney’s Royal Easter Show. It is enormously popular with the general public for it sideshows and baby animals, magnificent displays of agricultural produce, fairy floss and CWA scones. But at its heart there is the very serious purpose of competition – from fine wool sheep and beef cattle to dogs and poultry. The day trippers enjoy the spectacle but the competitors mean business. And so it is with the Archibald. </p>
<p>When the packing room judges gave the amuse bouche of the Packing Room Prize to Andrea Huelin, they set a high bar for those judging the main event. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/523347/original/file-20230427-22-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/523347/original/file-20230427-22-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/523347/original/file-20230427-22-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=602&fit=crop&dpr=1 600w, https://images.theconversation.com/files/523347/original/file-20230427-22-kdf4gf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=602&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/523347/original/file-20230427-22-kdf4gf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=602&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/523347/original/file-20230427-22-kdf4gf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=756&fit=crop&dpr=1 754w, https://images.theconversation.com/files/523347/original/file-20230427-22-kdf4gf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=756&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/523347/original/file-20230427-22-kdf4gf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=756&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Packing Room Prize 2023 winner, Andrea Huelin, Clown jewels, oil on board, 120.2 x 120.1 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
</figcaption>
</figure>
<p>In the past it would be fair to describe the gallery’s packing crew as “good old boys”: the early winners were, more often than not, paintings otherwise destined for the reject pile. </p>
<p>This year’s winning portrait, <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/30536/">Clown Jewels</a>, is a credible finalist. It sits well with academic portraits by <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/30555/">Judith Sinnamon</a>, <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/30532/">Tsering Hannaford</a> and <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/30509/">Marie Mansfield</a>. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/523354/original/file-20230427-18-17qtn6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/523354/original/file-20230427-18-17qtn6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/523354/original/file-20230427-18-17qtn6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=805&fit=crop&dpr=1 600w, https://images.theconversation.com/files/523354/original/file-20230427-18-17qtn6.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=805&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/523354/original/file-20230427-18-17qtn6.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=805&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/523354/original/file-20230427-18-17qtn6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1012&fit=crop&dpr=1 754w, https://images.theconversation.com/files/523354/original/file-20230427-18-17qtn6.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1012&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/523354/original/file-20230427-18-17qtn6.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1012&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2023 finalist, Emily Crockford, Jeff’s pink daisy eyelash clash, acrylic on canvas, 101.7 x 76.7 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
</figcaption>
</figure>
<p>The exhibition is enlivened by Ryan Presley’s whimsical but tough <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/30547/">Blood money – infinite dollar note – Aunty Regina Pilawuk Wilson</a>, the sheer energy of Emily Crockford’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/30524/">Jeff’s pink daisy eyelash clash</a> and Abdul Abdullah’s playful <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/30513/">Self-portrait after MD 2</a>.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/523348/original/file-20230427-14-27pgvp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/523348/original/file-20230427-14-27pgvp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/523348/original/file-20230427-14-27pgvp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=478&fit=crop&dpr=1 600w, https://images.theconversation.com/files/523348/original/file-20230427-14-27pgvp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=478&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/523348/original/file-20230427-14-27pgvp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=478&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/523348/original/file-20230427-14-27pgvp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=601&fit=crop&dpr=1 754w, https://images.theconversation.com/files/523348/original/file-20230427-14-27pgvp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=601&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/523348/original/file-20230427-14-27pgvp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=601&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2023 finalist, Abdul Abdullah, Self-portrait after MD 2, oil on linen, 40.7 x 51.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
</figcaption>
</figure>
<p>But the painting that haunts me, that I cannot forget, is Danie Mellor’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/30541/">A portrait of intimacy</a>. The subject is Gene Sherman, whose husband Brian died less than a year ago. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/523349/original/file-20230427-24-w4jxre.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/523349/original/file-20230427-24-w4jxre.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/523349/original/file-20230427-24-w4jxre.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=926&fit=crop&dpr=1 600w, https://images.theconversation.com/files/523349/original/file-20230427-24-w4jxre.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=926&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/523349/original/file-20230427-24-w4jxre.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=926&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/523349/original/file-20230427-24-w4jxre.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1164&fit=crop&dpr=1 754w, https://images.theconversation.com/files/523349/original/file-20230427-24-w4jxre.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1164&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/523349/original/file-20230427-24-w4jxre.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1164&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2023 finalist, Danie Mellor, A portrait of intimacy, acrylic on board with gesso and iridescent wash, 93 x 60 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span>
</figcaption>
</figure>
<p>She sits in profile, her face controlled in grief, staring ahead, focusing on infinity, eyes protected by her tinted glasses, hands gripping the arm of the chair. Sherman’s pose echoes a translucent background image of Alesso Baldovinetti’s <a href="https://en.wikipedia.org/wiki/Portrait_of_a_Lady_in_Yellow">Portrait of a Lady in Yellow</a>. </p>
<p>Life is short, art is long, and will outlive us all.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/judging-the-archibald-the-rules-of-the-game-6159">Judging the Archibald: the rules of the game</a>
</strong>
</em>
</p>
<hr>
<img src="https://counter.theconversation.com/content/204261/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has in the past received funding from the Australian Research Council</span></em></p>
The Archibald Prize and the Royal Easter Show have a great deal in common. Both are enjoyed by the general public, but the entrants in the competitions are very serious about winning.
Joanna Mendelssohn, Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/203677
2023-04-13T04:57:22Z
2023-04-13T04:57:22Z
From radical to reactionary: the achievements and legacy of the influential artist John Olsen
<figure><img src="https://images.theconversation.com/files/520668/original/file-20230413-22-xqt8zb.jpg?ixlib=rb-1.1.0&rect=68%2C2%2C1928%2C994&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">
</span> <span class="attribution"><span class="source">State Library NSW</span></span></figcaption></figure><p>After media outlets breathlessly described the late John Olsen as a “<a href="https://fb.watch/jSdCoR-2GN/">genius</a>”, I found myself humming The Chasers’ <a href="https://www.youtube.com/watch?v=dXHleozgQ18">Eulogy Song</a>. </p>
<p>This is perhaps a bit unfair, but the hyperbole surrounding Olsen’s death seems to have crowded out any assessment of his real and lasting achievements as an artist. There is a danger here. </p>
<p>Hyperbole invites a reaction, which is not always kind. It is still hard to have a dispassionate discussion on the merits (and otherwise) of <a href="https://www.smh.com.au/national/nsw/from-the-archives-1969-norman-lindsay-dies-20191112-p539sa.html">Norman Lindsay</a>, an artist often called a genius in his lifetime.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/520669/original/file-20230413-2318-1i8t9k.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/520669/original/file-20230413-2318-1i8t9k.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/520669/original/file-20230413-2318-1i8t9k.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=897&fit=crop&dpr=1 600w, https://images.theconversation.com/files/520669/original/file-20230413-2318-1i8t9k.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=897&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/520669/original/file-20230413-2318-1i8t9k.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=897&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/520669/original/file-20230413-2318-1i8t9k.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1128&fit=crop&dpr=1 754w, https://images.theconversation.com/files/520669/original/file-20230413-2318-1i8t9k.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1128&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/520669/original/file-20230413-2318-1i8t9k.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1128&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Portrait of John Olsen painting Love in the kitchen (now in a private collection) at Dunmoochin, Victoria in 1969, by Robert Walker © Estate of Robert Walker.</span>
<span class="attribution"><span class="source">Art Gallery of New South Wales Archive</span></span>
</figcaption>
</figure>
<h2>John Olsen and Australian art</h2>
<p>To understand Olsen, and his importance to Australian art, it is important to give some context. He emerged from that generation of Australians whose childhood was coloured by the deprivations of the second world war, and whose adolescent experience was of an expanding, changing Australia. </p>
<p>War meant that he finished school as a boarder at St Josephs Hunters Hill, while his father fought in the Middle East and New Guinea and his mother and sister moved to Yass in rural New South Wales.</p>
<p>His ability to draw meant that he escaped the tedium of a clerical job by becoming a freelance cartoonist while moving between a number of different art schools, including Julian Ashtons, Dattilo Rubio, East Sydney Tech and <a href="https://adb.anu.edu.au/biography/orban-desiderius-dezso-14658">Desiderius Orban</a>’s studio. As with other young artists of his generation, he was especially influenced by the experimental approach and intellectual rigour of <a href="https://adb.anu.edu.au/biography/passmore-john-richard-15023">John Passmore</a>.</p>
<p>He found visual stimulation in <a href="https://www.carlplate.com/">Carl Plate</a>’s Notanda Gallery in Rowe Street, a rare source of information on modern art at the time. Rowe Street was the creative hub for many artists, writers and serious drinkers who later became known as “The Push”. The informal exposure to new ideas on art, literature, food, wine and great conversation was more effective than a university. He learned about Kandinsky, Klee, the beauty of a wandering line, the poetry of Dylan Thomas and T.S. Eliot.</p>
<p>Olsen’s first media exposure was as the spokesman for art students protesting at the rigid conservatism of the trustees judging the <a href="https://trove.nla.gov.au/newspaper/article/18514782?searchTerm=John%20Olsen%20art%20student%20National%20Art%20Gallery">Archibald Prize</a>. There were no complaints about the Wynne Prize, which had exhibited his work.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/520670/original/file-20230413-303-tp3jz4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/520670/original/file-20230413-303-tp3jz4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/520670/original/file-20230413-303-tp3jz4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=448&fit=crop&dpr=1 600w, https://images.theconversation.com/files/520670/original/file-20230413-303-tp3jz4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=448&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/520670/original/file-20230413-303-tp3jz4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=448&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/520670/original/file-20230413-303-tp3jz4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=562&fit=crop&dpr=1 754w, https://images.theconversation.com/files/520670/original/file-20230413-303-tp3jz4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=562&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/520670/original/file-20230413-303-tp3jz4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=562&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">John Olsen. A road to Clarendon - autumn. Winner of the Wynne Prize 1985.</span>
<span class="attribution"><span class="source">Art Gallery of NSW</span></span>
</figcaption>
</figure>
<h2>The ‘first’ Australian exhibition of Abstract Expressionism</h2>
<p>The friendship between Olsen and fellow artists William Rose, Robert Klippel, Eric Smith and their mentor John Passmore, led to the exhibition <a href="https://www.artgallery.nsw.gov.au/collection/works/ARC409.1.147/">Direction 1</a> in December 1956. </p>
<p>An art critic’s over enthusiasm led to it being proclaimed as the first Australian exhibition of Abstract Expressionism, and its artists as pioneers of modern art. As a consequence, Robert Shaw, a private collector, paid for Olsen to travel and study in Europe. This was a transformational gift, coming at a time before Australia Council Grants, when travel was expensive.</p>
<p>He travelled first to Paris, then Spain where he based himself in Majorca and supported himself by working as an apprentice chef. The fluid approach to learning he had acquired in Sydney was enhanced in Spain. He saw, and appreciated the <a href="https://www.tate.org.uk/art/art-terms/t/tachisme">Tachiste</a> artists, but took his own path, remembering always Paul Klee’s dictum that a drawing is “taking a line for a walk”.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/520671/original/file-20230413-26-pxkw7f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/520671/original/file-20230413-26-pxkw7f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/520671/original/file-20230413-26-pxkw7f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=299&fit=crop&dpr=1 600w, https://images.theconversation.com/files/520671/original/file-20230413-26-pxkw7f.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=299&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/520671/original/file-20230413-26-pxkw7f.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=299&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/520671/original/file-20230413-26-pxkw7f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=376&fit=crop&dpr=1 754w, https://images.theconversation.com/files/520671/original/file-20230413-26-pxkw7f.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=376&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/520671/original/file-20230413-26-pxkw7f.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=376&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">John Olsen. Australia, England, Spain, Portugal. 1960.</span>
<span class="attribution"><span class="source">Art Gallery of NSW</span></span>
</figcaption>
</figure>
<p>That Spanish experience was distilled in the exuberant works he painted after his return to Sydney in 1960. <a href="https://www.artgallery.nsw.gov.au/collection/works/OA29.1960.a-c/">Spanish Encounter</a> paid tribute to the impact of this culture that continued to intrigue him, its energy and its apparent irrationality. </p>
<p>But he also found himself enjoying the “honest vulgarity” he found in the Australian ethos, leading to a series of paintings which incorporated the words <a href="https://www.ngv.vic.gov.au/explore/collection/work/6124/">you beaut country</a> in their title. Olsen’s confident paintings of the 1960s easily place him as the most influential Australian artist of that decade. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/520674/original/file-20230413-2227-utej5l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/520674/original/file-20230413-2227-utej5l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/520674/original/file-20230413-2227-utej5l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=548&fit=crop&dpr=1 600w, https://images.theconversation.com/files/520674/original/file-20230413-2227-utej5l.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=548&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/520674/original/file-20230413-2227-utej5l.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=548&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/520674/original/file-20230413-2227-utej5l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=689&fit=crop&dpr=1 754w, https://images.theconversation.com/files/520674/original/file-20230413-2227-utej5l.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=689&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/520674/original/file-20230413-2227-utej5l.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=689&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">John Olsen. Summer in the you beaut country. 1962.</span>
<span class="attribution"><span class="source">National Gallery Victoris</span></span>
</figcaption>
</figure>
<h2>Five Bells and landscape</h2>
<p>In 1972, Olsen was commissioned to paint a giant mural for the foyer of the concert hall at the Sydney Opera House. <a href="https://www.abc.net.au/radionational/archived/booksandarts/my-salute-to-five-bells:-john-olsen/6721222">Salute to Five Bells</a> takes its name from Kenneth Slessor’s poem of death on the Harbour, but is more about elements of subterranean harbour life. </p>
<p>The heroic scale of the work meant that he worked with a number of assistants to paint the dominant blue ground. When the mural was unveiled in 1973, it received a <a href="https://www.abc.net.au/radionational/archived/booksandarts/my-salute-to-five-bells:-john-olsen/6721222">mixed response</a>. It was too muted in tone to cope with the Opera House lighting, too sparse in content, too decorative.</p>
<p>In the following years, Olsen turned towards painting the Australian landscape and the creatures that inhabited it. In 1974, he visited Lake Eyre as the once dry giant salt lake flooded to fill with abundant life. He made paintings, drawings and prints of the abundance – both intimate views and overviews from flying over. Lake Eyre and its environs was to be a recurring motif in the art of his later years.</p>
<p>While these works were commercially successful, and many were acquired by public galleries, Olsen was no longer seen as being in the avant garde. He was, however, very much a part of the art establishment and his art was widely collected.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/520677/original/file-20230413-2532-3zn38v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/520677/original/file-20230413-2532-3zn38v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/520677/original/file-20230413-2532-3zn38v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=583&fit=crop&dpr=1 600w, https://images.theconversation.com/files/520677/original/file-20230413-2532-3zn38v.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=583&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/520677/original/file-20230413-2532-3zn38v.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=583&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/520677/original/file-20230413-2532-3zn38v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=732&fit=crop&dpr=1 754w, https://images.theconversation.com/files/520677/original/file-20230413-2532-3zn38v.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=732&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/520677/original/file-20230413-2532-3zn38v.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=732&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">John Olsen. Five bells. 1963.</span>
<span class="attribution"><span class="source">Art Gallery NSW</span></span>
</figcaption>
</figure>
<h2>A man of his generation</h2>
<p>The aerial perspective of many of his later decorative paintings could seem to have echoes of Aboriginal art. Indeed, when the young <a href="https://abdulabdullah.com/home.html">Abdul Abdullah</a> first saw Olsen’s paintings in 2009 he at first assumed Olsen was an Aboriginal artist. </p>
<p>It was therefore a surprise to many when in 2017 Olsen mounted a <a href="https://www.smh.com.au/entertainment/art-and-design/john-olsen-says-archibald-prize-win-is-the-worst-decision-ive-ever-seen-20170728-gxl4ze.html">trenchant attack</a> on the Wynne Prize after it was awarded to Betty Kunitiwa Pumani for Antara, a painting of her mother’s country.</p>
<p>Despite some visual similarities to his own approach to landscape he claimed her painting existed in “a cloud cuckoo land”. In the same interview, he attacked Mitch Cairns’ Archibald-winning portrait of his wife, Agatha Gothe-Snape, as “just so bad”. </p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/from-gum-trees-to-cities-to-sweeping-deserts-how-125-years-of-the-wynne-prize-traces-australias-shifting-relationship-to-our-landscape-179764">From gum trees to cities to sweeping deserts: how 125 years of the Wynne Prize traces Australia's shifting relationship to our landscape</a>
</strong>
</em>
</p>
<hr>
<p>While it is not unusual for the radical young to become enthusiastic reactionaries in prosperous old age, there was a particular lack of grace in Olsen’s response to artists who were not a part of his social circle or cultural background. He was in this very much a man of his generation, with attitudes and prejudices that reflect the years of his youth. </p>
<p>Looking at Olsen’s paintings of the 1950s and ‘60s is a reminder that there was a time in Australia when brash young men could prove their intellectual credentials by quoting Dylan Thomas while making a glorious multi-coloured paella in paint.</p><img src="https://counter.theconversation.com/content/203677/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has in the past received funding from the Australian Research Council</span></em></p>
Some of the media response to the death of John Olsen has been to proclaim the late artist as a ‘genius’. He was more complex than that.
Joanna Mendelssohn, Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/179771
2022-05-13T05:37:58Z
2022-05-13T05:37:58Z
‘I can’t think of a more timely painting’: Blak Douglas’s Moby Dickens is a deserving winner of the 2022 Archibald Prize
<figure><img src="https://images.theconversation.com/files/462944/original/file-20220513-14-jejm0o.jpg?ixlib=rb-1.1.0&rect=21%2C10%2C2371%2C3631&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Winner Archibald Prize 2022, Blak Douglas Moby Dickens, synthetic polymer paint on linen, 300 x 200 cm </span> <span class="attribution"><span class="source">© the artist, image © AGNSW, Mim Stirling</span></span></figcaption></figure><p>In 2020, the year Vincent Namatjira was awarded the Archibald for his <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2020/30235/">double portrait with Adam Goodes</a>, I was also impressed by the painting hanging next to it, Blak Douglas’ (aka Adam Hill) <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2020/30215/">Writing in the Sand</a>. It was both passionately political and visually very clever, incorporating the speech that the 12-year-old Dujuan Hoosan gave to the United Nations. </p>
<p>One of the many unwritten rules of the Archibald is that the winner is often an artist who has exhibited an outstanding (non-winning) work in previous years. </p>
<p>But this year, Blak Douglas’s winning portrait is the standout entry, head and shoulders above the rest. </p>
<p>It is not just the subject that makes it significant and topical, although that helps. Karla Dickens, a Wiradjuri woman, lives in Bundjalung Country in northern New South Wales. </p>
<p>When the prize was announced, Dickens described herself as “a grumpy white sperm whale in muddy water ready to rip the leg off any fool with a harpoon who comes too close”. </p>
<p>The people of Lismore and surrounding districts have every reason to be enraged at the politicians who come with platitudes instead of help. The people are left to wade through muddy waters with leaky buckets. Dickens herself harboured three homeless families in the immediate aftermath of the floods.</p>
<p>Douglas has painted Dickens standing under a dark grey sky patterned with 14 stylised clouds, symbolising the 14 days of continuous rain that brought the floods. </p>
<p>Douglas’s style owes a great deal to commercial art. The subject is outlined in black for emphasis, even the mud forms a pattern. Dickens stands full frontal, scowling at the viewer, uncompromising in her anger at the folly that has led to this mass destruction. Her feet are concealed by mud, the kind of sludge that still fills and stinks the houses as people try to survive. </p>
<p>I can’t think of a more timely painting, as it so effectively encapsulates the current mood of the country.</p>
<p>In his acceptance speech, Blak Douglas noted he has spent “20 years of taking a risk” before he stood on the winners podium with a prize of $100,000. He reminded the gathering of media and patrons that, especially in recent years, the lives of artists are both hard and uncertain. Not all are winners.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/the-archibald-2022-finalists-sitters-speaking-up-to-power-artists-speaking-back-to-the-canon-179770">The Archibald 2022 finalists: sitters speaking up to power; artists speaking back to the canon</a>
</strong>
</em>
</p>
<hr>
<h2>The Wynne Prize</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/462945/original/file-20220513-3750-onvo9u.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/462945/original/file-20220513-3750-onvo9u.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/462945/original/file-20220513-3750-onvo9u.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=314&fit=crop&dpr=1 600w, https://images.theconversation.com/files/462945/original/file-20220513-3750-onvo9u.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=314&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/462945/original/file-20220513-3750-onvo9u.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=314&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/462945/original/file-20220513-3750-onvo9u.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=395&fit=crop&dpr=1 754w, https://images.theconversation.com/files/462945/original/file-20220513-3750-onvo9u.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=395&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/462945/original/file-20220513-3750-onvo9u.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=395&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Winner Wynne Prize 2022, Nicholas Harding Eora, oil on linen, 196.5 x 374.8 cm.</span>
<span class="attribution"><span class="source">© the artist, image © AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>Nicholas Harding, who has been awarded the Wynne Prize is not an Indigenous artist, but his painting, Eora, also references Australia’s Aboriginal heritage. </p>
<p>The subject is based on the Narrabeen Lakes walk, north of Sydney. It is one of the largest works exhibited. Harding’s characteristic <a href="https://en.wikipedia.org/wiki/Impasto">impastoed</a> surface evokes the lush vegetation of the land before the colonists came to fell the trees and kill the ferns.</p>
<p>Interestingly the painting was not painted for the prize but as a commission for two private collectors who are long-term admirers. Harding is a nine time finalist in the Wynne, and says the decision to enter was “a last minute thing”. </p>
<p>His hesitation is understandable as every year, even being hung can be a bit of a lottery.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/from-gum-trees-to-cities-to-sweeping-deserts-how-125-years-of-the-wynne-prize-traces-australias-shifting-relationship-to-our-landscape-179764">From gum trees to cities to sweeping deserts: how 125 years of the Wynne Prize traces Australia's shifting relationship to our landscape</a>
</strong>
</em>
</p>
<hr>
<h2>The Sulman Prize</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/462946/original/file-20220513-3750-cfaigb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/462946/original/file-20220513-3750-cfaigb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/462946/original/file-20220513-3750-cfaigb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=797&fit=crop&dpr=1 600w, https://images.theconversation.com/files/462946/original/file-20220513-3750-cfaigb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=797&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/462946/original/file-20220513-3750-cfaigb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=797&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/462946/original/file-20220513-3750-cfaigb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1001&fit=crop&dpr=1 754w, https://images.theconversation.com/files/462946/original/file-20220513-3750-cfaigb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1001&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/462946/original/file-20220513-3750-cfaigb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1001&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Winner Sulman Prize 2022, Claire Healy and Sean Cordeiro Raiko and Shuten-dōji, acrylic gouache, jute and tape on helicopter shell, 159.5 x 120 cm.</span>
<span class="attribution"><span class="source">© the artist, image © AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>The Archibald and the Wynne are judged by the Trustees of the Art Gallery of NSW. Not so the Sulman Prize, which was established as a bequest of Sir John Sulman – one of the Gallery’s most conservative trustees. The brief is for a “subject or genre painting”, but over the years that distinction has become meaningless. </p>
<p>Because it is judged by a different person every year, its outcome is less predictable. </p>
<p>It is worth noting that this year, 69% of the Sulman entries were by artists who had never before been hung. This is in marked contrast to the Archibald (27%) and Wynne (50%) finalists. </p>
<p>As is common practice this year’s judge, Joan Ross, was a previous winner and is also an Archibald finalist. </p>
<p>The winner is unusually a duo – Claire Healy and Sean Cordeiro – who formed their artistic collaboration when they were undergraduate students. Over the last 20 years they have created installations both large and small, including at the Venice Biennale.</p>
<p>Raiko and Shuten-doji is painted on a piece of an army surplus helicopter, so that the Japanese legend of the warrior Raiko and the demon Shute-doji can be viewed through the lens of military conflict. But then they turn it back into a kite: a playful thing.</p><img src="https://counter.theconversation.com/content/179771/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has received funding from the Australian Research Council</span></em></p>
This year’s winning Archibald Prize portrait, Moby Dickens by Blak Douglas, encapsulates the justifiable rage felt by people living in flooded Bundjalung country
Joanna Mendelssohn, Principal Fellow (Hon), Victorian College of the Arts, University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/179770
2022-05-06T03:46:57Z
2022-05-06T03:46:57Z
The Archibald 2022 finalists: sitters speaking up to power; artists speaking back to the canon
<figure><img src="https://images.theconversation.com/files/461663/original/file-20220505-16-rums20.jpg?ixlib=rb-1.1.0&rect=0%2C14%2C2452%2C3545&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Archibald Prize 2022 finalist, Yoshio Honjo Yumi Stynes as onna-musha (female samurai), natural earth pigments on hand made washi paper, 97 x 66 cm </span> <span class="attribution"><span class="source">© the artist, image © AGNSW, Mim Stirling</span></span></figcaption></figure><p>For those seeking refuge from the election, the 101st Archibald Prize is almost a politician-free zone. Unless you count Joanna Braithwaite’s amusingly titled McManusstan, a portrait of bird lover Sally McManus. Former Labor minister Peter Garrett <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2022/30417/">painted by Anh Do</a> is in the line up – but more accurately described as a rock star.</p>
<p>Braithwaite has painted McManus in a suit that I am guessing she doesn’t own, as it is covered in newspaper stories attacking unions. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/461655/original/file-20220505-21-yozme9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/461655/original/file-20220505-21-yozme9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/461655/original/file-20220505-21-yozme9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=711&fit=crop&dpr=1 600w, https://images.theconversation.com/files/461655/original/file-20220505-21-yozme9.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=711&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/461655/original/file-20220505-21-yozme9.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=711&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/461655/original/file-20220505-21-yozme9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=893&fit=crop&dpr=1 754w, https://images.theconversation.com/files/461655/original/file-20220505-21-yozme9.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=893&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/461655/original/file-20220505-21-yozme9.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=893&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2022 finalist, Joanna Braithwaite, McManusstan, oil on canvas, 197.5 x 167 cm © the artist, image.</span>
<span class="attribution"><span class="source">© AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>This year’s exhibition includes some interesting art as well as people of interest. Both artists and their subjects <a href="https://www.youtube.com/watch?v=Zv7nedTSpAQ">have issues</a> that our elected officials seem unwilling or unable to solve.</p>
<p>As effective as McManus has been in bringing industrial issues to the fore, Laura Tingle – the fourth estate, painted by James Powditch, is probably more influential for the way she speaks truth to power. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/461656/original/file-20220505-1456-aqej6v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/461656/original/file-20220505-1456-aqej6v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/461656/original/file-20220505-1456-aqej6v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=718&fit=crop&dpr=1 600w, https://images.theconversation.com/files/461656/original/file-20220505-1456-aqej6v.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=718&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/461656/original/file-20220505-1456-aqej6v.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=718&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/461656/original/file-20220505-1456-aqej6v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=902&fit=crop&dpr=1 754w, https://images.theconversation.com/files/461656/original/file-20220505-1456-aqej6v.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=902&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/461656/original/file-20220505-1456-aqej6v.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=902&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2022 finalist, James Powditch, Laura Tingle–the fourth estate, acrylic on paper and board, 204 x 170.1 cm.</span>
<span class="attribution"><span class="source">© the artist, image © AGNSW, Jenni Carter</span></span>
</figcaption>
</figure>
<p>Powditch has entered the Archibald many times before and this is by far his most impressive entry so far. Tingle is painted in profile, looking intently at someone we cannot see. </p>
<p>Her face is superimposed over a collage that includes a script from 7.30, a page from her Quarterly Essay, pages from Simeon Potter’s Language in the Modern World and a fragment of a Bach composition. A multicoloured collage of facsimile engravings by Sydney Parkinson tells of her love of gardening. </p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/i-think-archie-would-be-pleased-100-years-of-our-most-famous-portrait-prize-and-my-almost-50-years-watching-it-evolve-161575">'I think Archie would be pleased': 100 years of our most famous portrait prize and my almost 50 years watching it evolve</a>
</strong>
</em>
</p>
<hr>
<h2>Reverent rage</h2>
<p>The painting that dominates the exhibition is Blak Douglas’ Moby Dickens, a portrait of the Wiradjuri artist Karla Dickens. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/461657/original/file-20220505-15-yozme9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/461657/original/file-20220505-15-yozme9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/461657/original/file-20220505-15-yozme9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=912&fit=crop&dpr=1 600w, https://images.theconversation.com/files/461657/original/file-20220505-15-yozme9.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=912&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/461657/original/file-20220505-15-yozme9.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=912&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/461657/original/file-20220505-15-yozme9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1147&fit=crop&dpr=1 754w, https://images.theconversation.com/files/461657/original/file-20220505-15-yozme9.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1147&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/461657/original/file-20220505-15-yozme9.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1147&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2022 finalist, Blak Douglas, Moby Dickens, synthetic polymer paint on linen, 300 x 200 cm.</span>
<span class="attribution"><span class="source">© the artist, image © AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>Dickens lives in Lismore, Bundjalung Country. Her justifiable anger at the way she and many others have been neglected sparks out of her eyes. She is painted holding leaky buckets while standing in brown muddy water. The 14 clouds represent the 14 days it rained in the first February flood, while government failed to act. </p>
<p>The floods are the subject of at least two paintings in the Wynne Prize, but this Archibald entry says it all. Douglas encapsulates the rage of a people betrayed by an absent government.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/like-many-disasters-in-australia-aboriginal-people-are-over-represented-and-under-resourced-in-the-nsw-floods-178420">Like many disasters in Australia, Aboriginal people are over-represented and under-resourced in the NSW floods</a>
</strong>
</em>
</p>
<hr>
<p>The somewhat pained expression on Saul Griffith’s face in Jude Rae’s The big switch – portrait of Dr Saul Griffith, which hangs to the left of Douglas’ work, may give some context to the anger. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/461658/original/file-20220505-23-9bwx9i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/461658/original/file-20220505-23-9bwx9i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/461658/original/file-20220505-23-9bwx9i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=518&fit=crop&dpr=1 600w, https://images.theconversation.com/files/461658/original/file-20220505-23-9bwx9i.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=518&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/461658/original/file-20220505-23-9bwx9i.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=518&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/461658/original/file-20220505-23-9bwx9i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=651&fit=crop&dpr=1 754w, https://images.theconversation.com/files/461658/original/file-20220505-23-9bwx9i.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=651&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/461658/original/file-20220505-23-9bwx9i.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=651&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2022 finalist, Jude Rae, The big switch – portrait of Dr Saul Griffith, oil on linen, solar panels, 209.8 x 239.7 cm overall.</span>
<span class="attribution"><span class="source">© the artist, image © AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p><a href="https://www.blackincbooks.com.au/books/big-switch">Griffith</a> has created a blueprint for Australia to cut electricity costs via solar power and batteries. Most Federal politicians are less than receptive, preferring to cook the planet with coal and gas. </p>
<p>Griffith was also the subject of a portrait by his mother, Pamela Griffith. There is an unwritten rule in the Archibald that only one painting of any subject will be hung, so this sadly went with the great majority to the rejects. </p>
<p>There are many reasons for righteous anger in this year’s exhibition. Mostafa Azimitabar’s self portrait, KNS088, stares at the viewer, confronting us with the way we as a country have been complicit in a crime against humanity. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/461659/original/file-20220505-26-vccveu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/461659/original/file-20220505-26-vccveu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/461659/original/file-20220505-26-vccveu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=596&fit=crop&dpr=1 600w, https://images.theconversation.com/files/461659/original/file-20220505-26-vccveu.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=596&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/461659/original/file-20220505-26-vccveu.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=596&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/461659/original/file-20220505-26-vccveu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=748&fit=crop&dpr=1 754w, https://images.theconversation.com/files/461659/original/file-20220505-26-vccveu.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=748&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/461659/original/file-20220505-26-vccveu.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=748&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2022 finalist, Mostafa Azimitabar, KNS088 (self-portrait), coffee and acrylic on canvas, 190.5 x 191.8 cm.</span>
<span class="attribution"><span class="source">© the artist, image © AGNSW, Jenni Carter</span></span>
</figcaption>
</figure>
<p>For many years he was in detention, on Manus Island and then a hotel. He learnt to paint using coffee and a toothbrush. Both materials are used here.</p>
<p>Joan Ross’ ‘You were my biggest regret’: diary entry 1808, seems by comparison to be relatively mild. But her stylised mock-colonial self portrait is mournfully hugging a tree trunk, symbolising the destruction of the natural world by the colonisers in whose steps we tread.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/461660/original/file-20220505-13-czysix.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/461660/original/file-20220505-13-czysix.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/461660/original/file-20220505-13-czysix.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=752&fit=crop&dpr=1 600w, https://images.theconversation.com/files/461660/original/file-20220505-13-czysix.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=752&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/461660/original/file-20220505-13-czysix.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=752&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/461660/original/file-20220505-13-czysix.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=945&fit=crop&dpr=1 754w, https://images.theconversation.com/files/461660/original/file-20220505-13-czysix.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=945&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/461660/original/file-20220505-13-czysix.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=945&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2022 finalist, Joan Ross ‘You were my biggest regret’: diary entry 1806, oil and alkyd paint on PVC with printed perspex backing, 154 x 123.5 cm.</span>
<span class="attribution"><span class="source">© the artist, image © AGNSW, Jenni Carter</span></span>
</figcaption>
</figure>
<h2>Pleasure in the craft</h2>
<p>The exhibition also celebrates those who fight for causes. </p>
<p>Tsering Hannaford has a painting of the Pitjantjatjara activist Sally Scales, painted in the academic style most commonly found in the hallowed halls of gentlemen’s clubs. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/461662/original/file-20220505-12066-xx8q4y.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/461662/original/file-20220505-12066-xx8q4y.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/461662/original/file-20220505-12066-xx8q4y.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=797&fit=crop&dpr=1 600w, https://images.theconversation.com/files/461662/original/file-20220505-12066-xx8q4y.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=797&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/461662/original/file-20220505-12066-xx8q4y.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=797&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/461662/original/file-20220505-12066-xx8q4y.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1001&fit=crop&dpr=1 754w, https://images.theconversation.com/files/461662/original/file-20220505-12066-xx8q4y.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1001&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/461662/original/file-20220505-12066-xx8q4y.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1001&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2022 finalist, Tsering Hannaford, Sally Scales, oil on board, 120.2 x 91 cm © the artist, image.</span>
<span class="attribution"><span class="source">© AGNSW, Jenni Carter</span></span>
</figcaption>
</figure>
<p>Not all creative activists are treated with such seriousness. </p>
<p>Jordan Richardson’s Venus is a portrait of Benjamin Law as Velázquez’s <a href="https://www.nationalgallery.org.uk/stories/one-painting-many-voices-velazquezs-the-rokeby-venus">Rokeby Venus</a>, while Avraham Vofsi’s portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2022/30455/">John Safran as David and Goliath</a> successfully appropriates the style of 19th century academic art, including the gold frame.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/461664/original/file-20220505-16-f6phtq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/461664/original/file-20220505-16-f6phtq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/461664/original/file-20220505-16-f6phtq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=401&fit=crop&dpr=1 600w, https://images.theconversation.com/files/461664/original/file-20220505-16-f6phtq.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=401&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/461664/original/file-20220505-16-f6phtq.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=401&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/461664/original/file-20220505-16-f6phtq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=504&fit=crop&dpr=1 754w, https://images.theconversation.com/files/461664/original/file-20220505-16-f6phtq.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=504&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/461664/original/file-20220505-16-f6phtq.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=504&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2022 finalist, Jordan Richardson, Venus, oil on canvas, 122.3 x 183.4 cm.</span>
<span class="attribution"><span class="source">© the artist, image © AGNSW, Felicity Jenkin</span></span>
</figcaption>
</figure>
<p>Yoshio Honjo’s portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2022/30428/">Yumi Stynes as onna-musha (female samurai)</a> is painted in the style of a Japanese woodblock print. It is one of many works where the artist has really considered the sensibility of their subjects.</p>
<p>Easily the most successful of these appropriated styles is Claus Stangl’s “3D” portrait of Taika Waititi, the man who gave the world <a href="https://www.nzfilm.co.nz/films/hunt-wilderpeople">Hunt for the Wilderpeople</a> and <a href="https://whatwedointheshadows.fandom.com/wiki/What_We_Do_in_the_Shadows_(film)">What we do in the shadows</a> before making Marvel movies that are actually worth watching.</p>
<p>It is a very clever painting, using thin layers of paint to create a mock 3D effect, gloriously out of focus, and a very worthy winner of the Packing Room Prize.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/461665/original/file-20220505-21-c5rrrt.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/461665/original/file-20220505-21-c5rrrt.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/461665/original/file-20220505-21-c5rrrt.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=754&fit=crop&dpr=1 600w, https://images.theconversation.com/files/461665/original/file-20220505-21-c5rrrt.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=754&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/461665/original/file-20220505-21-c5rrrt.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=754&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/461665/original/file-20220505-21-c5rrrt.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=948&fit=crop&dpr=1 754w, https://images.theconversation.com/files/461665/original/file-20220505-21-c5rrrt.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=948&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/461665/original/file-20220505-21-c5rrrt.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=948&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2022 finalist, Claus Stangl, Taika Waititi, acrylic on canvas, 245 x 195.1 cm.</span>
<span class="attribution"><span class="source">© the artist, image © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure><img src="https://counter.theconversation.com/content/179770/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has received funding from the ARC </span></em></p>
Under the cloud of an election, this year’s Archibald prize is mercifully a politician-free zone. However the artists do have issues …
Joanna Mendelssohn, Principal Fellow (Hon), Victorian College of the Arts, University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/162159
2021-06-04T05:54:19Z
2021-06-04T05:54:19Z
Peter Wegner’s portrait of Guy Warren at 100 wins the 100th Archibald Prize
<figure><img src="https://images.theconversation.com/files/404423/original/file-20210604-23-dgtvsr.jpg?ixlib=rb-1.1.0&rect=19%2C4%2C3268%2C2634&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Peter Wegner's Guy Warren in his 100th Year, winner of the 2021 Archibald Prize.</span> <span class="attribution"><span class="source">AGNSW/Peter Wegner/Photo Jenni Carter</span></span></figcaption></figure><p>The artist <a href="https://www.nicholasthompsongallery.com.au/artists/guy-warren/">Guy Warren</a> gave the best summary of this year’s centenary <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2021/">Archibald Prize</a>, telling the crowd assembled for the official announcement: “It’s a lot of fun”. </p>
<p>Appropriately, as well as praising <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2021/30309/">Peter Wegner</a>, whose portrait of the centenarian won this year’s Archibald Prize, Warren congratulated the many artists whose works hang alongside his likeness.</p>
<p>Warren is an Archibald realist. He knows the almost random nature of the first cull where the Trustees decide which works have a chance to be considered for hanging, while the great majority go directly to the stacks of rejects. </p>
<p>In 1985 both Warren and his good friend, the artist <a href="https://www.artgallery.nsw.gov.au/collection/artists/flugelman-herbert/">Bert Flugelman</a>, entered portraits of each other. Portraiture was a departure in style for both men. Although he had worked for some years as a graphic artist, Warren was best known for both experimental work and fluid semi-abstract landscapes. Flugelman had an established reputation as a sculptor. </p>
<p>Flugelman’s portrait of Warren was not hung. Guy Warren’s portrait, <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1985/19177/">Flugelman with Wingman</a> won the prize. With this year’s prize, Warren therefore has the rare distinction of both winning the prize and being the subject of a winning painting.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/i-think-archie-would-be-pleased-100-years-of-our-most-famous-portrait-prize-and-my-almost-50-years-watching-it-evolve-161575">'I think Archie would be pleased': 100 years of our most famous portrait prize and my almost 50 years watching it evolve</a>
</strong>
</em>
</p>
<hr>
<h2>More works by women, but a male winner</h2>
<p>Our public institutions are keenly aware of gender equity in 2021. Art Gallery of NSW director Michael Brand was at pains to tell the assembled throng of journalists, photographers, film crew, artists and actors (including Rachel Griffiths in prime position to film both the crowd and the podium for her forthcoming documentary) that more works by women than men had been hung this year. </p>
<p>Jude Rae and Pat Hoffie were highly commended by judges. But the tradition of giving the big prize to a portrait of a man, by a man, prevailed. </p>
<p>And it’s not a bad painting. The artist-subject is shown sitting on a chair, with his arms awkwardly placed, staring into the distance. He looks somewhat frail. Because of the echoes of history, it will be both a popular choice and a reminder that, at its core, the Archibald is a prize for social history, not art.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/from-grace-tame-to-craig-foster-distinguished-public-figures-but-only-one-politician-in-a-telling-2021-archibald-shortlist-161576">From Grace Tame to Craig Foster: distinguished public figures but only one politician in a telling 2021 Archibald shortlist</a>
</strong>
</em>
</p>
<hr>
<h2>Artistic peers and stars</h2>
<p>The other prizes announced at the same time reflect both old traditions and the new. </p>
<p>It was not a surprise that Georgia Spain, whose <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2021/">Getting down or falling up</a> was awarded the Sulman Prize. Guest judge Elisabeth Cummings, was one of her favourite artists, the winner told the crowd. Indeed, there are strong echoes of Cummings’ painterly approach in Spain’s work. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/404430/original/file-20210604-13-ugbnrn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="abstract painting" src="https://images.theconversation.com/files/404430/original/file-20210604-13-ugbnrn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/404430/original/file-20210604-13-ugbnrn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=579&fit=crop&dpr=1 600w, https://images.theconversation.com/files/404430/original/file-20210604-13-ugbnrn.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=579&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/404430/original/file-20210604-13-ugbnrn.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=579&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/404430/original/file-20210604-13-ugbnrn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=728&fit=crop&dpr=1 754w, https://images.theconversation.com/files/404430/original/file-20210604-13-ugbnrn.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=728&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/404430/original/file-20210604-13-ugbnrn.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=728&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Georgia Spain’s Getting Down or Falling Up won the Sulman Prize.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>The Sulman, unlike the other prizes, is judged by a different artist each year. Those considering entering the prize should always look at the judge’s art before entering their own.</p>
<p>In recent years the Wynne Prize has been dominated by work by Aboriginal artists from either central or northern Australia, and this year is no exception. Yolŋu artist Nyapanyapa Yunupiŋu’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2021/30370/">Garak Night Sky</a>, is muted in tone, but stunningly beautiful. </p>
<p>It is a retelling of one of the great narratives of Aboriginal Australia — the <a href="https://www.abc.net.au/news/2020-10-08/wirangu-seven-sisters-songline-indigenous-healing-reconciliation/12380698">Seven Sisters</a>, the constellation also referred to in non-Indigenous cultures as <a href="https://earthsky.org/favorite-star-patterns/pleiades-star-cluster-enjoys-worldwide-renown/">Pleiades</a>. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/404429/original/file-20210604-17-2oy78v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="abstract painting" src="https://images.theconversation.com/files/404429/original/file-20210604-17-2oy78v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/404429/original/file-20210604-17-2oy78v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=606&fit=crop&dpr=1 600w, https://images.theconversation.com/files/404429/original/file-20210604-17-2oy78v.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=606&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/404429/original/file-20210604-17-2oy78v.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=606&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/404429/original/file-20210604-17-2oy78v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=762&fit=crop&dpr=1 754w, https://images.theconversation.com/files/404429/original/file-20210604-17-2oy78v.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=762&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/404429/original/file-20210604-17-2oy78v.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=762&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nyapanyapa Yunupingu’s Garak Night Sky won the 2021 Wynne Prize.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>The story of the Seven Sisters is repeated in <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2021/30349/">Tjungkara Ken’s painting</a>, which was awarded the Roberts Family Aboriginal and Torres Strait Islander Prize this year. Just as European artists can paint infinite variations on the theme of the Nativity, so the Seven Sisters remain an ever fertile subject for Indigenous artists.</p>
<h2>The colour of water</h2>
<p>Noel McKenna’s sweet little <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2021/30350/">South Coast headland (2), Ottoman rose</a> was awarded the Trustees Watercolour Prize, a subset of the Wynne Prize. </p>
<p>Leah Bullen’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2021/30336/">Arid garden, Wollongong</a> was awarded the Pring Prize for a watercolour by a woman. In times past so few women entered (or were hung) in the Wynne that this prize was sometimes not awarded. This year the competition was stronger.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/404449/original/file-20210604-23-1tjvd6z.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="painting of plants" src="https://images.theconversation.com/files/404449/original/file-20210604-23-1tjvd6z.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/404449/original/file-20210604-23-1tjvd6z.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=543&fit=crop&dpr=1 600w, https://images.theconversation.com/files/404449/original/file-20210604-23-1tjvd6z.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=543&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/404449/original/file-20210604-23-1tjvd6z.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=543&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/404449/original/file-20210604-23-1tjvd6z.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=682&fit=crop&dpr=1 754w, https://images.theconversation.com/files/404449/original/file-20210604-23-1tjvd6z.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=682&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/404449/original/file-20210604-23-1tjvd6z.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=682&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Leah Bullen’s watercolour work: Arid garden, Wollongong.</span>
<span class="attribution"><a class="source" href="https://www.artgallery.nsw.gov.au/prizes/wynne/2021/30336/">AGNSW</a></span>
</figcaption>
</figure>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/why-werent-there-any-great-women-artists-in-gratitude-to-linda-nochlin-153099">Why weren't there any great women artists? In gratitude to Linda Nochlin</a>
</strong>
</em>
</p>
<hr>
<p>Now that the judges have spoken, it is time for the people to have their say. For the last 33 years the gallery has awarded the ANZ People’s Choice award, with votes cast by visitors to the exhibition. Occasionally, but rarely, the people agree with the judges.</p>
<p><em>All finalists in the Archibald, Wynne and Sulman Prizes 2021 will be exhibited at the <a href="https://www.artgallery.nsw.gov.au/">Art Gallery of NSW</a> from 5 June to 26 September 2021, then tour regionally.</em></p><img src="https://counter.theconversation.com/content/162159/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has received funding from the Australian Research Council</span></em></p>
In its centenary year, the Trustees of the Art Gallery of New South Wales could not resist the symbolism of awarding the Archibald Prize to Peter Werner’s portrait of the 100 year old Guy Warren.
Joanna Mendelssohn, Principal Fellow (Hon), Victorian College of the Arts, University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/161575
2021-06-01T20:11:48Z
2021-06-01T20:11:48Z
‘I think Archie would be pleased’: 100 years of our most famous portrait prize and my almost 50 years watching it evolve
<figure><img src="https://images.theconversation.com/files/403668/original/file-20210531-15-1k7lntr.jpg?ixlib=rb-1.1.0&rect=3%2C0%2C2552%2C2046&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Winner: Archibald Prize 1972: Clifton Pugh. 'The Hon EG Whitlam' 1972. Oil on composition board, 113.5 x 141.5 cm</span> <span class="attribution"><span class="source">© Estate of Clifton Pugh</span></span></figcaption></figure><p>In 2008, when I first visited Canberra’s newly opened <a href="https://www.portrait.gov.au/content/gallery-history/">National Portrait Gallery</a>, my first response was an overwhelming sense of déjà vu. I knew many of those paintings. They had once hung on the walls of the Art Gallery of New South Wales as part of the annual Archibald Prize exhibition, or been seen in the <a href="https://www.shervingallery.com.au/event/salon-des-refuses-2021/">Salon des Refusés</a> — home to the best of the rejects. </p>
<p>Over 49 years I have seen the Archibald from both the inside, as a curator, and the outside as a critic. My first Archibald was in 1972, the year Clifton Pugh won with his portrait of Gough Whitlam. Along with other art history students, I had never been especially interested in this festival of popular culture, but as the recently appointed most junior of all curators my job was to administer the prize. </p>
<p>It is fair to say the gallery trustees who voted for the winning portrait (all appointed by Sir Robert Askin’s Liberal government) were not fans of the newly elected Labor Prime Minister. But Pugh’s painting dominated the longlist, the shortlist and the final exhibition, where I took great pleasure in hanging it so it was the first work people saw on arrival. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/403678/original/file-20210601-17-671zhy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/403678/original/file-20210601-17-671zhy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/403678/original/file-20210601-17-671zhy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=449&fit=crop&dpr=1 600w, https://images.theconversation.com/files/403678/original/file-20210601-17-671zhy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=449&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/403678/original/file-20210601-17-671zhy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=449&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/403678/original/file-20210601-17-671zhy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=565&fit=crop&dpr=1 754w, https://images.theconversation.com/files/403678/original/file-20210601-17-671zhy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=565&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/403678/original/file-20210601-17-671zhy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=565&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">A finalist in 1969: John Brack, Barry Humphries in the character of Mrs Everage, 1969. Oil on canvas, 94.5 x 128.2 cm.</span>
<span class="attribution"><span class="source">Art Gallery of New South Wales. Purchased with funds provided by the Contemporary Art Purchase Grant from the Visual Arts Board of the Australia Council 1975 © Helen Brack</span></span>
</figcaption>
</figure>
<p>Since then I have seen almost every Archibald, and although some of my colleagues continue to loathe the annual feast of novelty portraiture, I have come to appreciate it as an annual snapshot of the kind of society we are, and who our heroes may be.</p>
<h2>Proudly Australian</h2>
<p>As the gallery celebrates the prize’s centenary and the ABC prepares to screen a documentary hosted by Rachel Griffiths, <a href="https://youtu.be/6XKXyAKzBMI">Finding the Archibald</a>, which looks at the history of the prize and asks what the selected paintings say about us, it is worth remembering exactly why Archibald bequeathed some of his considerable estate to create an Australian portrait prize – and to give thanks for his vision.</p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/6XKXyAKzBMI?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
</figure>
<p>The man born John Feltham Archibald in 1856, who later renamed himself <a href="https://adb.anu.edu.au/biography/archibald-jules-francois-2896">Jules François Archibald</a> because he loved France, was an Australian nationalist. </p>
<p>As founding editor of <a href="https://www.nma.gov.au/defining-moments/resources/the-bulletin">The Bulletin</a> he fostered the literary careers of Henry Lawson, Banjo Paterson, Miles Franklin and Steele Rudd – writers whose work defined the country as we moved towards Federation. His illustrators included Phil May, Will Dyson, D. H. Souter, George Lambert and Norman Lindsay. All projected a sense of an independent Australia.</p>
<p>At the beginning of last century, it was assumed an Australian’s success was made in England. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/403679/original/file-20210601-19-1ko5sbk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/403679/original/file-20210601-19-1ko5sbk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/403679/original/file-20210601-19-1ko5sbk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=772&fit=crop&dpr=1 600w, https://images.theconversation.com/files/403679/original/file-20210601-19-1ko5sbk.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=772&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/403679/original/file-20210601-19-1ko5sbk.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=772&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/403679/original/file-20210601-19-1ko5sbk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=970&fit=crop&dpr=1 754w, https://images.theconversation.com/files/403679/original/file-20210601-19-1ko5sbk.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=970&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/403679/original/file-20210601-19-1ko5sbk.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=970&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">1939 finalist: Tempe Manning, Self-portrait 1939. Oil on canvas, 76 x 60.5 cm.</span>
<span class="attribution"><span class="source">Private collection © Estate of Tempe Manning</span></span>
</figcaption>
</figure>
<p>In 1900, when private philanthropy paid for <a href="https://adb.anu.edu.au/biography/lawson-henry-7118">Henry Lawson</a> to travel north to London, the Melbourne artist <a href="https://www.artgallery.nsw.gov.au/collection/works/4829/">John Longstaff</a> painted his portrait, purchased by the Art Gallery of NSW the following year. Longstaff then also left for London.</p>
<p>Lawson soon returned home, but the absence of Longstaff and other talented Australians is one reason for the precise wording of <a href="https://dictionaryofsydney.org/entry/the_archibald_prize">Archibald’s will</a>, enacted on his death in 1919. </p>
<p>He wanted our artists to see Australia as home, so he carefully wrote the prize would be for:</p>
<blockquote>
<p>the best portrait of some man or woman distinguished in Art Letters Science or Politics painted by any artist resident in Australasia during the twelve months preceding the date fixed by the Trustees for sending in the Pictures …</p>
</blockquote>
<p>Those words have been the subject of argument by generations of artists, critics and lawyers. When Longstaff first entered the prize in 1921 he was ruled ineligible as he had only just returned from England. In 1988, the same rule disqualified Sidney Nolan as he, too, was a UK resident.</p>
<h2>A prize of the trustees</h2>
<p>As the prize must be judged by the gallery’s trustees, it is possible to track the nature (and prejudices) of those trustees by looking at the artists awarded it, as well as their sitters. </p>
<p>The initial seriousness of the prize and its generous funding led to a bias towards the dull tonal work of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1921/">W B McInnes</a> who won a total of seven times. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/403485/original/file-20210531-21-1m144cm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A dour oil portrait." src="https://images.theconversation.com/files/403485/original/file-20210531-21-1m144cm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/403485/original/file-20210531-21-1m144cm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=618&fit=crop&dpr=1 600w, https://images.theconversation.com/files/403485/original/file-20210531-21-1m144cm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=618&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/403485/original/file-20210531-21-1m144cm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=618&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/403485/original/file-20210531-21-1m144cm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=777&fit=crop&dpr=1 754w, https://images.theconversation.com/files/403485/original/file-20210531-21-1m144cm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=777&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/403485/original/file-20210531-21-1m144cm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=777&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">McInnes won seven times, first in 1921. WB McInnes, H Desbrowe Annear 1921. Oil on canvas, 107.5 x 104.2 cm.</span>
<span class="attribution"><span class="source">Art Gallery of New South Wales. Gift of the artist 1922</span></span>
</figcaption>
</figure>
<p>This record was beaten by Sir William Dargie with eight wins, the last one being in 1956 for his powerful portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1956/">Albert Namatjira</a>, the first time a portrait of an Aboriginal person had won. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/403486/original/file-20210531-15-1rk1t1k.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/403486/original/file-20210531-15-1rk1t1k.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/403486/original/file-20210531-15-1rk1t1k.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=809&fit=crop&dpr=1 600w, https://images.theconversation.com/files/403486/original/file-20210531-15-1rk1t1k.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=809&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/403486/original/file-20210531-15-1rk1t1k.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=809&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/403486/original/file-20210531-15-1rk1t1k.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1016&fit=crop&dpr=1 754w, https://images.theconversation.com/files/403486/original/file-20210531-15-1rk1t1k.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1016&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/403486/original/file-20210531-15-1rk1t1k.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1016&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">The first winning portrait of an Aboriginal person. William Dargie, Portrait of Albert Namatjira, 1956. Oil on canvas, 102.1 x 76.4 cm.</span>
<span class="attribution"><span class="source">Queensland Art Gallery | Gallery of Modern Art. Purchased 1957 © Estate of William Dargie Photo: QAGOMA</span></span>
</figcaption>
</figure>
<p>In 2020, Vincent Namatjira — Albert’s great-grandson — was the first Aboriginal artist to win the prize with <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2020/30235/">Stand Strong For Who You are</a>, a double portrait with Adam Goodes.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/403669/original/file-20210531-23-1mhs7fp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/403669/original/file-20210531-23-1mhs7fp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/403669/original/file-20210531-23-1mhs7fp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=461&fit=crop&dpr=1 600w, https://images.theconversation.com/files/403669/original/file-20210531-23-1mhs7fp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=461&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/403669/original/file-20210531-23-1mhs7fp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=461&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/403669/original/file-20210531-23-1mhs7fp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=580&fit=crop&dpr=1 754w, https://images.theconversation.com/files/403669/original/file-20210531-23-1mhs7fp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=580&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/403669/original/file-20210531-23-1mhs7fp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=580&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Winner: Archibald Prize 2020. Vincent Namatjira ‘Stand strong for who you are’. Acrylic on linen, 152 x 198 cm.</span>
<span class="attribution"><span class="source">© the artist Photo: AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>Archibald welcomed women writers throughout his journalistic career and made a conscious decision to include both genders in his will. Many women entered, but it was not until 1938 that <a href="https://theconversation.com/friday-essay-nora-heysen-more-than-her-fathers-daughter-111074">Nora Heysen</a> won with a portrait of Madame Elink Schuurman, wife of the Consul-General for the Netherlands. </p>
<p>The commentary that followed was especially distasteful as the artist, still the youngest ever winner at 27, had Schuurman wear a Chinese dress from her time living in Shanghai. In 100 years, the prize has only been awarded to women artists ten times. Six of those occasions have been in the last 20 years.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/403670/original/file-20210531-25-17hst0a.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/403670/original/file-20210531-25-17hst0a.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/403670/original/file-20210531-25-17hst0a.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=785&fit=crop&dpr=1 600w, https://images.theconversation.com/files/403670/original/file-20210531-25-17hst0a.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=785&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/403670/original/file-20210531-25-17hst0a.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=785&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/403670/original/file-20210531-25-17hst0a.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=986&fit=crop&dpr=1 754w, https://images.theconversation.com/files/403670/original/file-20210531-25-17hst0a.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=986&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/403670/original/file-20210531-25-17hst0a.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=986&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Winner: Archibald Prize 1938. Nora Heysen ‘Mme Elink Schuurman’ 1938. Oil on canvas.</span>
<span class="attribution"><span class="source">© Lou Klepac</span></span>
</figcaption>
</figure>
<p>Sadly, this lively painting remains overseas and is unavailable for the centenary retrospective exhibition. </p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/friday-essay-nora-heysen-more-than-her-fathers-daughter-111074">Friday essay: Nora Heysen, more than her father's daughter</a>
</strong>
</em>
</p>
<hr>
<p>Another absence is William Dobell’s 1943 portrait of Joshua Smith, effectively destroyed in a fire many years ago. As is the way of artists, Dobell and Smith had painted each other’s portraits. The year’s two finalists were Dobell’s portrait of Smith, and Smith’s portrait of the poet <a href="https://www.artgallery.nsw.gov.au/collection/works/7619/">Dame Mary Gilmore</a>. </p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/403671/original/file-20210531-14-1uxmyiz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/403671/original/file-20210531-14-1uxmyiz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/403671/original/file-20210531-14-1uxmyiz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=569&fit=crop&dpr=1 600w, https://images.theconversation.com/files/403671/original/file-20210531-14-1uxmyiz.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=569&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/403671/original/file-20210531-14-1uxmyiz.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=569&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/403671/original/file-20210531-14-1uxmyiz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=715&fit=crop&dpr=1 754w, https://images.theconversation.com/files/403671/original/file-20210531-14-1uxmyiz.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=715&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/403671/original/file-20210531-14-1uxmyiz.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=715&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">William Joshua Smith ‘Dame Mary Gilmore’ 1943. Oil on canvas, 85.7 x 92.3 cm.</span>
<span class="attribution"><span class="source">Art Gallery of New South Wales, Gift of Dame Mary Gilmore 1945 © Yve Close Photo: AGNSW</span></span>
</figcaption>
</figure>
<p><a href="https://www.daao.org.au/bio/sir-lionel-lindsay/biography/">Lionel Lindsay</a>, well-known as an anti-modernist, recognised the superior quality of the Dobell and so advocated for it, as did the only woman trustee, Mary Alice Evatt, recently appointed to the board by her brother-in-law, the Minister for Education. </p>
<p>After Dobell’s victory two unsuccessful artists, <a href="https://www.daao.org.au/bio/mary-edwards/biography/">Mary Edwards</a> (later known as Mary Edwell-Burke) and Joseph Wolinski, were persuaded by colleagues in the Royal Art Society to mount a <a href="https://www.smh.com.au/culture/art-and-design/from-the-archives-1944-the-archibald-prize-court-hearing-begins-20191016-p531b6.html">court case</a> to dispute the result, claiming Dobell’s work was not a portrait but a caricature.</p>
<p>They lost, but in the aftermath the Archibald became the most popular event for artists wishing to make their name. </p>
<h2>Paintings of ideas</h2>
<p>This year <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2021/">938 works were entered</a> and only 52 were hung. The inability to guarantee a sitter their portrait will be hung is one reason for the many self-portraits, portraits of fellow artists and family members. </p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/from-grace-tame-to-craig-foster-distinguished-public-figures-but-only-one-politician-in-a-telling-2021-archibald-shortlist-161576">From Grace Tame to Craig Foster: distinguished public figures but only one politician in a telling 2021 Archibald shortlist</a>
</strong>
</em>
</p>
<hr>
<p>These more intimate portraits have been among the most successful exhibits. For me, the most memorable of all is Janet Dawson’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1973/">1973 portrait</a> of her husband, the pioneering playwright, food writer, gardener, <a href="https://www.smh.com.au/national/michael-boddy-new-wave-theatre-pioneer-had-lust-for-life-and-language-20140513-38857.html">Michael Boddy</a>.</p>
<p>I was in the packing room when it was being unwrapped. I still remember getting a shiver down my spine. Even under plastic it was so beautiful. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/403701/original/file-20210601-13-1xibvw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/403701/original/file-20210601-13-1xibvw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/403701/original/file-20210601-13-1xibvw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=766&fit=crop&dpr=1 600w, https://images.theconversation.com/files/403701/original/file-20210601-13-1xibvw4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=766&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/403701/original/file-20210601-13-1xibvw4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=766&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/403701/original/file-20210601-13-1xibvw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=962&fit=crop&dpr=1 754w, https://images.theconversation.com/files/403701/original/file-20210601-13-1xibvw4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=962&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/403701/original/file-20210601-13-1xibvw4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=962&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Winner: Archibald Prize 1973: Janet Dawson, Michael Boddy. Acrylic on bleached linen, 150 x 120 cm.</span>
<span class="attribution"><span class="source">© Janet Dawson</span></span>
</figcaption>
</figure>
<p>It is an especially lush and loving work. At the time Daniel Thomas, the gallery’s senior curator, wondered if women secretly wanted to eat their husbands. </p>
<p>One truth about the Archibald rarely discussed is the influence of individual trustees. When Wendy Sharpe won in 1996 with her exuberant <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1996/">Self-portrait as Diana of Erskinville</a>, there had just been a changing of the guard with the appointment of new trustees. </p>
<p>The announcement was delayed for almost an hour as the trustees deliberated. Word is, it was the advocacy of one of the newly appointed board members that gave her the prize by one vote.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/403488/original/file-20210531-23-tgpabn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/403488/original/file-20210531-23-tgpabn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/403488/original/file-20210531-23-tgpabn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=745&fit=crop&dpr=1 600w, https://images.theconversation.com/files/403488/original/file-20210531-23-tgpabn.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=745&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/403488/original/file-20210531-23-tgpabn.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=745&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/403488/original/file-20210531-23-tgpabn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=936&fit=crop&dpr=1 754w, https://images.theconversation.com/files/403488/original/file-20210531-23-tgpabn.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=936&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/403488/original/file-20210531-23-tgpabn.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=936&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Wendy Sharpe. Self-portrait as Diana of Erskineville, 1996. Oil on canvas, 210 x 172 cm.</span>
<span class="attribution"><span class="source">Mr N and Mrs A Pezikian Collection, Sydney © Wendy Sharpe</span></span>
</figcaption>
</figure>
<p>It is true to say the trustees of 1920 would not share the aesthetic values of much of the art in recent exhibitions. Celebrations of cultural difference and gender and the presence of many works by Aboriginal artists would almost certainly be beyond their comprehension. </p>
<p>With the exception of the photo-realist works and the occasional academic portrait, realistic depictions of the subject are now the exception rather than the rule. </p>
<p>But what would Archibald think? He was, above all, a man of ideas. He wanted us to look to our own history in preference to that of England. He wanted Australians to debate our artists, writers, actors – even politicians. </p>
<p>I think he would be pleased. </p>
<hr>
<p><em>Archie 100: A Century of the Archibald Prize is at the Art Gallery of NSW June 5 – September 26, then touring nationally.</em></p>
<p><em>Correction: a previous version of this story misstated the heritage of Elink Schuurman.</em></p><img src="https://counter.theconversation.com/content/161575/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has received funding from the Australian Research Council</span></em></p>
It’s 100 years since the Art Gallery of NSW first held the Archibald Prize. Though loathed by some critics, it is an annual snapshot of the kind of society we are, and who our heroes might be.
Joanna Mendelssohn, Principal Fellow (Hon), Victorian College of the Arts, University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/155037
2021-02-14T18:50:40Z
2021-02-14T18:50:40Z
Cartoonist Johannes Leak is not known for his portraits – so why is he being given $40,000 to do Tony Abbott’s?
<p>The Members’ Hall of Parliament House is home to the 25 completed portraits of Australia’s former prime ministers. The most recently revealed was <a href="https://www.abc.net.au/news/2018-10-24/julia-gillard-portrait-unveiled-in-parliament-house/10424304">of Julia Gillard</a> in 2018, painted by Vincent Fantauzzo, a <a href="https://nandahobbs.com/artist/vincent-fantauzzo">five-time</a> People’s Choice Award winner at the Archibald Prize.</p>
<p>Indeed, every <a href="https://www.aph.gov.au/Visit_Parliament/Art/Online_Gallery/Portrait_Gallery">official prime ministerial portrait</a> has been painted by an Archibald finalist, including some by artists who were awarded the main prize.</p>
<p>This will change with Tony Abbott’s <a href="https://www.theguardian.com/media/2021/feb/09/johannes-leak-awarded-40000-commission-for-tony-abbotts-official-portrait">reported decision</a> to appoint the Australian’s editorial cartoonist Johannes Leak to paint his official portrait. Leak does not have any track record of exhibiting works on a large scale, let alone portraits. </p>
<p>Johannes Leak’s heavy-handed cartoons are in the style of his father’s last years, the work undertaken after he suffered <a href="https://www.smh.com.au/national/cartoonist-bill-leak-recovering-after-balcony-fall-20081022-566k.html">serious head injuries</a> after a fall. There is a general consensus that Bill Leak’s <a href="https://www.crikey.com.au/2017/03/13/rundle-an-obituary-for-bill-leak/">later cartoons</a> are markedly inferior to the work he did in his <a href="https://www.telegraph.co.uk/multimedia/archive/00636/news-graphics-2007-_636944a.jpg">prime</a>.</p>
<p>The website for the <a href="https://www.billleakgallery.com/store">Bill Leak Gallery</a> carries the following statement:</p>
<blockquote>
<p>Bill Leak’s son Johannes has taken over the family business and is now the daily editorial cartoonist for The Australian, the position held by his father for 23 years.</p>
</blockquote>
<p>This is unusual. I cannot think of another Australian political cartoonist who inherited their position. Traditionally our leading cartoonists come from a rigorous and contested culture of freelance drawing, a tradition that goes back to J.F. Archibald’s <a href="https://www.nma.gov.au/defining-moments/resources/the-bulletin">Bulletin</a> magazine, first published in 1880. </p>
<p>Along with his father’s platform, Leak junior has also taken over the title <a href="https://theconversation.com/the-australians-racist-kamala-harris-cartoon-shows-why-diversity-in-newsrooms-matters-144503">Australia’s most condemned</a> cartoonist.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/the-australians-racist-kamala-harris-cartoon-shows-why-diversity-in-newsrooms-matters-144503">The Australian's racist Kamala Harris cartoon shows why diversity in newsrooms matters</a>
</strong>
</em>
</p>
<hr>
<h2>The cartoonist and the painter</h2>
<p>There is of course no contradiction between a cartoonist also being an artist. </p>
<p>Norman Lindsay was the <a href="https://www.nla.gov.au/unbound/artist-bohemian-propagandist">star cartoonist</a> for The Bulletin, pleased at the steady income that gave him time for more serious work. </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/383951/original/file-20210212-21-fqk342.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Cartoon" src="https://images.theconversation.com/files/383951/original/file-20210212-21-fqk342.png?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/383951/original/file-20210212-21-fqk342.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=833&fit=crop&dpr=1 600w, https://images.theconversation.com/files/383951/original/file-20210212-21-fqk342.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=833&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/383951/original/file-20210212-21-fqk342.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=833&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/383951/original/file-20210212-21-fqk342.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1047&fit=crop&dpr=1 754w, https://images.theconversation.com/files/383951/original/file-20210212-21-fqk342.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1047&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/383951/original/file-20210212-21-fqk342.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1047&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">An illustration by Lionel Lindsay, published in Sydney’s Evening News December 1904.</span>
<span class="attribution"><span class="source">Trove</span></span>
</figcaption>
</figure>
<p>In the early part of last century, his brother Lionel Lindsay — best known for his etchings and <a href="http://www.printsandprintmaking.gov.au/works/10723/images/4250/">wood engravings</a> — was for many years <a href="https://trove.nla.gov.au/newspaper/article/113909130?searchTerm=Lionel%20Lindsay">cartoonist</a> at the Evening News, appointed by the editor Banjo Paterson as well as drawing the popular Chunderloo cartoon series for Cobra boot polish.</p>
<p>In the 21st century, <a href="https://kudelkashop.com">Jon Kudelka</a>, the cartoonist at the Saturday Paper, is also well-known as an exhibiting artist. </p>
<p>Leak senior first exhibited in the Archibald Prize in 1988 with a portrait of fellow cartoonist Patrick Cook, following with a portrait of Don Bradman in 1989 and <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1994/17019/">Malcolm Turnbull</a> in 1994, which won the People’s Choice Award. </p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/friday-essay-its-not-funny-to-us-an-aboriginal-perspective-on-political-correctness-and-humour-111535">Friday essay: it's not funny to us – an Aboriginal perspective on political correctness and humour</a>
</strong>
</em>
</p>
<hr>
<p>Bill Leak’s larrikin sensibility combined with his Archibald success is presumably why he was commissioned to paint <a href="https://www.aph.gov.au/Visit_Parliament/Art/Online_Gallery/Portrait_Gallery">Bob Hawke</a>’s official portrait for Parliament House. It is a curiously dull grey painting of a colourful character. There is something quite odd about the way the head doesn’t quite fit the body, almost as though there were two different models. </p>
<p>The difference between Bill Leak’s portrait of Hawke and his son’s commission to paint Tony Abbott is Leak senior’s track record as an exhibiting artist.</p>
<h2>But is it art?</h2>
<p>Fortunately for Johannes Leak, whatever he paints will fit the legal definition of portrait. For this we also have to thank the legacy of J.F. Archibald. </p>
<p><div data-react-class="Tweet" data-react-props="{"tweetId":"1359273324409286657"}"></div></p>
<p>Archibald died a wealthy man. His charitable gifts included a benevolent fund for the relief of distressed journalists and the Archibald Fountain in Sydney’s Hyde Park. But his best known legacy was to the Trustees of the New South Wales National Gallery, providing an endowment to create <a href="https://dictionaryofsydney.org/entry/the_archibald_prize">The Archibald Prize</a>.</p>
<p>For many years when it came to judging the prize, the trustees — more or less evenly divided along the same kind of factional lines usually seen in political parties — took turns in deciding who would be awarded the lucrative honour. </p>
<p>In 1943 this changed. A conservative trustee died and was replaced with <a href="https://adb.anu.edu.au/biography/evatt-mary-alice-10132">Mary Alice Evatt</a>, a modernist artist who happened to be the minister for education’s sister-in-law. </p>
<p>The <a href="https://trove.nla.gov.au/newspaper/article/17863750?searchTerm=Archibald%20Prize%201943%20announced%20Joshua%20Smith%20William%20Dobell">prize was awarded</a> to William Dobell for his portrait of his friend the artist Joshua Smith. Two artists aligned with the Royal Art Society (and not so secretly supported by the conservative trustees) sued on the grounds it was not a portrait, but a caricature.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/383919/original/file-20210211-24-1fv88th.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Cartoon of a court room. Top line reads 'Wep goes to the Dobell case', bottom reads 'Portraits or caricatures?'" src="https://images.theconversation.com/files/383919/original/file-20210211-24-1fv88th.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/383919/original/file-20210211-24-1fv88th.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=461&fit=crop&dpr=1 600w, https://images.theconversation.com/files/383919/original/file-20210211-24-1fv88th.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=461&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/383919/original/file-20210211-24-1fv88th.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=461&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/383919/original/file-20210211-24-1fv88th.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=579&fit=crop&dpr=1 754w, https://images.theconversation.com/files/383919/original/file-20210211-24-1fv88th.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=579&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/383919/original/file-20210211-24-1fv88th.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=579&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">This cartoon of the trial, published in The Daily Telegraph, October 1944, was drawn by W. E. Pidgeon (aka Wep) who later won the Archibald Prize three times.</span>
<span class="attribution"><span class="source">Trove</span></span>
</figcaption>
</figure>
<p>The resulting court case provided a great <a href="https://trove.nla.gov.au/newspaper/article/248070505?browse=ndp%3Abrowse%2Ftitle%2FD%2Ftitle%2F1347%2F1944%2F10%2F29%2Fpage%2F27314061%2Farticle%2F248070505">entertainment</a> for Sydney society.</p>
<p>The plaintiffs’ most trenchant witness, the art critic J.S. MacDonald, claimed the portrait was “a pictorial defamation of character” and a “satirical caricature”. Under cross-examination he admitted he had written his critique without seeing the work in question.</p>
<p>As well as giving a verdict in favour of the trustees and the gallery, Justice Roper noted the considerable public interest in the matter, so added for good measure a <a href="https://media.sclqld.org.au/documents/lectures-and-exhibitions/2016/Thomas-Bradley-QC-Dobell%27s-Case.pdf">definition of portraiture</a> yet to be seriously contested: </p>
<blockquote>
<p>The word “portrait” … means a pictorial representation of a person, painted by an artist. This definition denotes some degree of likeness is essential and for the purpose of achieving it the inclusion of the face of the subject is desirable and perhaps also essential.</p>
</blockquote>
<p>Johannes Leak could paint the silliest, crudest portrait of Tony Abbott and it would still be defined as a portrait. It is, however, more likely he will paint a large acrylic or oil painting on canvas. </p>
<p>My prediction is the subject will be depicted wearing a grey suit and sporting a light blue tie — rather than Abbott’s infamous red budgie-smuggler swimming trunks. It will almost certainly include a face.</p><img src="https://counter.theconversation.com/content/155037/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has in the past received grants from the ARC.</span></em></p>
Leak will be the first official portrait painter of a former Prime Minister who has not been an Archibald finalist.
Joanna Mendelssohn, Principal Fellow (Hon), Victorian College of the Arts, University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/146832
2020-09-25T05:26:43Z
2020-09-25T05:26:43Z
At last, the arts Revolution — Archibald winners flag the end of white male dominance
<figure><img src="https://images.theconversation.com/files/359942/original/file-20200925-20-8revh.jpg?ixlib=rb-1.1.0&rect=10%2C0%2C3355%2C2588&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Vincent Namatjira's Stand strong for who you are, acrylic on linen, 152 x 198 cm. </span> <span class="attribution"><span class="source">Photo: AGNSW/Mim Stirling</span></span></figcaption></figure><p>The <a href="https://www.artgallery.nsw.gov.au/exhibitions/archibald-wynne-sulman-prizes-2020/">2020 Archibald, Wynne and Sulman Prizes</a>, held under the strangest of all circumstances, has produced a neat piece of history. </p>
<p>In 1956 Sir William Dargie, best known for his academic paintings of prominent Australians, <a href="https://blog.qagoma.qld.gov.au/portrait-of-albert-namatjira/">won the Archibald for his painting the Aboriginal artist</a>, Albert Namatjira. This year’s Archibald winner is by the subject’s great-grandson, <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2020/30235/">Vincent Namatjira</a>.</p>
<p>Namatjira junior’s subject is a double portrait of himself with Adam Goodes called Stand strong for who you are. The painting, in Namatjira’s characteristic style, shows the two firmly clasping hands. </p>
<p>In the background we see Goodes the champion footballer, Goodes responding to racial vilification, and Goodes standing firm with the Aboriginal flag. Blood red footprints are the record of the path they have walked. This is the art of a generation of Aboriginal people who will not accept being downtrodden.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/the-most-refreshing-archibald-exhibition-i-can-remember-the-2020-portrait-prize-finalists-146295">'The most refreshing Archibald exhibition I can remember': the 2020 portrait prize finalists</a>
</strong>
</em>
</p>
<hr>
<h2>More than an art prize</h2>
<p>It is worth noting the trustees, laid down by Jules François Archibald’s will as judges of the prize which he established, are (with two exceptions) non-artists. Their choice is more than purely aesthetic. </p>
<p>I have long argued the Archibald is in essence a social history prize, not an art prize. In announcing the first Indigenous winner in the prize’s history, this year the guardians of New South Wales’ visual cultural heritage are proclaiming the value of integrity, and for Aboriginal people to stand proud. They are also indicating it is no longer a given white men of a certain class are entitled to take the prize.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/359943/original/file-20200925-22-8lojbk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Man in painting studio" src="https://images.theconversation.com/files/359943/original/file-20200925-22-8lojbk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/359943/original/file-20200925-22-8lojbk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/359943/original/file-20200925-22-8lojbk.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/359943/original/file-20200925-22-8lojbk.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/359943/original/file-20200925-22-8lojbk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/359943/original/file-20200925-22-8lojbk.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/359943/original/file-20200925-22-8lojbk.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Winning artist Vincent Namatjira.</span>
<span class="attribution"><span class="source">AGNSW/Meg Hansen/Iwantja Arts</span></span>
</figcaption>
</figure>
<p>As fine as this painting is, it is not as strong as his 2018 entry <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29950/">Studio self portrait</a>, which later entered the gallery’s collection. That showed his studio, his love of Chuck Berry, and in the background the always present legacy of Albert.</p>
<p>Albert Namatjira’s legacy is seen throughout all the prizes. Every Aboriginal artist I know is aware of how he appropriated the grammar of Western art to paint his country. Every Aboriginal person I have met knows how he was chewed up and spat out by the colonial legal system. His art <a href="https://www.abc.net.au/radionational/programs/awaye/alberts-gift-part-2---the-pathfinder/3670092">has stood as a message</a> to successive generations that they too can be artists.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/terra-nullius-interruptus-captain-james-cook-and-absent-presence-in-first-nations-art-129688">Terra nullius interruptus: Captain James Cook and absent presence in First Nations art</a>
</strong>
</em>
</p>
<hr>
<h2>Landscape legacy</h2>
<p>Nowhere is that legacy more evident than in Hubert Pareroultja’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2020/30190/">Tjorita (West MacDonnell Ranges, NT)</a>, this year’s Wynne Prize winning painting. The <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/">Wynne Prize</a> is awarded annually for “the best landscape painting of Australian scenery in oils or watercolours or for the best example of figure sculpture by Australian artists”. </p>
<p>This is a large work, exquisitely painted in a detailed style that cites Namatjira’s landscapes. But because of its detail, it also holds an otherworldly quality. </p>
<p>Pareroultja is a Western Aranda man, so those who know Namatjira’s country will find the subject matter to be familiar. It is no longer a surprise to find Aboriginal artists being awarded the Wynne Prize, but this is the first time a painting that belongs to the same visual tradition as well as the same cultural tradition as Namatjira has been so honoured.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/359959/original/file-20200925-24-1rvf11l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Australian landscape painting" src="https://images.theconversation.com/files/359959/original/file-20200925-24-1rvf11l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/359959/original/file-20200925-24-1rvf11l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/359959/original/file-20200925-24-1rvf11l.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/359959/original/file-20200925-24-1rvf11l.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/359959/original/file-20200925-24-1rvf11l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=565&fit=crop&dpr=1 754w, https://images.theconversation.com/files/359959/original/file-20200925-24-1rvf11l.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=565&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/359959/original/file-20200925-24-1rvf11l.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=565&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Tjoritja (West MacDonnell Ranges, NT), winner of the 2020 Wynne Prize, by Hubert Pareroultja.</span>
<span class="attribution"><span class="source">AGNSW/Mim Stirling</span></span>
</figcaption>
</figure>
<h2>Artists’ choice</h2>
<p>The <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/#:%7E:text=The%20Sulman%20Prize%20is%20awarded,figure%2Din%2Dlandscape%20themes.">Sulman Prize</a> is judged by an artist, and is more adventurous than the Archibald and Wynne. Khadim Ali awarded this year’s prize to <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/#:%7E:text=The%20Sulman%20Prize%20is%20awarded,figure%2Din%2Dlandscape%20themes.">Marikit Santiago for The divine</a>, a tribute to her three children. </p>
<p>They are painted as saints, gold haloes and all. She has consciously drawn on her heritage as a Filippina artist as well as the central place her children hold in her life. The work’s subjects even participated in creating its complex patterned background.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/359964/original/file-20200925-24-16mdvwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Painting of three children on green background." src="https://images.theconversation.com/files/359964/original/file-20200925-24-16mdvwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/359964/original/file-20200925-24-16mdvwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=891&fit=crop&dpr=1 600w, https://images.theconversation.com/files/359964/original/file-20200925-24-16mdvwm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=891&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/359964/original/file-20200925-24-16mdvwm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=891&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/359964/original/file-20200925-24-16mdvwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1120&fit=crop&dpr=1 754w, https://images.theconversation.com/files/359964/original/file-20200925-24-16mdvwm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1120&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/359964/original/file-20200925-24-16mdvwm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1120&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Marikit Santiago’s The divine, winner of the 2020 Sulman Prize.</span>
<span class="attribution"><span class="source">AGNSW/Jenni Carter</span></span>
</figcaption>
</figure>
<p>The Archibald and Wynne are judged on the morning of the announcements, but the Sulman is judged some time before. So Santiago was the only artist physically present when the chairman of the trustees, David Gonski, made his announcement. </p>
<p>Unlike previous years where the crush of journalists, artists, dealers and others associated with the event can induce claustrophobia, the gallery was dominated by television cameras and a crew at the bank of computers. The silence in the minutes before AGNSW Director Michael Brand introduced Gonski for the announcements was almost unnerving. The switch to the other winners, streamed live from their studios in the Northern Territory went without a hitch. It was an impressive production, this art prize in the time of COVID-19.</p>
<p><em>Archibald finalists will be on view at the <a href="https://www.artgallery.nsw.gov.au/">AGNSW</a> until January 10. They will then travel to the Tweed Regional Gallery & Margaret Olley Art Centre, Cairns Art Gallery, Griffith Regional Art Gallery, Broken Hill Regional Art Gallery, Shoalhaven Regional Gallery, and Penrith Regional Gallery.</em></p>
<p><em>Correction: An earlier version of this story stated that Vincent Namatjira was the grandson of Albert Namatjira. He is his great-grandson.</em></p><img src="https://counter.theconversation.com/content/146832/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has in the past received funding from the ARC.</span></em></p>
For the first time in its 99 year-history, the Archibald Prize has been won by an Indigenous painter. The Wynne and Sulman Prize winners also signal a time of change.
Joanna Mendelssohn, Principal Fellow (Hon), Victorian College of the Arts, University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/146295
2020-09-17T06:50:50Z
2020-09-17T06:50:50Z
‘The most refreshing Archibald exhibition I can remember’: the 2020 portrait prize finalists
<figure><img src="https://images.theconversation.com/files/358547/original/file-20200917-18-mnrx1z.jpg?ixlib=rb-1.1.0&rect=0%2C0%2C2957%2C2955&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Archibald Prize 2020 finalist Blak Douglas (aka Adam Hill),
Writing in the sand,
synthetic polymer paint on canvas, 250 x 250 cm © the artist
</span> <span class="attribution"><span class="source">Photo: AGNSW, Felicity Jenkins Sitter: Dujuan Hoosen - documentary star ('In my blood it runs')</span></span></figcaption></figure><p>The return of the Archibald Prize, albeit somewhat delayed, can be taken as a signal life in Sydney is returning to normal. Or maybe not. </p>
<p>The announcement of the finalists took place with a reduced media scrum, and likewise the eventual winners will share their moment of glory via a live stream camera. The traditional Archibald night reception will also be streamed to invitees who must provide their own champagne.</p>
<p>It may be that the enforced idleness of lockdown has concentrated artists’ minds, but this year there are not only a record number of entries (1,068) but 40% of the finalists are first time entrants. This includes Meyne Wyatt, the winner of the <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2020/30255/">packing room prize</a>. </p>
<p>The result is probably the most refreshing Archibald exhibition I can remember. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/358549/original/file-20200917-24-pbwtkf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/358549/original/file-20200917-24-pbwtkf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/358549/original/file-20200917-24-pbwtkf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=600&fit=crop&dpr=1 600w, https://images.theconversation.com/files/358549/original/file-20200917-24-pbwtkf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=600&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/358549/original/file-20200917-24-pbwtkf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=600&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/358549/original/file-20200917-24-pbwtkf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=755&fit=crop&dpr=1 754w, https://images.theconversation.com/files/358549/original/file-20200917-24-pbwtkf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=755&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/358549/original/file-20200917-24-pbwtkf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=755&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">James Powditch.
Once upon a time in Marrickville – Anthony Albanese, acrylic on paper and board, 190 x 190 cm © the artist</span>
<span class="attribution"><span class="source">Photo: AGNSW, Jenni Carter Sitter: Anthony Albanese — politician, federal member for Grayndler and leader of the Australian Labor Party</span></span>
</figcaption>
</figure>
<p>In the way of all things Archibald, some of the works have already been seen. Behrouz Boochani’s haunting, tortured eyes as painted by Angus McDonald, challenge Australia’s conscience. </p>
<p>His presence here is a reminder that the prize specifies “Australasia”, not Australia, so both New Zealand and Papua New Guinea are welcome. New Zealand is also represented by Jonathan Dalton’s portrait of fellow artist Angela Tiatia.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/358545/original/file-20200917-14-1o8bv11.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/358545/original/file-20200917-14-1o8bv11.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/358545/original/file-20200917-14-1o8bv11.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=418&fit=crop&dpr=1 600w, https://images.theconversation.com/files/358545/original/file-20200917-14-1o8bv11.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=418&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/358545/original/file-20200917-14-1o8bv11.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=418&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/358545/original/file-20200917-14-1o8bv11.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=526&fit=crop&dpr=1 754w, https://images.theconversation.com/files/358545/original/file-20200917-14-1o8bv11.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=526&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/358545/original/file-20200917-14-1o8bv11.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=526&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Angus McDonald, Behrouz Boochani, oil on canvas, 160 x 230 cm © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Mim Stirling Sitter: Behrouz Boochani - author, journalist, artist, academic</span></span>
</figcaption>
</figure>
<p>Wendy Sharpe, who won the Archibald in 1996, has captured both the comedy and the angst of Magda Szubanski, outlined against the bushfires that claimed last summer. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/358542/original/file-20200917-24-15vyec0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/358542/original/file-20200917-24-15vyec0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/358542/original/file-20200917-24-15vyec0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=746&fit=crop&dpr=1 600w, https://images.theconversation.com/files/358542/original/file-20200917-24-15vyec0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=746&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/358542/original/file-20200917-24-15vyec0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=746&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/358542/original/file-20200917-24-15vyec0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=937&fit=crop&dpr=1 754w, https://images.theconversation.com/files/358542/original/file-20200917-24-15vyec0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=937&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/358542/original/file-20200917-24-15vyec0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=937&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Wendy Sharpe, Magda Szubanski — comedy and tragedy, oil on linen, 183 x 147 cm © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>There are other media figures, most delightfully Yoshio Honjo’s portrait of Adam Liaw with Bream and James Powditch’s Once upon a time in Marrickville — Anthony Albanese, painted to look like the veteran fighter he is. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/358546/original/file-20200917-18-1muzv0c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/358546/original/file-20200917-18-1muzv0c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/358546/original/file-20200917-18-1muzv0c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=877&fit=crop&dpr=1 600w, https://images.theconversation.com/files/358546/original/file-20200917-18-1muzv0c.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=877&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/358546/original/file-20200917-18-1muzv0c.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=877&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/358546/original/file-20200917-18-1muzv0c.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1102&fit=crop&dpr=1 754w, https://images.theconversation.com/files/358546/original/file-20200917-18-1muzv0c.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1102&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/358546/original/file-20200917-18-1muzv0c.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1102&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Yoshio Honjo, Adam with bream, Japanese kozo paper, sumi ink and suihi-enogu (Japanese pigment), 124.5 x 92 cm.
© the artist</span>
<span class="attribution"><span class="source">Photo: AGNSW, Mim Stirling Sitter: Adam Liaw — chef, TV personality</span></span>
</figcaption>
</figure>
<p>Because the <a href="https://www.artgallery.nsw.gov.au/exhibitions/archibald-wynne-sulman-prizes-2020/">prize announcement</a> is made from a podium set up in the central court of the exhibition at the Art Gallery of New South Wales, this is the space where the winner is most likely to be hung.</p>
<p>The trustees of the gallery, who are the judges, don’t hang the exhibition but as the curator is present throughout their initial selection she knows which works most excited them. Almost certainly one of the works hanging in this room will be the winner. The trick is to work out which one.</p>
<h2>Four outstanding paintings</h2>
<p>There are four outstanding paintings in the central court, each painted in a different style. Three of them are by Aboriginal artists. The non-Aboriginal artist is Ramesh Mario Nithiyendran whose richly coloured, heavily textured self portrait is as cheeky as the artist.</p>
<p>Kaylene Whiskey’s Dolly visits Indulkana is a magical fantasy. She has long had a love of Dolly Parton and pop culture. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/358543/original/file-20200917-20-1qus2uy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/358543/original/file-20200917-20-1qus2uy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/358543/original/file-20200917-20-1qus2uy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=506&fit=crop&dpr=1 600w, https://images.theconversation.com/files/358543/original/file-20200917-20-1qus2uy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=506&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/358543/original/file-20200917-20-1qus2uy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=506&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/358543/original/file-20200917-20-1qus2uy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=636&fit=crop&dpr=1 754w, https://images.theconversation.com/files/358543/original/file-20200917-20-1qus2uy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=636&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/358543/original/file-20200917-20-1qus2uy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=636&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2020 finalist Kaylene Whiskey’s Dolly visits Indulkana.
acrylic on linen with plastic jewels, 167.5 x 168.5 cm © the artist</span>
<span class="attribution"><span class="source">Photo: AGNSW, Mim Stirling Sitter: Kaylene Whiskey - artist</span></span>
</figcaption>
</figure>
<p>Her delightful naive style is complemented by other equally innocent works hung nearby. There is Emily Crockford’s Self-portrait with Daddy in the daisies watching the field of planes, Sleeping Beauty, Marc Etherington’s mordant portrait of Michael Reid as the undead, Neil Tomkins and Digby Webster’s joint portrait of the Ernest brothers and Tiger Yaltangki’s exhuberant Self-portrait.</p>
<p>Vincent Namatjira has been a finalist several times, and has also won other major art prizes. His lush, painterly style is far removed from that of his great-grandfather Albert Namatjira, and he is also more openly political. This year his subject is a double portrait of himself with Adam Goodes, Stand Strong For Who You Are. </p>
<p>Goodes is shown in various guises — playing football, lifting his shirt to show he is black and proud, and with the Aboriginal flag. In any other year this would be the stand out entry and a shoo-in for the prize.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/358544/original/file-20200917-16-w76lbn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/358544/original/file-20200917-16-w76lbn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/358544/original/file-20200917-16-w76lbn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=461&fit=crop&dpr=1 600w, https://images.theconversation.com/files/358544/original/file-20200917-16-w76lbn.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=461&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/358544/original/file-20200917-16-w76lbn.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=461&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/358544/original/file-20200917-16-w76lbn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=580&fit=crop&dpr=1 754w, https://images.theconversation.com/files/358544/original/file-20200917-16-w76lbn.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=580&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/358544/original/file-20200917-16-w76lbn.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=580&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Vincent Namatjira, Stand strong for who you are, acrylic on linen, 152 x 198 cm.
© the artist</span>
<span class="attribution"><span class="source">Photo: AGNSW, Mim Stirling Sitter: Adam Goodes - former professional Australian rules footballer; Vincent Namatjira - artist</span></span>
</figcaption>
</figure>
<p>But this isn’t any other year. The room, and the exhibition, is dominated by Writing in the sand, by Blak Douglas (aka Adam Hill). The subject is Dujuan Hoosen, the young hero of the 2019 documentary <a href="https://inmyblooditruns.com/">In My Blood It Runs</a> shot in Mparntwe (Alice Springs), Sandy Bore Homeland and Borroloola Community, Northern Territory. </p>
<p>Hoosen’s head fills most of picture, staring out, but his eyes are strangely dead. Blak Douglas has painted them in the tiniest of dotted, concentric circles. The background implies traditional Aboriginal patterning, but on a closer look it contains written text containing Hoosen’s indictment of the white school system and the teaching that eradicates his culture. By any measure this is a major work.</p>
<p>Aboriginal subjects form a significant grouping this year. They include Thea Anamara Perkins’ portrait of the Gadigal elder Charles Madden, Julie Fragar’s portrait of the veteran activist artist Richard Bell and Craig Ruddy’s portrait of Bruce Pascoe. Both Ruddy and Louise Hearman, who has entered a portrait of Barry Jones, are previous winners.</p>
<p>Most years, the Archibald is worth seeing as an amusing exercise in social history. This year it is worth viewing for the art.</p>
<p><em>After next week’s judgement, the finalists will be on view at the AGNSW until January 10. They will then travel to the Tweed Regional Gallery & Margaret Olley Art Centre, Cairns Art Gallery, Griffith Regional Art Gallery, Broken Hill Regional Art Gallery, Shoalhaven Regional Gallery, and Penrith Regional Gallery.</em></p><img src="https://counter.theconversation.com/content/146295/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has previously received funding from the Australian Research Council</span></em></p>
Most years, the Archibald exhibition is worth viewing as an amusing exercise in social history. This year it is worth seeing for the art.
Joanna Mendelssohn, Principal Fellow (Hon), Victorian College of the Arts, University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/116807
2019-05-10T06:46:14Z
2019-05-10T06:46:14Z
The zen of portraiture: Tony Costa wins the 2019 Archibald Prize
<figure><img src="https://images.theconversation.com/files/273733/original/file-20190510-183089-241kun.jpg?ixlib=rb-1.1.0&rect=0%2C24%2C2684%2C1505&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Archibald Prize 2019 winner, Tony Costa, 'Lindy Lee', oil on canvas, 182.5 x 152 cm, © the artist.</span> <span class="attribution"><span class="source">Photo: AGNSW, Felicity Jenkins Sitter: Lindy Lee - artist</span></span></figcaption></figure><p>Tony Costa’s portrait of fellow artist <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30110/">Lindy Lee</a> has won the 2019 Archibald Prize. His subject, <a href="https://www.lindylee.net/about-1">Lindy Lee</a> is both one of Australia’s most distinguished artists and a former trustee of the Art Gallery of New South Wales. Costa has painted her wearing a traditional robe, in meditation, a reminder of both her Chinese heritage and her Zen Buddhist faith.</p>
<p>The annual announcement of the Archibald Prize is one of Sydney’s great spectacles. There is the crowd of journalists, photographers, television crew, some of the artists, their dealers, friends and many of the subjects. </p>
<p>Those of us who have been here before try to read the runes in the positioning of the podium from where the announcement is made. </p>
<p>This year it is directly in front of David Griggs’ large portrait of Alexie Glass-Kantor. That means this was not in the final group of works to be considered, as cameras require an uncluttered view of the winner the instant it is announced. No furniture can get in the way.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/273748/original/file-20190510-183086-xy8nve.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/273748/original/file-20190510-183086-xy8nve.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/273748/original/file-20190510-183086-xy8nve.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=740&fit=crop&dpr=1 600w, https://images.theconversation.com/files/273748/original/file-20190510-183086-xy8nve.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=740&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/273748/original/file-20190510-183086-xy8nve.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=740&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/273748/original/file-20190510-183086-xy8nve.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=931&fit=crop&dpr=1 754w, https://images.theconversation.com/files/273748/original/file-20190510-183086-xy8nve.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=931&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/273748/original/file-20190510-183086-xy8nve.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=931&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Sulman Prize 2019 winner, McLean Edwards, ‘The first girl that knocked on his door’, oil on canvas, 153 x 122.5 cm, © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>The Chairman of Trustees, David Gonski, is one of the most experienced of showmen, and knows how to string out an announcement. He starts with the lesser prizes. First, the Sulman, judged this year by Fiona Lowry, awarded to McLean Edwards for<a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2019/30050/"> The first girl that knocked on his door</a>, an almost plaintive expression of emotional vulnerability.</p>
<p>Then he slowly moves onto the Wynne, teasing the waiting journalists with the two lesser prizes – the Trustees’ Watercolour Prize goes to Robyn Sweaney for her country cottage, <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2019/30094/">Perfect Uncertainty</a>. This is followed by the awarding of the Roberts Family Prize to Noŋgirrŋa Marawili for <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2019/30087/">Pink Lightning</a>, a luminous account of the lightning snake that spits fire into the sky in her Baraltja country.</p>
<p>The Wynne Prize goes to Sylvia Ken who, with her sisters, was awarded the same prize in 2016. Her subject, <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2019/30083/">Seven Sisters</a>, is one of the great <a href="https://theconversation.com/songlines-tracking-the-seven-sisters-is-a-must-visit-exhibition-for-all-australians-89293">songlines</a> of Aboriginal Australia.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/273749/original/file-20190510-183106-1mcl1p5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/273749/original/file-20190510-183106-1mcl1p5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/273749/original/file-20190510-183106-1mcl1p5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=498&fit=crop&dpr=1 600w, https://images.theconversation.com/files/273749/original/file-20190510-183106-1mcl1p5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=498&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/273749/original/file-20190510-183106-1mcl1p5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=498&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/273749/original/file-20190510-183106-1mcl1p5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=626&fit=crop&dpr=1 754w, https://images.theconversation.com/files/273749/original/file-20190510-183106-1mcl1p5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=626&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/273749/original/file-20190510-183106-1mcl1p5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=626&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Wynne Prize 2019 winner, Sylvia Ken, ‘Seven Sisters’, acrylic on linen, 200x240cm, © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Jenni Carter</span></span>
</figcaption>
</figure>
<p>And now, for the big one, the room goes silent. Gonski thanks all 919 people who entered the prize. It’s a reminder of the achievement of the 51 who have been selected to hang. He points out how arduous the process of judging has been and highly commends Jude Rae’s portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30138/">Sarah Peirse as Miss Docker in Patrick White’s A cheery soul</a>. Rae’s portrait captures the actor in character, isolated on the stage. Not getting the prize, but being signalled out for praise, is a good omen for future years.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/puckish-charm-and-no-politicians-the-2019-archibald-prize-116346">Puckish charm and no politicians: the 2019 Archibald Prize</a>
</strong>
</em>
</p>
<hr>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/273733/original/file-20190510-183089-241kun.jpg?ixlib=rb-1.1.0&rect=0%2C24%2C2684%2C1505&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/273733/original/file-20190510-183089-241kun.jpg?ixlib=rb-1.1.0&rect=0%2C24%2C2684%2C1505&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/273733/original/file-20190510-183089-241kun.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=721&fit=crop&dpr=1 600w, https://images.theconversation.com/files/273733/original/file-20190510-183089-241kun.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=721&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/273733/original/file-20190510-183089-241kun.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=721&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/273733/original/file-20190510-183089-241kun.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=906&fit=crop&dpr=1 754w, https://images.theconversation.com/files/273733/original/file-20190510-183089-241kun.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=906&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/273733/original/file-20190510-183089-241kun.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=906&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2019 winner, Tony Costa, ‘Lindy Lee’, oil on canvas, 182.5 x 152 cm, © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<p>But as Gonski says, there is only one winner. This is the fourth time Costa has been an Archibald finalist, so he fits the criteria of recent winners. </p>
<p>There is a tranquility to this painting, echoing the meditative quality of Lee’s own work. Costa has painted a portrait that is both a reflection of his subject’s culture, faith, and approach to making art. </p>
<p>The strong lines that define the shapes within the painting almost appear to quote archaic prints. It’s a similar approach to that taken by Costa in previous portraits, notably last year’s portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29940/">Claudia Chan Shaw</a> and <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29829/">Simon Chan</a> in 2017.</p>
<p>As Archibald Winner, Tony Costa is in for a dizzying time of feasting and fun, but that will fade with the next news cycle. The real impact of the prize will last a lifetime. </p>
<p>The 1985 winner, Guy Warren, was able to buy a studio in Leichhardt with his winnings. Sadly, even with the decline of Sydney real estate, the prize money (now $100,000) won’t go so far these days. But there will most likely be future portrait commissions, successful exhibitions, and a slightly less precarious life for the artist.</p><img src="https://counter.theconversation.com/content/116807/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has previously received funding from the Australian Research Council </span></em></p>
The annual announcement of the Archibald Prize is one of Sydney’s great spectacles. This year’s winning portrait depicts one of Australia’s leading artists, Lindy Lee.
Joanna Mendelssohn, Honorary Associate Professor, Art & Design: UNSW Australia. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/116346
2019-05-03T04:12:55Z
2019-05-03T04:12:55Z
Puckish charm and no politicians: the 2019 Archibald Prize
<figure><img src="https://images.theconversation.com/files/272423/original/file-20190503-103053-1hiwb2r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Detail from Archibald Prize 2019 finalist Keith Burt,
'Benjamin Law: happy sad' oil on canvas, 59.5 x 59.5 cm, © the artist.</span> <span class="attribution"><span class="source">Photo: AGNSW, Jenni Carter Sitter: Benjamin Law - author, journalist and broadcaster</span></span></figcaption></figure><p>In a continuation of a <a href="https://theconversation.com/the-archibald-finalists-and-why-tony-albert-deserves-to-win-81254">recent trend</a>, there are no politicians in this year’s Archibald Prize. The last time a portrait of a politician was awarded the prize was in 1992, when Bryan Westwood’s portrayal of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1991-92/">Paul Keating’s Zegna suit</a>, as worn by the then Prime Minister, was given the gong. </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/272378/original/file-20190502-103060-18jtbnm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/272378/original/file-20190502-103060-18jtbnm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/272378/original/file-20190502-103060-18jtbnm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=698&fit=crop&dpr=1 600w, https://images.theconversation.com/files/272378/original/file-20190502-103060-18jtbnm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=698&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/272378/original/file-20190502-103060-18jtbnm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=698&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/272378/original/file-20190502-103060-18jtbnm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=877&fit=crop&dpr=1 754w, https://images.theconversation.com/files/272378/original/file-20190502-103060-18jtbnm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=877&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/272378/original/file-20190502-103060-18jtbnm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=877&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2019 finalist Angus McDonald, ‘Mariam Veiszadeh’, oil on canvas, 73.5x63cm, © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Mim Stirling Sitter: Mariam Veiszadeh - lawyer, writer, and diversity and inclusion advocate</span></span>
</figcaption>
</figure>
<p>The closest we get to actual political figures is with studies of journalists and political commentators, including a strange little portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30148/">Leigh Sales</a>, and Jordan Richardson’s portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30139/">Annabel Crabb</a>, looking like a particularly severe Greek goddess. </p>
<p>Keith Burt’s portrait of journalist <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30105/">Benjamin Law</a> manages to imply a Puckish charm, while Angus McDonald has painted lawyer <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30129/">Mariam Veiszadeh</a> as Vermeer’s <a href="https://www.mauritshuis.nl/en/explore/the-collection/artworks/girl-with-a-pearl-earring-670/">Girl with a Pearl Earring</a>.</p>
<p>The importance of the Archibald goes beyond its status as an instant snapshot of Australian social history. Forty years ago, after the newly appointed Director Edmund Capon and New South Wales premier Neville Wran combined to reform the governance of the Art Gallery of New South Wales, this annual prize fest is the only time the Gallery’s Trustees can express their own taste in art.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/272373/original/file-20190502-103075-1kbssdg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/272373/original/file-20190502-103075-1kbssdg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/272373/original/file-20190502-103075-1kbssdg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=735&fit=crop&dpr=1 600w, https://images.theconversation.com/files/272373/original/file-20190502-103075-1kbssdg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=735&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/272373/original/file-20190502-103075-1kbssdg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=735&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/272373/original/file-20190502-103075-1kbssdg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=923&fit=crop&dpr=1 754w, https://images.theconversation.com/files/272373/original/file-20190502-103075-1kbssdg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=923&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/272373/original/file-20190502-103075-1kbssdg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=923&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2019 finalist Jordan Richardson, ‘Annabel’, oil on aluminium composite panel 76.5 x 63 cm, © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Jenni Carter Sitter: Annabel Crabb - political journalist, commentator and television host</span></span>
</figcaption>
</figure>
<p>In the past it was possible to work out the most likely winner from where the work was displayed, but this is no longer the case. The Trustees have selected the 51 Archibald and 29 Wynne finalists and will deliver their final judgement on May 10 – but they did not hang the exhibition. The Archibald, Wynne and <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/">Sulman</a> prizes are hung at the direction of the curator, Anne Ryan. </p>
<p>This year Ryan has privileged the Sulman Prize entries, “for subject painting, genre painting or mural project” – in other words, something with figures in it. These are often the most interesting works in the exhibition but, as the prize money is less, they have in the past been shunted into the final room. </p>
<p>This year visitors enter the exhibition to the sight of a very interesting Ken Done, <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2019/30049/">Dive 3</a>, which hangs adjacent to Noel McKenna’s whimsical <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2019/30058/">Apartment</a>. The viewer is also confronted by Abdul Abdullah’s <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2019/30043/">Everything ever all at once</a>.</p>
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<a href="https://images.theconversation.com/files/272398/original/file-20190503-103063-1nvcfrv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/272398/original/file-20190503-103063-1nvcfrv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/272398/original/file-20190503-103063-1nvcfrv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=796&fit=crop&dpr=1 600w, https://images.theconversation.com/files/272398/original/file-20190503-103063-1nvcfrv.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=796&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/272398/original/file-20190503-103063-1nvcfrv.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=796&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/272398/original/file-20190503-103063-1nvcfrv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1001&fit=crop&dpr=1 754w, https://images.theconversation.com/files/272398/original/file-20190503-103063-1nvcfrv.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1001&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/272398/original/file-20190503-103063-1nvcfrv.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1001&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Sulman Prize 2019 finalist Abdul Abdullah, ‘Everything ever all at once’ oil on linen.
238.5 x 180 cm, © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<h2>The return of the Archibald</h2>
<p>The reconfiguring of the exhibition means that the Archibald has returned to the central exhibiting gallery. All the portraits in this room are of artists and those who enable art – this is perhaps not surprising as portraits of artists are the majority of the chosen entries.</p>
<p>However there is a special poignancy in John Beard’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30102/">Edmund (+ Bill)</a>, a precisely pixelated portrait of the late Edmund Capon with a Bill Henson photograph. This hangs opposite David Griggs’ frenetic <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30122/">Tracing the antiquity of Jewish alchemy with Alexie Glass-Kantor</a>. Here, the Mona Lisa-like tranquility of the woman best described as the powerhouse of contemporary curatorship, is overladen with the chaotic elements that turn angst into exhibitions. It is a face-off of two generations of cultural leadership. </p>
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<a href="https://images.theconversation.com/files/272401/original/file-20190503-103057-jqhfsd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/272401/original/file-20190503-103057-jqhfsd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/272401/original/file-20190503-103057-jqhfsd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=588&fit=crop&dpr=1 600w, https://images.theconversation.com/files/272401/original/file-20190503-103057-jqhfsd.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=588&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/272401/original/file-20190503-103057-jqhfsd.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=588&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/272401/original/file-20190503-103057-jqhfsd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=738&fit=crop&dpr=1 754w, https://images.theconversation.com/files/272401/original/file-20190503-103057-jqhfsd.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=738&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/272401/original/file-20190503-103057-jqhfsd.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=738&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2019 finalist, David Griggs, ‘Tracing the antiquity of Jewish alchemy with Alexie Glass-Kantor’, oil on canvas, diptych, each panel 290 x 148.5 cm, © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Jenni Carter</span></span>
</figcaption>
</figure>
<p>Vincent Namatjira’s appropriately named <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30134/">Art is our weapon – portrait of Tony Albert</a> is surprisingly quiet in comparison with his previous entry. Albert is a master of cloaking intense political engagement with an unassuming persona, and Namatjira captures that well.</p>
<p>I really admire Blak Douglas’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30116/">White shells, black heart</a>, a large portrait face of Eora artist Esme Timbery. There are real shells embedded into the background behind that study of a wise old woman. </p>
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<a href="https://images.theconversation.com/files/272383/original/file-20190502-103060-3opkme.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/272383/original/file-20190502-103060-3opkme.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/272383/original/file-20190502-103060-3opkme.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=602&fit=crop&dpr=1 600w, https://images.theconversation.com/files/272383/original/file-20190502-103060-3opkme.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=602&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/272383/original/file-20190502-103060-3opkme.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=602&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/272383/original/file-20190502-103060-3opkme.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=757&fit=crop&dpr=1 754w, https://images.theconversation.com/files/272383/original/file-20190502-103060-3opkme.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=757&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/272383/original/file-20190502-103060-3opkme.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=757&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2019 finalist, Blak Douglas, ‘White shells, black heart’ synthetic polymer paint and shells 195 x 195 cm, © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Felicity Jenkins Sitter: Aunty Esme Timbery - artist</span></span>
</figcaption>
</figure>
<p>Blak Douglas is also hung in the Wynne Prize – in collaboration with the late Elaine Russell, <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2019/30080/">Ashes, damper and kangaroo stew for dinner</a>. Douglas was given permission to complete the work after her death, which means the resulting work is an interesting cross-generation, cross-cultural synthesis. </p>
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<a href="https://images.theconversation.com/files/272406/original/file-20190503-103068-xart5p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/272406/original/file-20190503-103068-xart5p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/272406/original/file-20190503-103068-xart5p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=962&fit=crop&dpr=1 600w, https://images.theconversation.com/files/272406/original/file-20190503-103068-xart5p.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=962&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/272406/original/file-20190503-103068-xart5p.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=962&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/272406/original/file-20190503-103068-xart5p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1208&fit=crop&dpr=1 754w, https://images.theconversation.com/files/272406/original/file-20190503-103068-xart5p.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1208&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/272406/original/file-20190503-103068-xart5p.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1208&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Wynne Prize 2019 finalist, Glen Clarke, ‘Australian warhead with rising tide of human rights abuses’, origami shirts folded from world currencies on cotton thread, 223x121cmx77cm, © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<p>This year’s Wynne has some truly eccentric entries, including Glen Clarke’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2019/30077/">Australian warhead with rising tide of human rights abuses</a>, a sculpture consisting of origami shirts made of bank notes. </p>
<p>There is also Noŋgirrŋa Marawili’s exquisite <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2019/30087/">Pink Lightning</a>, a bark painting that evokes the lightning over the sea. Its intense magenta tone comes from discarded printer cartridges, a creative form of recycling. It hangs in the same room as Jun Chen’s painterly <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2019/30076/">Magnolia Trees</a>. Both beautiful evocations of place, painted in completely different styles.</p>
<p>Most visitors to the exhibitions will, however, concentrate their gaze on the Archibald entries. They will compare media images of artistic director of Queensland Ballet <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30107/">Li Cunxin</a>, playwright <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30124/">Nakkiah Lui</a>, and actors <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30128/">Madeleine Madden</a> and <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30138/">Sarah Peirse</a>, among others, with the artist’s interpretations.</p>
<p>One of these, Tessa MacKay’s portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2019/30130/">David Wenham</a>, has already been awarded the Packing Room Prize, an award that reflects the taste of Brett Cuthbertson, the man in charge of those who handle the art (and artists). </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/272380/original/file-20190502-103053-y3w59.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/272380/original/file-20190502-103053-y3w59.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/272380/original/file-20190502-103053-y3w59.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=381&fit=crop&dpr=1 600w, https://images.theconversation.com/files/272380/original/file-20190502-103053-y3w59.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=381&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/272380/original/file-20190502-103053-y3w59.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=381&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/272380/original/file-20190502-103053-y3w59.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=478&fit=crop&dpr=1 754w, https://images.theconversation.com/files/272380/original/file-20190502-103053-y3w59.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=478&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/272380/original/file-20190502-103053-y3w59.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=478&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Archibald Prize 2019 finalist, Tessa Mackay, ‘Through the looking glass’ oil on linen.
210 x 330.5 cm, © the artist.</span>
<span class="attribution"><span class="source">Photo: AGNSW, Mim Stirling Sitter: David Wenham - actor</span></span>
</figcaption>
</figure>
<p>Every artist whose work has been hung is already a winner. They are the small minority of 107, selected from a field of 2176 entries. The public exposure they receive from having their work on view both at the gallery – and the subsequent national tour – inevitably leads to invitations to exhibit and commissions from private collectors. </p>
<p>As well as being invited to the official announcement and opening party, there are a number of discreet social events organised by the gallery. Here they have the opportunity to get to know each other, and potential future patrons. This extra level of support encourages a community of artists, something to be valued in an otherwise competitive contest.</p>
<hr>
<p><em>The winners of the Archibald, Wynne, Sulman Prizes 2019 will be announced on May 10. Finalists will be exhibited at the <a href="https://www.artgallery.nsw.gov.au/exhibitions/archibald-wynne-sulman-prizes-2019/?gclid=EAIaIQobChMI1Y-w6__94QIVjomPCh1aAQGIEAAYASAAEgL7ZfD_BwE">Art Gallery of New South Wales</a> from May 11 to September 8.</em></p><img src="https://counter.theconversation.com/content/116346/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has in the past received funding from the Australian Research Council.</span></em></p>
Perhaps as a reflection of the current state of national affairs, this year’s Archibald Prize exhibition is a politician-free zone.
Joanna Mendelssohn, Honorary Associate Professor, Art & Design: UNSW Australia. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/111074
2019-02-28T19:13:19Z
2019-02-28T19:13:19Z
Friday essay: Nora Heysen, more than her father’s daughter
<figure><img src="https://images.theconversation.com/files/261177/original/file-20190227-150702-md0373.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Nora Heysen, Self-portrait 1934 oil on canvas 43.1 x 36.3 cm
</span> <span class="attribution"><span class="source">National Portrait Gallery, Canberra Purchased 1999 © Lou Klepac</span></span></figcaption></figure><p>When Nora Heysen’s portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1938/16506/">Madame Elink Schuurman</a> was awarded the 1938 Archibald Prize, the Sydney Sun’s headline was <a href="https://trove.nla.gov.au/newspaper/article/229484688">Girl Makes History, Girl artist takes Archibald Prize</a>.</p>
<p>The story began, “Miss Nora Heysen, daughter of the famous Adelaide landscape painter, Hans Heysen,..” The writer was more interested in stating the importance of Hans Heysen as “the incomparable painter of the Australian gum-tree” than in the artist who won the prize.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/261178/original/file-20190227-150694-195kguk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261178/original/file-20190227-150694-195kguk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/261178/original/file-20190227-150694-195kguk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=833&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261178/original/file-20190227-150694-195kguk.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=833&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261178/original/file-20190227-150694-195kguk.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=833&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261178/original/file-20190227-150694-195kguk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1047&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261178/original/file-20190227-150694-195kguk.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1047&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261178/original/file-20190227-150694-195kguk.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1047&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Harold Cazneaux, Hans Heysen in his studio 1935 gelatin-silver photograph.
25.9 x 19.0 cm (image & sheet)</span>
<span class="attribution"><span class="source">Gift of the Cazneaux Family 1978 Art Gallery of South Australia, Adelaide</span></span>
</figcaption>
</figure>
<p>With a name as famous as “Heysen”, Nora could never escape the presence of her father. The media was also fascinated by her gender. Nora Heysen was the first woman to be awarded the Archibald, the most lucrative of all Australian art prizes, judged by a conservative arts establishment consisting entirely of men. </p>
<p>While some previous Archibald winners are familiar to students of Australian art history, it is fair to say that <a href="https://www.artgallery.nsw.gov.au/collection/works/952a/">Ernest Buckmaster</a>, <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1923/17374/">W B McInnes</a> and <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1930/19252/">Charles Wheeler</a> are today less highly regarded than they were in their lifetimes. </p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/261176/original/file-20190227-150724-wxj8co.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261176/original/file-20190227-150724-wxj8co.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/261176/original/file-20190227-150724-wxj8co.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=751&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261176/original/file-20190227-150724-wxj8co.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=751&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261176/original/file-20190227-150724-wxj8co.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=751&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261176/original/file-20190227-150724-wxj8co.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=944&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261176/original/file-20190227-150724-wxj8co.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=944&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261176/original/file-20190227-150724-wxj8co.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=944&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nora Heysen, Self-portrait 1932 oil on canvas,
76.2 x 61.2 cm.</span>
<span class="attribution"><span class="source">Art Gallery of New South Wales, Sydney Gift of Howard Hinton 1932 © Lou Klepac</span></span>
</figcaption>
</figure>
<p>Yet these men were awarded the Archibald at the same time as today’s heroines of Australian modernism – Grace Cossington Smith, Grace Crowley and Dorrit Black – were working in obscurity.</p>
<p>Cossington Smith, despite regularly exhibiting her work, was most commonly seen as a “lady amateur”. Black founded the Modern Art Centre in Sydney before returning to her native Adelaide in 1935, yet in her lifetime she was totally ignored by the art establishment.</p>
<p>Crowley, who initially worked with Black, joined with Rah Fizelle to create the Crowley-Fizelle school. By the late 1930s, this was the principal centre for modernist painting and the nursery for abstract art in this country. The pair received so little attention that towards the end of Crowley’s life she described herself and her colleagues as being “the most extinguished artists” in Australia.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/261177/original/file-20190227-150702-md0373.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261177/original/file-20190227-150702-md0373.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/261177/original/file-20190227-150702-md0373.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=738&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261177/original/file-20190227-150702-md0373.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=738&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261177/original/file-20190227-150702-md0373.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=738&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261177/original/file-20190227-150702-md0373.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=928&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261177/original/file-20190227-150702-md0373.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=928&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261177/original/file-20190227-150702-md0373.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=928&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nora Heysen, Self-portrait 1934 oil on canvas 43.1 x 36.3 cm.</span>
<span class="attribution"><span class="source">National Portrait Gallery, Canberra Purchased 1999 © Lou Klepac</span></span>
</figcaption>
</figure>
<p>Those women artists, such as Margaret Preston and Thea Proctor who did have a public presence, were recognised more for their “decorative” graphic art than for the “serious” business of portraits or landscapes. </p>
<p>Heysen was not the only woman painting in an academic tradition to exhibit in the 1938 Archibald Prize exhibition. The <a href="https://trove.nla.gov.au/newspaper/article/17551948/1174664">Sydney Morning Herald’s</a> review noted portraits by <a href="https://www.daao.org.au/bio/tempe-manning/biography/">Tempe Manning</a>, <a href="https://www.daao.org.au/bio/dora-l-wilson/biography/">Dora Wilson</a> and <a href="https://www.daao.org.au/bio/violet-m-mcinnes/biography/">Violet McInnes</a>. The critic, Kenneth Wilkinson, paid special attention to the self-portrait by <a href="https://www.daao.org.au/bio/mary-edwards/biography/">Mary Edwards</a>, claiming that “the canvas has been painted with much sensitivity and feeling”.</p>
<p>He was not so kind to most of the other entries, describing them as “drab”. However:</p>
<blockquote>
<p>In the midst of these sober surroundings Miss Heysen’s portrait stands out in joyous style. It is not a masterpiece in the sense that the late George Lambert’s character studies were masterpieces, but it contains many fine qualities. The hands have a tender fragility that depends on clever use of paint. The figure has a concentrated poise which accords with the Oriental gown Madame Schuurman is wearing. The reflected lights in the skin are many and complex. The red curtain is bold, yet warm, and the area of green at the left shimmers with lovely light.</p>
</blockquote>
<p>It was not surprising that it had taken the Trustees only an hour to find the winner. Heysen had also submitted a more conventional portrait of a barrister, but the Trustees had been entranced by the beautiful Eurasian woman with a Chinese cloak. As Nora later <a href="https://trove.nla.gov.au/version/37665759">noted</a>, “They gave it to the woman because she looked so beautiful. They were all men judges.”</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/261329/original/file-20190227-150694-1ways1y.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261329/original/file-20190227-150694-1ways1y.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/261329/original/file-20190227-150694-1ways1y.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=772&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261329/original/file-20190227-150694-1ways1y.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=772&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261329/original/file-20190227-150694-1ways1y.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=772&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261329/original/file-20190227-150694-1ways1y.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=971&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261329/original/file-20190227-150694-1ways1y.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=971&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261329/original/file-20190227-150694-1ways1y.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=971&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Madame Elink Schuurman 1938 oil on canvas: 87 x 68 cm. Private collection .</span>
<span class="attribution"><span class="source">Reproduced in Catherine Speck's 'Heysen to Heysen: Selected letters of Hans Heysen and Nora Heysen', newly reprinted by Wakefield Press.</span></span>
</figcaption>
</figure>
<h2>A different path</h2>
<p>Although Nora Heysen had first learnt to draw in her father’s studio, her mature work owes more to subsequent studies in London where she met the artist <a href="https://www.tate.org.uk/art/research-publications/camden-town-group/lucien-pissarro-r1105344">Lucien Pissarro</a>. He told her to, “Do away with the earth colours”. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/261183/original/file-20190227-150688-uacmun.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261183/original/file-20190227-150688-uacmun.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/261183/original/file-20190227-150688-uacmun.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=529&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261183/original/file-20190227-150688-uacmun.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=529&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261183/original/file-20190227-150688-uacmun.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=529&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261183/original/file-20190227-150688-uacmun.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=665&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261183/original/file-20190227-150688-uacmun.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=665&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261183/original/file-20190227-150688-uacmun.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=665&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nora Heysen, London breakfast 1935 oil on canvas.
47.0 x 53.5 cm.</span>
<span class="attribution"><span class="source">National Gallery of Australia, Canberra Purchased 1996 © Lou Klepac</span></span>
</figcaption>
</figure>
<p>Later she visited Paris where she saw works by the Impressionists and as she said, “I was never the same again”.</p>
<p>When she returned to Australia, her father did not appreciate her new painterly style and colour cleansed of any brown tones. Despite their close and loving relationship, Hans Heysen never could understand his daughter’s need for a separate identity.</p>
<p>When she was in London, painting in an environment that defined her by her work rather than her family, she had begun to sign her name differently. When she sent works home to Australia to sell, she signed them “Nora H”. Her father thought she was being absent-minded and completed the signature as “Heysen”.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/261174/original/file-20190227-150705-1r0sejb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261174/original/file-20190227-150705-1r0sejb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/261174/original/file-20190227-150705-1r0sejb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=501&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261174/original/file-20190227-150705-1r0sejb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=501&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261174/original/file-20190227-150705-1r0sejb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=501&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261174/original/file-20190227-150705-1r0sejb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=629&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261174/original/file-20190227-150705-1r0sejb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=629&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261174/original/file-20190227-150705-1r0sejb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=629&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Harold Cazneaux, Portrait of Nora Heysen at work, 9th March, 1939.
gelatin silver photograph 18.5 x 14.2 cm.</span>
<span class="attribution"><span class="source">National Library of Australia</span></span>
</figcaption>
</figure>
<p>With her mother’s active support Nora Heysen quietly set herself on a distinctively different path. She settled in Sydney, far away from the <a href="http://www.hansheysen.com.au/">family home in Hahndorf</a>. Hans Heysen painted landscapes. Even though she was easily able to mimic Hans’s distinctive gum trees, Nora painted portraits. She once said, “I thought father had a copyright on the gum trees really”. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/261190/original/file-20190227-150688-vybtnp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261190/original/file-20190227-150688-vybtnp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/261190/original/file-20190227-150688-vybtnp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=467&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261190/original/file-20190227-150688-vybtnp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=467&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261190/original/file-20190227-150688-vybtnp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=467&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261190/original/file-20190227-150688-vybtnp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=586&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261190/original/file-20190227-150688-vybtnp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=586&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261190/original/file-20190227-150688-vybtnp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=586&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Hans Heysen, Droving into the light 1914–21 oil on canvas 155.0 x 122.0 cm.</span>
<span class="attribution"><span class="source">Art Gallery of Western Australia, Perth Gift of Mr W H Vincent, 1922 © C Heysen</span></span>
</figcaption>
</figure>
<p>Both of the Heysens painted flowers, but her bright clean tones often quoted 17th Century Dutch art, while his were more a continuation of his love of the French artist <a href="http://www.henri-fantin-latour.org">Henri Fantin-Latour</a>. </p>
<p>Heysen’s use of colour, as well as her family connections, meant that her works were readily accepted for exhibition at Sydney’s Society of Artists, where several prominent members were Trustees at the Art Gallery of New South Wales, and therefore judges of the Archibald prize.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/261184/original/file-20190227-150712-hp7opu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261184/original/file-20190227-150712-hp7opu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/261184/original/file-20190227-150712-hp7opu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=479&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261184/original/file-20190227-150712-hp7opu.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=479&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261184/original/file-20190227-150712-hp7opu.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=479&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261184/original/file-20190227-150712-hp7opu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=602&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261184/original/file-20190227-150712-hp7opu.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=602&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261184/original/file-20190227-150712-hp7opu.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=602&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nora Heysen, Corn cobs 1938 oil on canvas 40.5 x 51.3 cm.</span>
<span class="attribution"><span class="source">Art Gallery of New South Wales, Sydney Purchased 1987 © Lou Klepac</span></span>
</figcaption>
</figure>
<p>Still, after her win, most newspapers and magazines were more interested in Nora Heysen’s cooking, leisure and domestic activities than her art. According to the <a href="http://nla.gov.au/nla.news-article132163771">Adelaide News</a>:</p>
<blockquote>
<p>Marriage is beyond the ambit of Miss Heysen’s plans — it would interfere with her paintings, she said in Sydney today. Miss Heysen said there was no reason whatever why women should not be as good painters as men. ‘The difficulty is that they get married and are tied up to domestic life,’ she said. ‘I am going to stick to painting.’</p>
</blockquote>
<p>She knew the reality of what marriage meant to talented women artists. Her mother, the talented Selma Bartels, had abandoned art for domesticity and eight children. Heysen said, “I think at times she was bitter about it, that she’d given it all away.”</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/261188/original/file-20190227-150694-jd4r41.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261188/original/file-20190227-150694-jd4r41.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/261188/original/file-20190227-150694-jd4r41.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=422&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261188/original/file-20190227-150694-jd4r41.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=422&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261188/original/file-20190227-150694-jd4r41.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=422&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261188/original/file-20190227-150694-jd4r41.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=530&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261188/original/file-20190227-150694-jd4r41.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=530&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261188/original/file-20190227-150694-jd4r41.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=530&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nora Heysen, Eggs 1927 oil on canvas 36.6 x 52.5 cm.</span>
<span class="attribution"><span class="source">New England Regional Art Museum, Armidale The Howard Hinton Collection. Gift of Howard Hinton, 1933 © Lou Klepac</span></span>
</figcaption>
</figure>
<p>The artist Max Meldrum avoided commentary on Nora’s art after her win, but felt free to discuss the issue of gender with <a href="http://nla.gov.au/nla.news-article229483642">The Sun’s</a> reporter:</p>
<blockquote>
<p>“If I were a woman,” he said. “I would certainly prefer raising a healthy family to a
career in art.
….
A great artist has to tread a lonely road. He needs all the
manly qualities — courage, strength and endurance… I believe that such a life is unnatural and impossible for a woman.”</p>
</blockquote>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/261173/original/file-20190227-150705-a2xmjh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261173/original/file-20190227-150705-a2xmjh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/261173/original/file-20190227-150705-a2xmjh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=736&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261173/original/file-20190227-150705-a2xmjh.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=736&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261173/original/file-20190227-150705-a2xmjh.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=736&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261173/original/file-20190227-150705-a2xmjh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=925&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261173/original/file-20190227-150705-a2xmjh.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=925&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261173/original/file-20190227-150705-a2xmjh.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=925&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nora Heysen, Portrait study 1933 oil on canvas, 67.2 x 56.4 cm.
National Gallery of Victoria © Lou Klepac</span>
<span class="attribution"><span class="source">National Gallery of Victoria © Lou Klepac</span></span>
</figcaption>
</figure>
<p>The attack came as a surprise to the artist. In the aftermath of her win, she was commissioned to paint several portraits, including one of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1941/16508/">Lionel Lindsay</a>, commissioned by Sir James MacGregor. Both subject and patron had been Archibald judges. Although she enjoyed painting portraits of people she knew, she did not enjoy commissions. She said, “I’d rather go and make roads, I think, than paint commissioned portraits.” </p>
<p>In 1943, with MacGregor’s support, she became the first woman to be appointed an official <a href="https://www.awm.gov.au/advanced-search%20query=Nora%20Heysen&collection=true">Australian War Artist</a>. As well as painting portraits of many women serving in the armed forces, she travelled to New Guinea to record the activities of nurses in recaptured areas. She found the experience frustrating as often, “I couldn’t do the work that I wanted to do because you didn’t have the freedom to do it.” </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/261172/original/file-20190227-150724-chq4ey.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261172/original/file-20190227-150724-chq4ey.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/261172/original/file-20190227-150724-chq4ey.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=835&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261172/original/file-20190227-150724-chq4ey.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=835&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261172/original/file-20190227-150724-chq4ey.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=835&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261172/original/file-20190227-150724-chq4ey.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1050&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261172/original/file-20190227-150724-chq4ey.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1050&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261172/original/file-20190227-150724-chq4ey.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1050&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nora Heysen, Theatre Sister Margaret Sullivan 1944 oil on canvas.
91.8 x 66.0 cm.</span>
<span class="attribution"><span class="source">Australian War Memorial, Canberra © Lou Klepac</span></span>
</figcaption>
</figure>
<p>Because of the conditions under which she worked, most of the New Guinea works are drawings and small paintings. The heavily gendered nature of the Australian armed forces meant that she had little contact with other War artists, who were more closely embedded with the soldiers.</p>
<p>It was while she was in New Guinea that Heysen met the pathologist Dr Robert Black, who she described as “my first love affair”. He was married with a child and his wife was not willing to divorce. After the war they lived together in Sydney for some years, flouting convention and scandalising her family. In 1953, the day after Black’s divorce was finalised, they married. By then it was too late for her to have children. </p>
<p>Despite her earlier statement, she had always wanted a child and often made children the subject of her art. The couple moved to Hunters Hill, to house with a large garden and many cats, which was to be her home for the rest of her life. She described herself as “a general provider for animals and all the strays”, which came to her garden. Heysen accompanied Black on his research excursions to New Guinea and the Solomon Islands, which also became the subjects of her art.</p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/261170/original/file-20190227-150698-z4pka2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261170/original/file-20190227-150698-z4pka2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/261170/original/file-20190227-150698-z4pka2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=744&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261170/original/file-20190227-150698-z4pka2.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=744&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261170/original/file-20190227-150698-z4pka2.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=744&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261170/original/file-20190227-150698-z4pka2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=935&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261170/original/file-20190227-150698-z4pka2.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=935&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261170/original/file-20190227-150698-z4pka2.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=935&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nora Heysen, A bunch of flowers 1930, oil on canvas 46.2 x 38.0 cm.</span>
<span class="attribution"><span class="source">National Gallery of Victoria, Melbourne Bequest of Nora Heysen AM, 2005 © Lou Klepac</span></span>
</figcaption>
</figure>
<p>Marriage was less than conducive to the quality of Heysen’s art. She later described her work of that period as “uneven”. The 1950s, when the dominant narrative for women was domesticity, was not a good time to be a woman artist, or indeed a woman in any profession. After 20 years the marriage foundered, and Black moved to a new relationship. </p>
<p>Nora Heysen continued to paint, but faded from public view. She continued to hold occasional exhibitions, including a joint exhibition with her father in 1963. Her subjects were from her daily life: cats, flowers from the garden, friends’ children. </p>
<p>As her eyesight began to deteriorate she turned to drawing in pastels. In October 1962, the same year that her mother died, John Hetherington wrote an extended article on Nora Heysen, defining her as the daughter of a famous father. It was given the heading: “I don’t know if I exist in my own right”.</p>
<p>This was also the year of the first edition of Bernard Smith’s <a href="https://trove.nla.gov.au/work/14771695">Australian Painting</a>, the book that effectively defined Australian art for a generation. Nora Heysen was not mentioned. She had vanished from the official narrative of Australian art.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/261186/original/file-20190227-150712-49egvi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261186/original/file-20190227-150712-49egvi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/261186/original/file-20190227-150712-49egvi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=692&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261186/original/file-20190227-150712-49egvi.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=692&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261186/original/file-20190227-150712-49egvi.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=692&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261186/original/file-20190227-150712-49egvi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=870&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261186/original/file-20190227-150712-49egvi.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=870&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261186/original/file-20190227-150712-49egvi.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=870&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nora Heysen, Cedars interior (c. 1930) oil on canvas on composition board.
88.0 x 78.0 cm (framed)</span>
<span class="attribution"><span class="source">The Cedars, Hahndorf Nora Heysen Foundation © Lou Klepac</span></span>
</figcaption>
</figure>
<h2>Rediscovery</h2>
<p>The rediscovery of Nora Heysen’s art was triggered by the new wave feminism of the 1970s. Her work was included in the ground breaking exhibition <a href="https://trove.nla.gov.au/version/45707043">Australian Women Artists: One Hundred Years</a> of 1975. In 1985, she was given a small retrospective exhibition at the Old Clarendon Gallery in South Australia, a minor honour. </p>
<p>The first significant recognition of the range and strength of her art came in 1989 when Lou Klepac curated a full scale retrospective for the National Trust’s S.H. Ervin Museum and Art Gallery. She later said, “I’ve only just thought that I am a person, painter, in my own right since Lou Klepac discovered me and put on this retrospective show.” In 2000 Klepac curated a further Nora Heysen exhibition for the <a href="https://www.nla.gov.au/pub/ebooks/pdf/Nora%20Heysen.pdf">National Library of Australia</a>.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/261191/original/file-20190227-150712-1iqvifv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261191/original/file-20190227-150712-1iqvifv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/261191/original/file-20190227-150712-1iqvifv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=789&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261191/original/file-20190227-150712-1iqvifv.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=789&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261191/original/file-20190227-150712-1iqvifv.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=789&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261191/original/file-20190227-150712-1iqvifv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=991&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261191/original/file-20190227-150712-1iqvifv.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=991&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261191/original/file-20190227-150712-1iqvifv.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=991&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption"></span>
</figcaption>
</figure>
<p>Success breeds success. Nora Heysen’s significance as an official war artist meant that she was a dominant figure in the Australian War Memorial’s 1994 exhibition of women war artists. Her importance as a war artist was further recognised in 2014 when her painting, <a href="https://www.awm.gov.au/collection/ART24393">Transport Driver (Aircraftwoman Florence Miles)</a>, was selected as the cover image for Catherine Speck’s <a href="https://trove.nla.gov.au/version/209350355">Beyond the Battlefield: Women Artists of the Two World Wars</a>.</p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/261181/original/file-20190227-150698-m1uu4m.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/261181/original/file-20190227-150698-m1uu4m.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/261181/original/file-20190227-150698-m1uu4m.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=933&fit=crop&dpr=1 600w, https://images.theconversation.com/files/261181/original/file-20190227-150698-m1uu4m.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=933&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/261181/original/file-20190227-150698-m1uu4m.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=933&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/261181/original/file-20190227-150698-m1uu4m.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1173&fit=crop&dpr=1 754w, https://images.theconversation.com/files/261181/original/file-20190227-150698-m1uu4m.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1173&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/261181/original/file-20190227-150698-m1uu4m.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1173&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nora Heysen at 92, pictured in front of Hans Heysen’s Red Gold, Art Gallery of South Australia, 2003.</span>
<span class="attribution"><span class="source">Photo: Brenton Edwards © News Ltd</span></span>
</figcaption>
</figure>
<p>Speck had earlier written on Nora Heysen and the way in which father and daughter interacted in <a href="https://trove.nla.gov.au/work/38663504">Heysen to Heysen</a>, a detailed study of the father/daughter bond as recorded in their correspondence. </p>
<p>In 1993, Nora Heysen was honoured by an Australia Council Award for Achievement in the Arts; an Order of Australia came in 1998. The awards were recognition of her own achievements as an artist and the significance of an enduring career. She died in 2003 at the age of 92, still living in the house at Hunters Hill, embedded in its garden.</p>
<p>The National Gallery of Victoria’s new exhibition, <a href="https://www.ngv.vic.gov.au/exhibition/hans-and-nora-heysen/">Hans and Nora Heysen: Two generations of Australian Art</a> shows how their relationship was both a blessing and a curse. The Heysen name eased her path, but even in her greatest triumph she was still defined as being her father’s daughter.</p>
<p><em>The exhibition Hans and Nora Heysen: Two Generations of Australia Art is at the NGV Australia from March 8-July 28.</em></p><img src="https://counter.theconversation.com/content/111074/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has in the past received funding from The Australian Research Council.</span></em></p>
Nora Heysen was the first woman to be awarded the Archibald Prize, but for most of her life she was defined not by her art, but by her relationship to her famous father, the artist Hans Heysen.
Joanna Mendelssohn, Honorary Associate Professor, Art & Design: UNSW Australia. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/95936
2018-05-04T02:03:49Z
2018-05-04T02:03:49Z
The 2018 Archibald, Sulman and Wynne prizes show a changing of the guard
<figure><img src="https://images.theconversation.com/files/217686/original/file-20180504-153869-dwwwt8.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Detail from Tom Polo
'I once thought I'd do anything for you
(Joan)'
acrylic on canvas
152.5 x 101.5cm
</span> <span class="attribution"><span class="source">© the artist Photo: AGNSW, Felicity Jenkins</span></span></figcaption></figure><p>The Archibald Prize, which is in the process of being judged at the Art Gallery of New South Wales, has always been more about social history than art. The works hung are usually a fair selection of the interests of the <a href="https://www.artgallery.nsw.gov.au/about-us/people/agnsw-trust/">gallery trustees</a> who judge the prize. </p>
<p>On this measure, in 2018 the judges have shown their admiration for the introspection revealed by self-portraits as well as portraits of artists, actors and supporters of the arts, while bypassing possible images of corporate Australia. This favouring of the arts over business or politics for Archibald subject matter is not new; what is new (or at least fairly recent) is how the exhibition has been hung.</p>
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<figcaption>
<span class="caption">Jamie Preisz.
‘Jimmy (title fight)’
oil on canvas
153 x 116.5cm</span>
<span class="attribution"><span class="source">© the artist Photo: AGNSW, Jenni Carter</span></span>
</figcaption>
</figure>
<p>For over 90 years the Archibald Prize exhibition made life extremely easy for those wishing to predict the winner. Most of the entries were displayed in rooms easily defined as being for the also-rans. These included novelty entries painted as a humorous riff on the notion of great art, earnest academic portraits by those hoping to get an official portrait commission, as well as young artists who had been selected for the first time. </p>
<p>The only room that counted was in the middle of the exhibition space. This was where the podium was set up to announce the winner. </p>
<p>If a work was moved to the inner sanctum on the morning of the prize it was a sure sign that an outsider had won. In 2016 this cosy arrangement changed when Louise Hearman’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2016/29709/">Barry</a>, hanging in the outer court, was awarded the prize. Puzzled journalists could not at first locate it. The painting had been hung on an outside wall as the curator, Anne Ryan, valued aesthetics over tradition.</p>
<p>This year Ryan has eliminated all the old hierarchies. The central room is probably the least likely place to find the 2018 Archibald Prize winner. </p>
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<figcaption>
<span class="caption">Archibald Prize 2018 finalist.
Paul Jackson
‘Alison Whyte, a mother of the renaissance’ oil on linen
147 x 179cm</span>
<span class="attribution"><span class="source">© the artist Photo: AGNSW, Jenni Carter</span></span>
</figcaption>
</figure>
<p>It is, however, where visitors can find Mathew Lynn’s stylish but austere portrait of NSW Premier <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29970/">Gladys Berejiklian</a>, Paul Jackson’s theatrical <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29923/">Alison Whyte, a mother of the renaissance</a> and Robert Hannaford’s large <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29938/">self-portrait</a>, which hangs opposite the small <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29972/">Self-portrait</a> by his daughter Tsering Hannaford. The most interesting painting in this room is easily Jamie Preisz’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29937/">Jimmy (title fight</a>) which is a slightly gritty portrait of the rock star, awarded the Packing Room Prize. The Packing Room Prize winner is usually not given such prominence.</p>
<p>Viewers need to look throughout the whole exhibition and use their eyes to discover which works are most likely to be on the judges’ short list. </p>
<p>One little gem is Guy Maestri’s small but intense <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29974/">The fourth week of parenthood (self-portrait)</a>. It is a painting that speaks of angst and sleep deprivation. </p>
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<figcaption>
<span class="caption">Guy Maestri.
‘The fourth week of parenthood
(self-portrait)’
oil on linen
78.5 x 63.5cm</span>
<span class="attribution"><span class="source">© the artist Photo: AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>Self-portraits are a popular subject, perhaps because artists know the subject best, and also because they are always available. This year’s selection includes James Powditch’s finely self-absorbed <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29966/">Narcissist, the anatomy of melancholy</a>, Yvette Coppersmith’s mannered <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29954/">Self-portrait, after George Lambert</a>, Angela Tiatia’s ethereal <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29971/">Study for a self-portrait</a>, and Vincent Namatjira’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29950/">Studio self-portrait</a>, which is characterised by his dry sense of humour. </p>
<p>While most portraits have some foundation in reality, Marc Etherington has wandered into fantasy with his whimsical self-portrait with dog, <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29948/">Me and Granny</a>. He is yet to own a dog, but plans to buy a whippet, which he will call Granny. The child-like naivete of this work is emphasised by its scale. Whippets are small dogs, but Granny is painted as though she is almost as large as her imagined master.</p>
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<a href="https://images.theconversation.com/files/217690/original/file-20180504-153914-1edsk5f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/217690/original/file-20180504-153914-1edsk5f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/217690/original/file-20180504-153914-1edsk5f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=526&fit=crop&dpr=1 600w, https://images.theconversation.com/files/217690/original/file-20180504-153914-1edsk5f.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=526&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/217690/original/file-20180504-153914-1edsk5f.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=526&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/217690/original/file-20180504-153914-1edsk5f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=661&fit=crop&dpr=1 754w, https://images.theconversation.com/files/217690/original/file-20180504-153914-1edsk5f.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=661&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/217690/original/file-20180504-153914-1edsk5f.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=661&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Marc Etherington.
‘Me and Granny’
acrylic on canvas
143 x 163.5cm</span>
<span class="attribution"><span class="source">© the artist Photo: AGNSW, Jenni Carter</span></span>
</figcaption>
</figure>
<p>Portraits of artists, actors, collectors and dealers dominate the exhibition. There is one judge, Yvonne East’s tightly restrained portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29969/">The Honourable Chief Justice Susan Kiefel AC</a>, which hangs next to Salvatore Zofrea’s very relaxed and decorative study of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29925/">Sally Dowling, QC</a>. The pair make a curious partnership.</p>
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<figcaption>
<span class="caption">Tom Polo.
‘I once thought I’d do anything for you
(Joan)’
acrylic on canvas
152.5 x 101.5cm</span>
<span class="attribution"><span class="source">© the artist Photo: AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<p>Of all the portraits of artists, the one that most stays in mind is Tom Polo’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2018/29978/">I once thought I’d do for anything for you (Joan)</a>, a portrait of Joan Ross. It is painted in the fluorescent yellow that has long dominated her art, while the artist is dressed in her signature black. Despite limiting himself to two colours (or perhaps because of it), there is a visual extravagance about this work, as he successfully evokes Ross’s acute gaze, the way she deconstructs the world around her. </p>
<p>The trustees of the Art Gallery of New South Wales read The Conversation, so nominating my preference would be a kiss of death. It is worth noting, however, that unlike the Packing Room Prize where the head packer, Brett Cuthbertson, has a 52% vote, the trustees must vote in an exhaustive preferential process. This means the result is almost always a compromise.</p>
<h2>The Sulman Prize</h2>
<p>As is the way of things, Angela Tiatia, who is exhibiting in the Archibald, is also the judge of the Sulman Prize. While the Archibald and Wynne are judged by the trustees, the Sulman is always judged by an individual artist. As a result the works selected to hang in the Sulman Prize are often livelier and sometimes quite risky. </p>
<p>This is certainly the case with this year’s exhibition. Abdul Abdullah’s <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2018/29986/">Untitled</a> asks the question posed by every unrepresented minority, “Why can’t I be angry?”, while <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2018/29990/">Joan Ross</a> decapitates the hawk captured by Midshipman Ross on the Sirius in 1788. </p>
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<figcaption>
<span class="caption">Joan Ross.
‘Future Hawke (what have we done to you)’ hand-painted digital collage
111 x 79cm</span>
<span class="attribution"><span class="source">© the artist Photo: Felicity Jenkins</span></span>
</figcaption>
</figure>
<p>One corner shows an outstanding group of abrasive art, the kind of work that may well have disconcerted any committee selection. David Griggs’s <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2018/29989/">Diaspora is a word, so is holy crap</a> could be described as a meditation on a bull’s skull, while Ramesh Mario Nithiyendran’s <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2018/29982/">Trio of selves at the proverbial gym</a> manages to insert photographs of meat (and other meals) into a complex collage of beefcake. </p>
<p>The most satisfying work of all is Jason Phu’s painting, fully titled <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2018/29996/">On the bbq were a thousand thousand generic meat sausages that the hand of Guan Yin, the Goddess of Mercy, calmly turned. She was unperturbed by the vicious spitting oil. Shaking her warm empty can she yelled out ‘can someone get me a beer?’</a>. Phu’s robust anarchic approach to art is reminiscent of the best work of Adam Cullen. I understand his Archibald entry was rejected by the trustees, a consequence of consensus decision-making. </p>
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<a href="https://images.theconversation.com/files/217692/original/file-20180504-153891-1fc3k8s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/217692/original/file-20180504-153891-1fc3k8s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/217692/original/file-20180504-153891-1fc3k8s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=852&fit=crop&dpr=1 600w, https://images.theconversation.com/files/217692/original/file-20180504-153891-1fc3k8s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=852&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/217692/original/file-20180504-153891-1fc3k8s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=852&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/217692/original/file-20180504-153891-1fc3k8s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1071&fit=crop&dpr=1 754w, https://images.theconversation.com/files/217692/original/file-20180504-153891-1fc3k8s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1071&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/217692/original/file-20180504-153891-1fc3k8s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1071&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Jason Phu.
‘On the bbq were a thousand thousand
generic meat sausages that the hand of
Guan Yin, the Goddess of Mercy, calmly
turned. She was unperturbed by the
vicious spitting oil. Shaking her warm
empty can she yelled out 'can someone get
me a beer?“
acrylic on linen
250 x 180cm</span>
<span class="attribution"><span class="source">© the artist Photo: Felicity Jenkins</span></span>
</figcaption>
</figure>
<h2>The Wynne Prize</h2>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/217694/original/file-20180504-153873-hf1ztw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/217694/original/file-20180504-153873-hf1ztw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/217694/original/file-20180504-153873-hf1ztw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=913&fit=crop&dpr=1 600w, https://images.theconversation.com/files/217694/original/file-20180504-153873-hf1ztw.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=913&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/217694/original/file-20180504-153873-hf1ztw.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=913&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/217694/original/file-20180504-153873-hf1ztw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1147&fit=crop&dpr=1 754w, https://images.theconversation.com/files/217694/original/file-20180504-153873-hf1ztw.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1147&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/217694/original/file-20180504-153873-hf1ztw.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1147&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Detail from Noel McKenna.
‘Door, Hunter Valley’
oil and acrylic on door
204 x 77 x 9.5cm</span>
<span class="attribution"><span class="source">© the artist Photo: Felicity Jenkins</span></span>
</figcaption>
</figure>
<p>The Wynne Prize for Australian landscape was first held in 1897 and is the oldest of the prizes. Like the Archibald, it can be described as a Federation project, an assertion of the validity of the Australian landscape at a time when “civilised” taste looked to England. </p>
<p>Although there is a delightful piece of whimsy in Noel McKenna’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2018/30023/">Door, Hunter Valley</a>, ethereal beauty in Fiona Lowry’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2018/30041/">A silence</a> and a revival of 19th-century seascape painting in Tim Storrier’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2018/30029/">At sea (for Pamela)</a>, Western traditions are very much in the background.</p>
<p>For the third successive year the Wynne is dominated by Aboriginal voices. There are the precise shaped bark paintings by <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2018/30002/">Gunybi Ganambarr</a> and <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2018/30004/">Yalanba Wanambi</a>, and Phyllis Thomas’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2018/30008/">My stolen sisters from Gija country</a>, which is of the place where her stolen sisters lived. </p>
<p>But dominating the central room are the work of artists from the APY Lands, with Betty Kuntiwa Pumani’s magnificent <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2018/30017/">Antara</a> as well as works by the redoubtable Ken family.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/217696/original/file-20180504-153869-x1pfhi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/217696/original/file-20180504-153869-x1pfhi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/217696/original/file-20180504-153869-x1pfhi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=752&fit=crop&dpr=1 600w, https://images.theconversation.com/files/217696/original/file-20180504-153869-x1pfhi.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=752&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/217696/original/file-20180504-153869-x1pfhi.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=752&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/217696/original/file-20180504-153869-x1pfhi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=945&fit=crop&dpr=1 754w, https://images.theconversation.com/files/217696/original/file-20180504-153869-x1pfhi.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=945&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/217696/original/file-20180504-153869-x1pfhi.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=945&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Betty Kuntiwa Pumani.
‘Antara’
acrylic on linen
250 x 200cm</span>
<span class="attribution"><span class="source">© the artist Photo: Mim Stirling</span></span>
</figcaption>
</figure>
<p>Last year John Olsen, who started his artist career as a student protesting against conservative trustees (before becoming a most conservative trustee himself), loudly objected to the presence of this art and these artists. He claimed Betty Kuntiwa Pumani’s winning painting existed in <a href="https://www.smh.com.au/entertainment/art-and-design/john-olsen-says-archibald-prize-win-is-the-worst-decision-ive-ever-seen-20170728-gxl4ze.html">“a cloud cuckoo land”</a>. Olsen’s entry <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2018/30036/">The tree of life</a> is installed in the same room as works by the APY Land artists. It is an exquisite curatorial rebuff.</p><img src="https://counter.theconversation.com/content/95936/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has in the past received funding from the Australian Research Council.</span></em></p>
The lively reconfiguring of the Archibald, Wynne and Sulman exhibitions means it is harder to work out which paintings the judges are considering as potential winners.
Joanna Mendelssohn, Honorary Associate Professor, Art & Design: UNSW Australia. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/81326
2017-07-23T20:08:16Z
2017-07-23T20:08:16Z
Politics of landscape: the 2017 Wynne Prize finalists
<figure><img src="https://images.theconversation.com/files/179127/original/file-20170721-24021-1x2x9mu.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Wynne Prize 2017 finalist James Drinkwater, 'Passage to Rungli Rungliot', oil on hardboard, 180x360cm</span> <span class="attribution"><span class="source">© the artist Photo: Felicity Jenkins, AGNSW</span></span></figcaption></figure><p>The <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/">Wynne Prize</a> is bestowed upon the best landscape painting of Australian scenery or best figure sculpture. This year, over a third of the finalists - 15 out of 42 - are Indigenous artists, and 11 are from the Anangu Pitjantjatjara Yankunytjatjara (APY) lands in central Australia. </p>
<p>In fact there is an entire room dedicated to Aboriginal landscape paintings. It is unusual to have such a large portion of the Wynne dedicated to these works, and disorienting to discover them separated from the rest of the exhibition. Presenting these works on their own draws attention to the difference of Indigenous art within the wider Australian art sphere rather than integrating it.</p>
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<a href="https://images.theconversation.com/files/179128/original/file-20170721-23983-1ge3ln5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/179128/original/file-20170721-23983-1ge3ln5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/179128/original/file-20170721-23983-1ge3ln5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=798&fit=crop&dpr=1 600w, https://images.theconversation.com/files/179128/original/file-20170721-23983-1ge3ln5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=798&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/179128/original/file-20170721-23983-1ge3ln5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=798&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/179128/original/file-20170721-23983-1ge3ln5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1003&fit=crop&dpr=1 754w, https://images.theconversation.com/files/179128/original/file-20170721-23983-1ge3ln5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1003&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/179128/original/file-20170721-23983-1ge3ln5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1003&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Wynne Prize 2017 finalist.
Angus Nivison, ‘Pernicious’, acrylic spray-paint and charcoal on paper, 205 x 154.5 cm</span>
<span class="attribution"><span class="source">© the artist Photo: Felicity Jenkins, AGNSW</span></span>
</figcaption>
</figure>
<p>In the forecourt, a simultaneous exhibition, installed only this week, includes more works by APY Lands Art Centre artists. They were selected from the gallery’s permanent collection, and may have been pulled out to complement the Trustees’ selection for the Wynne. This is heartening, and no doubt heartfelt, but focusing on increasing the representation of a marginalised group can result in a compromise of the standard of works selected.</p>
<p>Overall, this year’s Wynne prize standard is as haphazard as previous years. This is perhaps partly the result of the Trustees behaving like curators, rather than prize selectors. Choosing a large number of finalists from the same remote region may have seemed like a means of strengthening the visual experience for visitors, whilst also complementing the showcasing of their permanent collection, but hanging them together creates a sense of tokenism. </p>
<p>Luckily, a truly alluring work diverts my attention from pondering these issues. It is a <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2017/29900/">Nyapanyapa Yunupingu</a> landscape, hung in an unassuming position, just outside the main room of Indigenous finalists. Yunupingu’s artworks are synaesthetic rather than only awakening a single sense. They sing and shudder.</p>
<p>The paint leaps from the bark and confounds my vision with images of other wildlife. The white forms, which are either wildflowers, humans or other vertebrate creatures are all of those species at once, as they dance across the dirt. Spend a little time in front of her painting and the gallery starts to melt away and be replaced by cicadas, a breeze rushing through spinifex grass and the distant sound of people murmuring.</p>
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<a href="https://images.theconversation.com/files/179121/original/file-20170721-6436-vqh7b5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/179121/original/file-20170721-6436-vqh7b5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/179121/original/file-20170721-6436-vqh7b5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=268&fit=crop&dpr=1 600w, https://images.theconversation.com/files/179121/original/file-20170721-6436-vqh7b5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=268&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/179121/original/file-20170721-6436-vqh7b5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=268&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/179121/original/file-20170721-6436-vqh7b5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=336&fit=crop&dpr=1 754w, https://images.theconversation.com/files/179121/original/file-20170721-6436-vqh7b5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=336&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/179121/original/file-20170721-6436-vqh7b5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=336&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Wynne Prize 2017 finalist.
Nyapanyapa Yunupingu,‘Landscape’
natural earth pigments on bark, 78x193cm</span>
<span class="attribution"><span class="source">© the artist
Photo:Jenni Carter, AGNSW</span></span>
</figcaption>
</figure>
<p>The other stand-out work, and my pick for the most deserved finalist entry, is <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2017/29871/">Juz Kitson</a>’s poetically titled sculpture “That which provides safety and the possibility of growth, that which you can put your trust in”.</p>
<p>Testicle, bladder, labia, intestine or foetus? Kitson’s assemblage of fur, seed and porcelain shapes creates a sexualized and fetishistic object of worship. Think of a Game of Thrones cloak. Think of a death pyre of antlers. Think Haitian Voodoo ceremony. Think of a giant clitoris. Kitson’s work has all of these elements. </p>
<p>It sits outside human time and has the character of something that could have existed before human life and afterwards too. I couldn’t contain my curiosity about what materials Kitson used and so I messaged her on Facebook. The swift answer: Jingdezhen porcelain and Southern ice porcelain/terracotta clay along with paraffin wax, resin, polyester thread, merino wool, fox and rabbit pelt, Tibetan gazelle horns, teeth, echidna quills and Bodhi seeds.</p>
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<figcaption>
<span class="caption">Wynne Prize 2017 finalist Juz Kitson ‘That which provides safety and the possibility of growth, that which you can put your trust in’,
Jingdezhen porcelain, Southern Ice porcelain, terracotta clay, paraffin wax, resin, silk thread, merino wool, fox and rabbit pelt, Tibetan gazelle horns, teeth, echidna quills, bodhi seeds, marine ply and treated pine,
200 x 133 x 50 cm.</span>
<span class="attribution"><span class="source">© the artist
Photo: Mim Sterling, AGNSW</span></span>
</figcaption>
</figure>
<p>A second reason Kitson’s work stands out for me is a political one: climate change. During an epoch of climate fear, and as we endure a lack of environmental leadership in Australia, there are many artists working to mediate these issues via their work. Art is a litmus test for public opinion and can be an effective way to disseminate important political ideas. </p>
<p>These ideas are mostly absent from the work of this year’s Wynne Prize finalists. Only Kitson’s brings to mind the concept of extinction, via the mass of horns, and nature’s deathly drive, through the overall image of a relic or artefact. Her work represents the remains of the human and the animal. It is futuristic, dark and a looming memorial for extinct species, one of which may be “the human” in years to come.</p>
<h2>Views of Australia</h2>
<p>There are some robust scenes of the Australian landscape in the finalist line-up. For instance, <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2017/29893/">John R Walker</a>, <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2017/29867/">Nicholas Harding</a>, <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2017/29884/">Angus Nivison</a>, <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2017/29864/">James Drinkwater</a>, <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2017/29898/">Joshua Yeldham</a> and <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2017/29897/">Philip Wolfhagen</a> all have highly competent and technically proficient paintings of conventional bushland scenery. </p>
<p>Several of these paintings draw upon classical compositions where the scene is framed by trees or picturesquely arranged around a “hero tree”. Or they comprise a composition where the view penetrates through recalcitrant scrub land. These are mostly patriarchal conventions of traditional landscape painting, which is a reminder of the prevailing <a href="https://theconversation.com/congratulations-natasha-bieniek-but-the-wynne-prize-is-deeply-flawed-44763">gender bias of previous Wynne prize exhibitions</a>.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/179124/original/file-20170721-15106-1eyo2wk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/179124/original/file-20170721-15106-1eyo2wk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/179124/original/file-20170721-15106-1eyo2wk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/179124/original/file-20170721-15106-1eyo2wk.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/179124/original/file-20170721-15106-1eyo2wk.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/179124/original/file-20170721-15106-1eyo2wk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/179124/original/file-20170721-15106-1eyo2wk.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/179124/original/file-20170721-15106-1eyo2wk.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Wynne Prize 2017 finalist Nicholas Harding, ‘Wilpena eucalypt and wattle’, oil on linen, 183x245cm.</span>
<span class="attribution"><span class="source">© the artist
Photo: Mim Stirling, AGNSW</span></span>
</figcaption>
</figure>
<p>Kitson and Yunupingu, conversely, do not rely on traditional conventions of landscape painting. They open a door to a deeper experience of the material world, to that particular matter of being. Somehow, they make physical the spiritual, they make seeing a more multi-sensual experience, and so they change our perception of the natural world.</p>
<p>Jux Kitson’s work also has an enormous amount of working labour, discretely visible in each and every carefully formed and cast porcelain part. It heralds a strong political point about the epoch of the <a href="https://theconversation.com/an-official-welcome-to-the-anthropocene-epoch-but-who-gets-to-decide-its-here-57113">Anthropocene</a> and the damage we have caused to the land. </p>
<p>Likewise, whilst in the gallery space, I was constantly drawn back to Yunupingu’s landscape. There, modest and silent, the bark painting calls me, in a personal way, into a desert scene where women walk across the sand dunes, and talk together for hours. It sends me into a spin of delirium, into a vortex to where there is a real experience of lakeside flowers, where I can hear the mourning groans of the land.</p>
<p>However, based on past experience, I suspect neither of these two powerful artists will win. Instead I contend that one of the brightly coloured APY Indigenous works, all hung together in the high-ceiling gallery space, will win the day. </p>
<p>They are big and bright and colourful. Whilst it is crucial that Indigenous art gains greater momentum in the ongoing accumulation of landscape imagery in Australia, it is also important to select artworks carefully for inclusion in the Wynne Prize exhibition and not to mistake politics for aesthetic value.</p><img src="https://counter.theconversation.com/content/81326/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Prudence Gibson does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>
The standard of the 2017 Wynne finalists is as haphazard as previous years, hampered by a sense of tokenism and conventional landscapes, but works by Napanyapa Yunupingu and Juz Kitson stand out.
Prudence Gibson, Art writer and Tutor, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/81254
2017-07-21T01:13:13Z
2017-07-21T01:13:13Z
The Archibald finalists – and why Tony Albert deserves to win
<figure><img src="https://images.theconversation.com/files/179007/original/file-20170720-15249-11i18n1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Detail from Tony Albert Self-portrait (ash on me), acrylic on linen
102 x 102 cm</span> <span class="attribution"><span class="source">© the artist Photo: Jenni Carter, AGNSW</span></span></figcaption></figure><p>The formal announcement of the Packing Room Prize as a preview for the 2017 Archibald is a reminder of how the world has changed. For the last 26 years, Steve Peters and fellow workers in the packing room of the Art Gallery of New South Wales have chosen a favourite painting from the many hundreds of entries for the annual Archibald Prize. Without fail, the painting chosen is realistic in style, with paint applied in smooth layers. More often than not, the subject is either an attractive woman or a media celebrity. This year’s winner, Peter Smeeth’s portrait of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29818/">Lisa Wilkinson</a> combines both attributes.</p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/179109/original/file-20170720-6436-1iahazc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/179109/original/file-20170720-6436-1iahazc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/179109/original/file-20170720-6436-1iahazc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=399&fit=crop&dpr=1 600w, https://images.theconversation.com/files/179109/original/file-20170720-6436-1iahazc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=399&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/179109/original/file-20170720-6436-1iahazc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=399&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/179109/original/file-20170720-6436-1iahazc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=502&fit=crop&dpr=1 754w, https://images.theconversation.com/files/179109/original/file-20170720-6436-1iahazc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=502&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/179109/original/file-20170720-6436-1iahazc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=502&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Peter Smeeth, Lisa Wilkinson AM, oil on linen, 100x150cm.</span>
<span class="attribution"><span class="source">© the artist Photo: Felicity Jenkins, AGNSW</span></span>
</figcaption>
</figure>
<p>The aesthetic concerns of those who received the 822 entries in the Archibald are not necessarily the same as those of the Trustees, who by the Will of J.F. Archibald are the only people entitled to judge. The Packing Room Prize came about from the cultural divide between the tastes of the decision makers and the workers who had to carry out their commands. For many years management made it clear that the Packing Room winner was not a finalist, and indeed it was hung just outside the main exhibition. </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/179111/original/file-20170721-942-v490wl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/179111/original/file-20170721-942-v490wl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/179111/original/file-20170721-942-v490wl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=724&fit=crop&dpr=1 600w, https://images.theconversation.com/files/179111/original/file-20170721-942-v490wl.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=724&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/179111/original/file-20170721-942-v490wl.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=724&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/179111/original/file-20170721-942-v490wl.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=910&fit=crop&dpr=1 754w, https://images.theconversation.com/files/179111/original/file-20170721-942-v490wl.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=910&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/179111/original/file-20170721-942-v490wl.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=910&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Lucy Culliton, Finished packing, oil on canvas, 170x145cm.</span>
<span class="attribution"><span class="source">© the artist Photo: Felicity Jenkins, AGNSW</span></span>
</figcaption>
</figure>
<p>This year, not only is the Packing Room choice placed in the privileged space near the dais where announcements are made, but it hangs next to <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29830/">Finished packing</a>, Lucy Culliton’s portrait of Peters. This embrace of the values of the workers who run the prize was a long time coming, but it can now finally be seen for what it always was – an annual people’s art prize where anyone can enter (though the odds against winning are even worse than Lotto). </p>
<p>Edmund Capon, the previous director of the gallery, very cleverly turned what was seen by the curators as the worst exhibition of the year into a serious fundraiser and marketing exercise. Visitors are now charged a hefty fee to see the once free exhibition. There are extensive public programs, including celebrity talks and live music. </p>
<p>Then there is the art. This year’s curator, Anne Ryan, has integrated the Archibald with the accompanying Wynne and Sulman exhibitions so that they appear less disjointed. This has enabled her to create a dazzling display of Aboriginal works from the Wynne Prize in the central court, traditionally reserved for the Archibald, and to place the Archibald entries in the more intimate spaces around the court.</p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/179105/original/file-20170720-30332-1livmta.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/179105/original/file-20170720-30332-1livmta.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/179105/original/file-20170720-30332-1livmta.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=772&fit=crop&dpr=1 600w, https://images.theconversation.com/files/179105/original/file-20170720-30332-1livmta.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=772&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/179105/original/file-20170720-30332-1livmta.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=772&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/179105/original/file-20170720-30332-1livmta.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=970&fit=crop&dpr=1 754w, https://images.theconversation.com/files/179105/original/file-20170720-30332-1livmta.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=970&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/179105/original/file-20170720-30332-1livmta.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=970&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Yvette Coppersmith, Professor Gillian Triggs,
oil on linen, 137.5 x 110 cm.</span>
<span class="attribution"><span class="source">© the artist Photo: Jenni Carter, AGNSW</span></span>
</figcaption>
</figure>
<p>Perhaps it is a reflection of the times, but it is now rare to see a politician’s portrait. The best known public figure to make it through to the final 43 is <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29828/">Gillian Triggs</a>, painted by Yvette Coppersmith. The second portrait of a lawyer is Luke William’s study of <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29859/">Remy van de Wiel</a>, the QC who successfully defended those accused of forging work by Brett Whiteley. There is a sense of this lawyer’s flamboyance, not shown in his costume, but in his fly-away hair and prominent spectacles. </p>
<p>These legal portraits join staid studies of prominent men – Robert Hannaford’s portrait of the West Australian businessman <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29837/">Michael Chaney</a> and Paul Newton’s portrait of the philanthropist <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29849/">Rupert Myer</a>. The boys of Sydney Grammar’s Edgecliff Preparatory school have produced what has to be the first entry by school children – as well as the first entry by so many artists – with <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29823/">Goodbye Sir!</a>, a farewell to their headmaster.</p>
<p>Despite the communally created pixelated style, this is nevertheless conceived as a very conservative image. I doubt it will be in the final short-list, but the Archibald is very much an exhibition of social history and it is a great novelty work. </p>
<p>Another “novelty” painting, Sophia Hewson’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29840/">Untitled (Richard Bell)</a> places the artist provocateur as Mary Poppins’s chimney sweep in a Walt Disney landscape, complete with Bambi, bluebirds and the hills of the Sound of Music. It’s the kind of painting to bring a smile to even the most jaded visitor.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/179106/original/file-20170720-15106-fcswds.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/179106/original/file-20170720-15106-fcswds.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/179106/original/file-20170720-15106-fcswds.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=599&fit=crop&dpr=1 600w, https://images.theconversation.com/files/179106/original/file-20170720-15106-fcswds.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=599&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/179106/original/file-20170720-15106-fcswds.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=599&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/179106/original/file-20170720-15106-fcswds.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=752&fit=crop&dpr=1 754w, https://images.theconversation.com/files/179106/original/file-20170720-15106-fcswds.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=752&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/179106/original/file-20170720-15106-fcswds.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=752&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Sophia Hewson, Untitled (Richard Bell), oil on board, 200x200cm.</span>
<span class="attribution"><span class="source">© the artist Photo: Mim Stirling, AGNSW</span></span>
</figcaption>
</figure>
<p>The space that holds the dais where speeches are made has Richard Lewer’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29844/">Liz Laverty</a>, paying tribute to one of the great patrons of art. The late Colin Laverty and his wife Liz were collectors in the true sense, buying work they admired. They got to know the Indigenous artists whose work they collected, helping remote communities, encouraging others to see what they saw. </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/179110/original/file-20170720-2359-1ks1i50.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/179110/original/file-20170720-2359-1ks1i50.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/179110/original/file-20170720-2359-1ks1i50.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=603&fit=crop&dpr=1 600w, https://images.theconversation.com/files/179110/original/file-20170720-2359-1ks1i50.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=603&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/179110/original/file-20170720-2359-1ks1i50.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=603&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/179110/original/file-20170720-2359-1ks1i50.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=758&fit=crop&dpr=1 754w, https://images.theconversation.com/files/179110/original/file-20170720-2359-1ks1i50.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=758&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/179110/original/file-20170720-2359-1ks1i50.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=758&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Richard Lewer, Liz Laverty, oil on epoxy-coated steel 110 x 110 cm.</span>
<span class="attribution"><span class="source">© the artist Photo: Felicity Jenkins, AGNSW</span></span>
</figcaption>
</figure>
<p>This is not a “posh” portrait, rather it is painted with a deliberate naivety: just a woman in a black polka dot shirt, looking with love. </p>
<p>Traditionally, Archibald entries (and winners) have been over-large, emphasising the importance of the sitter in the scheme of things. However last year’s winner, Louise Hearman’s intimate portrait, <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2016/29709/">Barry</a>, as well as Sam Leach’s 2010 winner, <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2010/29009/">Tim Minchin</a>, show that size is not necessary for success.</p>
<p>The more intimate spaces of the installation advantage some of the smaller works. Kate Beynon’s self portrait, <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29821/">With amulets and their shadows</a>, references her Chinese heritage with images of Guanyin, the Goddess of Mercy, while her direct gaze quotes Frida Kahlo. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/179108/original/file-20170720-15106-1ssyubc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/179108/original/file-20170720-15106-1ssyubc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/179108/original/file-20170720-15106-1ssyubc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=748&fit=crop&dpr=1 600w, https://images.theconversation.com/files/179108/original/file-20170720-15106-1ssyubc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=748&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/179108/original/file-20170720-15106-1ssyubc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=748&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/179108/original/file-20170720-15106-1ssyubc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=940&fit=crop&dpr=1 754w, https://images.theconversation.com/files/179108/original/file-20170720-15106-1ssyubc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=940&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/179108/original/file-20170720-15106-1ssyubc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=940&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Kate Beynon, With amulets and their shadows, acrylic on wood, 25 x 20 cm.</span>
<span class="attribution"><span class="source">© the artist Photo: Felicity Jenkins, AGNSW</span></span>
</figcaption>
</figure>
<p>Self portraits are always popular with artists and there are quite a few this year. Madeleine Winch’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29860/">Facing the canvas</a> incorporates the artist’s self-examination as a part of her study of her tools of trade. This is appropriate, as Winch often incorporates herself into her work.</p>
<h2>My choice for winner</h2>
<p>The painting I would like to see win is Tony Albert’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2017/29819/">Self-portrait (ash on me)</a>. Albert has a long history of re-appropriating kitsch depictions of Aboriginal people, what he calls Aboriginalia. In recent years he has painted studies of ashtrays of kitsch Aboriginal subject matter, complete with stubbed cigarettes. Some of these have been made in collaboration with artists at Hermannsburg, including descendents of Albert Namatjira, whose art was turned to kitsch by commercial exploitation.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/179107/original/file-20170720-942-1tdfe5w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/179107/original/file-20170720-942-1tdfe5w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/179107/original/file-20170720-942-1tdfe5w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=600&fit=crop&dpr=1 600w, https://images.theconversation.com/files/179107/original/file-20170720-942-1tdfe5w.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=600&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/179107/original/file-20170720-942-1tdfe5w.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=600&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/179107/original/file-20170720-942-1tdfe5w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=753&fit=crop&dpr=1 754w, https://images.theconversation.com/files/179107/original/file-20170720-942-1tdfe5w.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=753&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/179107/original/file-20170720-942-1tdfe5w.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=753&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Tony Albert Self-portrait (ash on me) acrylic on linen,102 x 102 cm.</span>
<span class="attribution"><span class="source">© the artist Photo: Jenni Carter, AGNSW</span></span>
</figcaption>
</figure>
<p>The self-portrait is an arrangement of these ashtrays, with his portrait head painted at the top of the arrangement, complete with two stubbed cigarettes. As an extra twist, this ashtray is captioned “Archibald Prize Art Gallery of New South Wales”.</p>
<p>Albert’s work is deceptively innocent. Each ashtray holds a different aspect of Aboriginality – each is shown as being treated with contempt as a receptacle for dead cigarettes. Yet he manages to make an apparently light-hearted portrait. It is such a clever work.</p>
<p>In the next week, the Trustees will come to the gallery to consider which of these finalists will gain the prize. The voting will take place on Friday morning. If they disagree, the final vote might be taken only minutes before the announcement (in 1996, it was delayed by about 30 minutes as some trustees found it hard to vote for Wendy Sharpe’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1996/">Diana of Erskinville</a>). Then the circus will begin.</p>
<hr>
<p><em>The Archibald Prize exhibition opens on Saturday 29 July, and is on view until 22 October.</em>
<em>The exhibition will then tour in NSW and Victorian regional cities.
Geelong Gallery 28 October 2017 - 10 December 2017
Murray Art Museum Albury 15 December 2017 – 28 January 2018
Grafton Regional Gallery 2 February 2018 – 18 March 2018
Casula Powerhouse Arts Centre 24 March 2018- 6 May 2018
Newcastle Art Gallery 11 May 2018 – 24 June 2018
Gouburn Regional Art Gallery 30 June 2018 – 18 August 2018
Glasshouse Port Macquarie 25 August – 7 October 2018</em></p><img src="https://counter.theconversation.com/content/81254/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span> Joanna Mendelssohn has in the past received funding from the ARC</span></em></p>
The packers’ favourite has gained prominence and there are few portraits of politicians in this year’s popular art prize. The stand out work is a deceptively innocent re-appropriation of Aboriginal kitsch.
Joanna Mendelssohn, Honorary Associate Professor, Art & Design: UNSW Australia. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/62536
2016-07-15T06:06:04Z
2016-07-15T06:06:04Z
A very serious painting of Barry Humphries is a welcome prize winner
<figure><img src="https://images.theconversation.com/files/130664/original/image-20160715-2122-ai4oly.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Louise Hearman, Barry, oil paint on masonite 69.5 x 100 cm.</span> <span class="attribution"><span class="source">Photo: © AGNSW, Nick Kreisler</span></span></figcaption></figure><p>Louise Hearman’s affectionate portrait of Barry Humphries, simply titled “Barry”, is the first major Australian painting to win the Archibald in many years. Even though the subject looks as though he is about to burst into a chuckle, this is a very serious painting indeed. </p>
<p>Hearman has previously painted a number of portrait heads (she was awarded the 2014 Moran Prize for her <a href="http://www.smh.com.au/entertainment/art-and-design/louise-hearman-wins-moran-prize-for-portrait-of-bill-henson-20141028-11cuc1.html">portrait of Bill Henson</a>) – in each case there is a sense that she is determined to honour her subject by showing both their personality and her skill. </p>
<p>It was a surprise that Barry was excluded from the gallery’s central court, which is usually devoted to the <a href="https://theconversation.com/patchwork-ironic-serious-and-kitsch-the-best-of-the-archibald-finalists-62187">unofficial short-list</a> of paintings.</p>
<p>But the trustees are full of surprises this year, and the intimacy and relatively small scale of Hearman’s painting means that it hangs better in the company of other small academic works. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/130664/original/image-20160715-2122-ai4oly.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/130664/original/image-20160715-2122-ai4oly.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/130664/original/image-20160715-2122-ai4oly.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=390&fit=crop&dpr=1 600w, https://images.theconversation.com/files/130664/original/image-20160715-2122-ai4oly.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=390&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/130664/original/image-20160715-2122-ai4oly.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=390&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/130664/original/image-20160715-2122-ai4oly.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=491&fit=crop&dpr=1 754w, https://images.theconversation.com/files/130664/original/image-20160715-2122-ai4oly.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=491&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/130664/original/image-20160715-2122-ai4oly.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=491&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Louise Hearman, Barry, oil paint on masonite 69.5 x 100 cm. CLICK IMAGE TO ENLARGE.</span>
<span class="attribution"><span class="source">Photo: © AGNSW, Nick Kreisler</span></span>
</figcaption>
</figure>
<p>Barry is a contrast to the many previous portraits of Humphries, which usually make him seem comic or pompous, or both. </p>
<p>This is a painting of great affection for the subject – he twinkles (or is that the glitter on his eye?) as he leans forward out of the black ground, dressed in a formal white shirt and tie – a reminder that like many great satirists Humphries is essentially conservative.</p>
<p>But of course white-on-white tonality gives great opportunity for the artist to show her mastery of paint. </p>
<p>In her acceptance speech, Hearman urged people to look at original works and not just photographs. In reproduction, Barry looks like a very good but standard painterly piece of academic portraiture. </p>
<p>In the flesh (so to speak) the surface of the work is mirror-smooth, the shadows and textures of the paint are revealed to have been made in the finest of glazes.</p>
<p>The last time I saw a painting of this quality in the Archibald Prize was James Gleeson’s <a href="http://www.menziesartbrands.com/blog-post/22-james-gleeson">Portrait of the Artist as an Evolving Landscape</a> in 1994. It didn’t win but is now in the Australian National Portrait Gallery. I hope Barry has the same final destination.</p>
<p><br></p>
<hr>
<p><em>Check out the highlights of the Archibald prize finalists: <a href="https://theconversation.com/patchwork-ironic-serious-and-kitsch-the-best-of-the-archibald-finalists-62187">Patchwork, ironic, serious and kitsch: the best of the Archibald finalists</a>.</em></p><img src="https://counter.theconversation.com/content/62536/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has received funding from the ARC through a Linkage Project on the History of Exhibitions of Australian Art and has been a recipient of an ARC LIEF grant for Design and Art of Australia Online.</span></em></p>
This year’s Archibald Prize winner is a painting with great affection for its subject. Louise Hearman’s Barry was a surprise choice – but it deserves to find an ultimate home in the National Portrait Gallery.
Joanna Mendelssohn, Associate Professor, Art & Design: UNSW Australia. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/62187
2016-07-08T06:42:53Z
2016-07-08T06:42:53Z
Patchwork, ironic, serious and kitsch: the best of the Archibald finalists
<figure><img src="https://images.theconversation.com/files/129799/original/image-20160708-25050-x39tdz.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">The Archibald Prize has announced its finalists. They are, as always, a mixed bag.</span> <span class="attribution"><span class="source">Detail of Michael McWilliams The usurpers (self-portrait) © Michael McWilliams Photo: © AGNSW, Nick Kreisler</span></span></figcaption></figure><p>In early 1973 I was responsible for administering and hanging the 1972 Archibald Prize. This was not because of any expertise on my part but because, as the most junior lowly curatorial assistant, I was given the most loathed of all curatorial tasks. It’s fair to say that back in the 70s the Art Gallery of New South Wales’ attitude towards the Archibald was a combination of deep embarrassment at the quality of the entries, and a recognition that this was one event they didn’t need to publicise. </p>
<p>Some years ago, under the directorship of <a href="http://www.portrait.gov.au/people/edmund-george-capon-1940">Edmund Capon</a>, the gallery learnt to love this bastard child of Australian nationalism – especially as it realised it could charge admission and thus use Archibald profits to fund other activities. It also realised that by hanging fewer works, white walls and marble floors had the ability to make both banality and comedy look their best.</p>
<p>This year 51 finalists have been hung from 830 entries, and it’s worth noting that works have not necessarily been chosen on aesthetic grounds. This is fair enough, as JF Archibald’s will specified that the judges must be the gallery’s trustees. When he wrote his will in the early years of the 20th century, the trustees were almost all artists. </p>
<p>In 2016 there are only two professional artists (Ben Quilty and Khadim Ali) joined by a leading art publisher (Eleonora Triguboff) and an academic, (Professor S Bruce Dowton). The board is dominated by serious money people, who are also well known as philanthropists (David Gonski, Mark Nelson, Geoff Ainsworth, Ashely Dawson-Damer, Samantha Meers, Gretel Packer, Andrew Roberts). </p>
<p>If judging the Archibald was purely an aesthetic decision, this group may be less than desirable – but of course it isn’t. JF Archibald made it clear that he wanted Australia to have a sense of its own history, and establishing the circumstances where well-known Australians are likely to have their portrait painted encourages a sense of visual identity. What we see every year is a selection of portrait subjects that interest both artists and trustees.</p>
<p>For those in the know there is really only one room that counts when trying to guess the Archibald winner – the centre court where the announcement is made. Occasionally, very occasionally, the winner may be chosen from one of the outliers, but I doubt if that will happen this year. For my money, the eventual winner is most likely to be either Natasha Bieniek, Imants Tillers or Guan Wei.</p>
<h2>Imants Tillers, the man most likely</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/129792/original/image-20160708-30713-hqtzgk.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/129792/original/image-20160708-30713-hqtzgk.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/129792/original/image-20160708-30713-hqtzgk.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=596&fit=crop&dpr=1 600w, https://images.theconversation.com/files/129792/original/image-20160708-30713-hqtzgk.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=596&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/129792/original/image-20160708-30713-hqtzgk.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=596&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/129792/original/image-20160708-30713-hqtzgk.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=749&fit=crop&dpr=1 754w, https://images.theconversation.com/files/129792/original/image-20160708-30713-hqtzgk.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=749&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/129792/original/image-20160708-30713-hqtzgk.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=749&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Imants Tillers, Double reality (self-portrait), acrylic, gouache on 64 canvas boards.</span>
<span class="attribution"><span class="source">© Imants Tillers Photo: © AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>Imants Tillers’ Double reality (self portrait) is both a considered investigation of the artist’s mind and passions and a challenge to the popular nature of portraiture. He’s been challenging staid conventions for so long that he almost appears to forget he is no longer a kid from the suburbs but, in the context of the Archibald, a total insider. </p>
<p>He is both a former Trustee and a former winner of the <a href="https://theconversation.com/times-change-but-the-art-establishment-rolls-on-13058">Wynne Prize</a>. Those who think portraits should be dominated by a single image of the subject’s head can take comfort from Kirsty Nielson’s photorealist portrait of Garry McDonald that hangs next door. Then when they turn again to the Tillers they can wonder why this patchwork arrangement of words, drawings of trees and spiders, with a few monochrome self-portrait images of the artist is so much more satisfying.</p>
<h2>Guan Wei takes on immigration</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/129790/original/image-20160708-30690-vn3fsi.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/129790/original/image-20160708-30690-vn3fsi.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/129790/original/image-20160708-30690-vn3fsi.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=268&fit=crop&dpr=1 600w, https://images.theconversation.com/files/129790/original/image-20160708-30690-vn3fsi.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=268&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/129790/original/image-20160708-30690-vn3fsi.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=268&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/129790/original/image-20160708-30690-vn3fsi.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=337&fit=crop&dpr=1 754w, https://images.theconversation.com/files/129790/original/image-20160708-30690-vn3fsi.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=337&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/129790/original/image-20160708-30690-vn3fsi.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=337&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Guan Wei, Plastic surgery, acrylic on linen.</span>
<span class="attribution"><span class="source">© Guan Wei Photo: © AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>Easily the most overtly political painting, Guan Wei’s Plastic Surgery hangs directly opposite Tillers, indicating that it too has a strong chance as winner. Guan Wei came to Australia in 1989 and now moves between China and Australia. </p>
<p>Plastic Surgery is an ironic series of self portraits looking at notions of cultural identity, physical appearance and bureaucracy. Chinese Guan Wei is physically modified to become blonde, blue-eyed David Guan, complete with Australian citizenship, a Medicare card and a Commonwealth Bank logo.</p>
<h2>Natasha Bieniek, Pre-Raphaelite Whiteley</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/129791/original/image-20160708-30676-1fbc8dn.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/129791/original/image-20160708-30676-1fbc8dn.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/129791/original/image-20160708-30676-1fbc8dn.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=437&fit=crop&dpr=1 600w, https://images.theconversation.com/files/129791/original/image-20160708-30676-1fbc8dn.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=437&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/129791/original/image-20160708-30676-1fbc8dn.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=437&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/129791/original/image-20160708-30676-1fbc8dn.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=550&fit=crop&dpr=1 754w, https://images.theconversation.com/files/129791/original/image-20160708-30676-1fbc8dn.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=550&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/129791/original/image-20160708-30676-1fbc8dn.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=550&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Natasha Bieniek, Wendy Whiteley, oil on wood.</span>
<span class="attribution"><span class="source">© Natasha Bieniek Photo: © AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>I always thought Wendy Whiteley should have been painted by Dante Gabriel Rossetti or perhaps John Everett Millais. Their intense pure colours and fine detail would suit her particular features. Natasha Bieniek’s portrait of Whiteley in her garden captures some of the Pre-Raphaelite quality of Whiteley, but now her beauty is touched by time, as every wrinkle is painted in meticulous detail. </p>
<p>This too hangs in the winner’s circle but is so small it can easily be overlooked. Bieniek is the mistress of brushwork so fine that it takes a magnifying glass to see it all. It would be an interesting repudiation of the Archibald’s tendency to go for big works if she were to win. But there is a precedent as she was <a href="https://theconversation.com/congratulations-natasha-bieniek-but-the-wynne-prize-is-deeply-flawed-44763">awarded the Wynne Prize last year</a> for a work on a similar scale.</p>
<p>Some of the more interesting entries can be found outside the winning central court. These four works are all worth a second look. </p>
<h2>Tony Albert (after Brownie Downing) – the triumph of gentle irony</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/129794/original/image-20160708-30676-t34dk5.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/129794/original/image-20160708-30676-t34dk5.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/129794/original/image-20160708-30676-t34dk5.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=397&fit=crop&dpr=1 600w, https://images.theconversation.com/files/129794/original/image-20160708-30676-t34dk5.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=397&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/129794/original/image-20160708-30676-t34dk5.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=397&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/129794/original/image-20160708-30676-t34dk5.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=499&fit=crop&dpr=1 754w, https://images.theconversation.com/files/129794/original/image-20160708-30676-t34dk5.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=499&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/129794/original/image-20160708-30676-t34dk5.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=499&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Tony Albert, Tony Albert (after Brownie Downing), acrylic on canvas.</span>
<span class="attribution"><span class="source">© Tony Albert Photo: © AGNSW, Mim Stirling</span></span>
</figcaption>
</figure>
<p>Tony Albert’s self portrait, apparently painted by one of Downing’s kitsch Aboriginal children and admired by a koala, manages to create a sense of amusement and an embarrassed cringe at the same time. Albert has long incorporated kitsch images of Aboriginality into his art, but this is an especially cheerful version.</p>
<h2>Danielle Bergstrom – the ghost of Archibald’s past</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/129795/original/image-20160708-30680-zu96dv.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/129795/original/image-20160708-30680-zu96dv.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/129795/original/image-20160708-30680-zu96dv.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=723&fit=crop&dpr=1 600w, https://images.theconversation.com/files/129795/original/image-20160708-30680-zu96dv.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=723&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/129795/original/image-20160708-30680-zu96dv.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=723&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/129795/original/image-20160708-30680-zu96dv.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=908&fit=crop&dpr=1 754w, https://images.theconversation.com/files/129795/original/image-20160708-30680-zu96dv.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=908&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/129795/original/image-20160708-30680-zu96dv.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=908&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Danelle Bergstrom, Guy Warren, oil on linen.</span>
<span class="attribution"><span class="source">© Danelle Bergstrom Photo: © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<p>Guy Warren won the 1985 Archibald with a portrait of his old friend Bert Flugelman. Now Bergstrom has given us a portrait of the artist as an old man, almost a ghost, with ethereal flutters of paint around his white hair. But still he is an observer, always watching, always seeing what might be art.</p>
<h2>Louise Hearman’s Barry</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/129818/original/image-20160708-25050-3orcb0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/129818/original/image-20160708-25050-3orcb0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/129818/original/image-20160708-25050-3orcb0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=390&fit=crop&dpr=1 600w, https://images.theconversation.com/files/129818/original/image-20160708-25050-3orcb0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=390&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/129818/original/image-20160708-25050-3orcb0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=390&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/129818/original/image-20160708-25050-3orcb0.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=491&fit=crop&dpr=1 754w, https://images.theconversation.com/files/129818/original/image-20160708-25050-3orcb0.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=491&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/129818/original/image-20160708-25050-3orcb0.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=491&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Louise Hearman, Barry, oil paint on masonite.</span>
<span class="attribution"><span class="source">© Louise Hearman Photo: © AGNSW, Nick Kreisler</span></span>
</figcaption>
</figure>
<p>Louise Hearman’s intense academic portrait of Barry Humphries is a reminder that while Sydney’s arts community tends to regard the Archibald as a bit of a joke, for some reason Melbourne people take it seriously. This is a little gem of a portrait, with the comedian’s face sharply emerging from black gloom.</p>
<h2>Michael McWilliams’ self critical self portrait</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/129705/original/image-20160707-30710-1675zjk.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/129705/original/image-20160707-30710-1675zjk.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/129705/original/image-20160707-30710-1675zjk.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=756&fit=crop&dpr=1 600w, https://images.theconversation.com/files/129705/original/image-20160707-30710-1675zjk.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=756&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/129705/original/image-20160707-30710-1675zjk.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=756&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/129705/original/image-20160707-30710-1675zjk.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=950&fit=crop&dpr=1 754w, https://images.theconversation.com/files/129705/original/image-20160707-30710-1675zjk.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=950&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/129705/original/image-20160707-30710-1675zjk.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=950&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Michael McWilliams, The usurpers (self-portrait) acrylic on linen.</span>
<span class="attribution"><span class="source">© Michael McWilliams Photo: © AGNSW, Nick Kreisler</span></span>
</figcaption>
</figure>
<p>The Tasmanian artist Michael McWilliams’ The usurpers (self portrait) is a magically elaborate study in a similar mode to that of the Italian Renaissance artist <a href="http://www.smithsonianmag.com/arts-culture/arcimboldos-feast-for-the-eyes-74732989/?no-ist">Giuseppe Arcimboldo</a>. Every element is an import to Australia. Sheep, cattle, pigeons, carp, trout, rabbits, rats, mice, fruit and grain, all combine to form the artist’s face. </p>
<p>The usurpers hangs at the entrance to the exhibition, a long way from the winner’s circle, but it is probably the painting that most visitors will remember.</p><img src="https://counter.theconversation.com/content/62187/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn has received funding from the ARC through a Linkage Project on the History of Exhibitions of Australian Art and has been a recipient of an ARC LIEF grant for Design and Art of Australia Online.</span></em></p>
The Archibald Prize is a curious beast – an art prize judged mostly by philanthropists. Despite this, there are plenty of finalists worth considering.
Joanna Mendelssohn, Associate Professor, Art & Design: UNSW Australia. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/44717
2015-07-17T04:19:21Z
2015-07-17T04:19:21Z
Nigel Milsom wins the Archibald, our ‘most fun’ festival of faces
<figure><img src="https://images.theconversation.com/files/88746/original/image-20150717-5084-17a8d28.jpg?ixlib=rb-1.1.0&rect=43%2C43%2C2614%2C1542&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">2015 Archibald Prize winner Nigel Milsom - Judo House Part 6 (The White Bird), oil on linen. </span> <span class="attribution"><span class="source">© Nigel Milsom, photgraph courtesy of AGNSW, Mim Sterling</span></span></figcaption></figure><p>When announcing this year’s <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/">Archibald Prize</a>, the President of Trustees at the <a href="http://www.artgallery.nsw.gov.au/">Art Gallery of New South Wales</a>, Guido Belgiorno-Nettis, said that judging the annual competitions was “absolutely the most fun thing you can do as a trustee”. This year’s prize exhibitions are an indication that they are all having a lot of fun.</p>
<h2>The guide to winning</h2>
<p>The choice of winner for the Archibald, <a href="http://www.mca.com.au/collection/artist/nigel-milsom/">Nigel Milsom</a>’s Judo House Part 6 (The White Bird) – main image – is a portrait of the showman barrister, Charles Waterstreet was <a href="http://www.smh.com.au/entertainment/art-and-design/archibald-2015-nigel-milsoms-portrait-of-barrister-charles-waterstreet-favoured-to-win-portrait-prize-20150710-gi9gnh.html">widely predicted</a>, as was the runner-up <a href="http://mitchcairns.info/">Mitch Cairns</a>’ angular portrait of artist Peter Powditch. There were several reasons for this. </p>
<figure class="align-left ">
<img alt="" src="https://images.theconversation.com/files/88569/original/image-20150715-26325-cze50w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/88569/original/image-20150715-26325-cze50w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=677&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88569/original/image-20150715-26325-cze50w.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=677&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88569/original/image-20150715-26325-cze50w.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=677&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88569/original/image-20150715-26325-cze50w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=851&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88569/original/image-20150715-26325-cze50w.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=851&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88569/original/image-20150715-26325-cze50w.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=851&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">2015 Archibald Prize Runner-Up Mitch Cairns - portrait of Peter Powditch, oil on linen.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<p>First, the Archibald is – in essence – not an art prize but a celebration of the personalities who define Australia, and especially Sydney. Waterstreet, the flamboyant inspiration for the ABC television series <a href="http://www.abc.net.au/tv/rake/">Rake</a>, has to be a front runner on those grounds alone.</p>
<p>In addition, Milsom was the winner of the 2013 <a href="http://www.moranprizes.com.au/competition/2013-doug-moran-national-portrait-prize/winner">Moran Prize</a> – and a convicted criminal – all of which makes good copy. The Archibald is, above all things, about media coverage. </p>
<p>The other guide to the winner comes from the hanging. In the 1950s and 60s the Gallery director, <a href="http://www.portrait.gov.au/people/hal-missingham-1906">Hal Missingham</a>, used to write the telegrams for the winner before the judging. The Trustees were furious with him, but he had their measure. </p>
<p>For the 33 years of <a href="http://www.portrait.gov.au/people/edmund-george-capon-1940">Edmund Capon</a>’s directorship it became very easy to work out which work was most likely to win. For well over a week before the final judging, the winner would be hanging in the central court on one of the long walls – either opposite where the announcement would be made, or adjacent to it. </p>
<p>The Director always chose the location.</p>
<p>Under the terms of <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/history/who-was-jf-archibald/">JF Archibald</a>’s will, the prize must be judged by the Trustees. Since the rise of curators and professional gallery directors, only a few trustees are artists, but the current crop include some extremely knowledgeable collectors and art patrons. </p>
<p>The lighter and livelier exhibition is a reflection of their broad understanding that the Archibald exists to celebrate portraiture and people, not to elevate the status of the artists.</p>
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<a href="https://images.theconversation.com/files/88578/original/image-20150715-26325-d07d0i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88578/original/image-20150715-26325-d07d0i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/88578/original/image-20150715-26325-d07d0i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=843&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88578/original/image-20150715-26325-d07d0i.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=843&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88578/original/image-20150715-26325-d07d0i.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=843&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88578/original/image-20150715-26325-d07d0i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1060&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88578/original/image-20150715-26325-d07d0i.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1060&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88578/original/image-20150715-26325-d07d0i.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1060&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Kerry McInnis - Omar Musa, The poetry of unease, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist. Photograph courtesy of AGSNW, Mim Sterling</span></span>
</figcaption>
</figure>
<p>For me, the most impressive painting that was hung in the “winning room” this year is still <a href="http://kerrymcinnis.com/biography">Kerry McInnis</a>’s Omar Musa, the poetry of unease – a muted study of one of this coming generation’s most interesting writers.</p>
<h2>The Archibald rules</h2>
<p>One of the unspoken rules for hanging the Archibald, and the reason for the primacy of the central room, is the need to create a space for television cameras to film from a relative distance before zooming on the detail, the artist and the subject. </p>
<p>Just outside the favoured room the curator has installed what is probably the most unusual painting to enter the Archibald. </p>
<p><a href="http://paulryan-artist.com/html/home.html">Paul Ryan</a> has previously been exhibited, but this year’s Thirteen Noahs easily outdoes his previous efforts. </p>
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<a href="https://images.theconversation.com/files/88579/original/image-20150715-26334-r5fe1d.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88579/original/image-20150715-26334-r5fe1d.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88579/original/image-20150715-26334-r5fe1d.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=570&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88579/original/image-20150715-26334-r5fe1d.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=570&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88579/original/image-20150715-26334-r5fe1d.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=570&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88579/original/image-20150715-26334-r5fe1d.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=716&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88579/original/image-20150715-26334-r5fe1d.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=716&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88579/original/image-20150715-26334-r5fe1d.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=716&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Paul Ryan - Thirteen Noahs, oil on mixed found and bought objects.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<p>It is a compilation of paintings of the character actor <a href="http://www.imdb.com/name/nm0852965/">Noah Taylor</a>, based on different images, some distorted, each superimposed on discarded artworks – including a tapestry and ping pong bats. Taylor has inserted himself in such a wide range of characters on film and television that it makes sense for him to appear as a part of the scenery with kitsch naked ladies, landscapes and a dog. It might not have been awarded the prize, but it is easily the most exciting work in the show. </p>
<h2>The dead and the famous</h2>
<p>There are sub-themes in the exhibition. </p>
<p>Two portraits of the recently dead could not provide a greater contrast. </p>
<p><a href="http://www.johnbeardart.com/">John Beard</a> has painted Bill Wright, the much loved curator, director and artist as pale ghost seen through a veil of striped primary colours. It is a celebration of his life and his values. </p>
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<a href="https://images.theconversation.com/files/88583/original/image-20150715-26277-18rzlrw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88583/original/image-20150715-26277-18rzlrw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/88583/original/image-20150715-26277-18rzlrw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=734&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88583/original/image-20150715-26277-18rzlrw.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=734&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88583/original/image-20150715-26277-18rzlrw.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=734&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88583/original/image-20150715-26277-18rzlrw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=922&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88583/original/image-20150715-26277-18rzlrw.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=922&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88583/original/image-20150715-26277-18rzlrw.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=922&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Peter Churcher - The last portrait, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<p><a href="http://www.peterchurcher.com.au/about.htm">Peter Churcher</a> has painted his mother, <a href="https://theconversation.com/betty-churchers-death-is-a-loss-for-the-arts-and-for-australia-39571">Betty Churcher</a>, on her deathbed as a slack jawed empty shell with just a flicker of life in one eye. I can understand the impulse that led the artist to paint her as she faded from life, but this work needs a more sensitive context than the boisterous Archibald.</p>
<p>More than almost anyone I knew, Betty Churcher was very conscious of her public image. </p>
<p>In her <a href="http://www.abc.net.au/7.30/content/2015/s4191436.htm">last interview</a> with Leigh Sales she went to an enormous effort to look immaculate, because she was speaking to her legacy. </p>
<p>Another surprising disappointment is <a href="http://www.mca.com.au/collection/artist/gladwell-shaun/">Shaun Gladwell</a>’s monochrome portrait of Mark Donaldson VC, where a skull crashes onto the subject’s helmeted head. </p>
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<a href="https://images.theconversation.com/files/88584/original/image-20150715-26280-1vtnr43.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88584/original/image-20150715-26280-1vtnr43.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/88584/original/image-20150715-26280-1vtnr43.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=747&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88584/original/image-20150715-26280-1vtnr43.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=747&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88584/original/image-20150715-26280-1vtnr43.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=747&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88584/original/image-20150715-26280-1vtnr43.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=939&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88584/original/image-20150715-26280-1vtnr43.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=939&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88584/original/image-20150715-26280-1vtnr43.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=939&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Shaun Gladwell - Mark Donaldson VC (member of the avant-garde), acrylic and enamel on canvas.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<p>Gladwell’s style here is deliberately reminiscent of action hero comic books, and it does not quite work in this context. </p>
<p><a href="http://www.tianlizu.com/index.html">Tianli Zu</a> also uses monochrome (plus a burst of lurid green shoes) for his portrait of Edmund Capon, “Edmund, your Twomblys are behind you”, a reference to Capon’s most distinguished acquisition for the Gallery’s collection. </p>
<p>He has chosen to give the former director an especially gnarled face, which contrasts with the stylishly painted building. </p>
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<figcaption>
<span class="caption">2015 Archibald Prize finalist Tianli Zu - Edmund, your Twomblys are behind you, acrylic on linen.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<p>If it were dependant on subject matter, the clear winners would have been portraits of artists and people working in the arts. </p>
<p><a href="https://buttittaart.wordpress.com/">Filippa Buttitta</a> has painted the much loved Judy Cassab while <a href="http://www.tomcarment.com/">Tom Carment</a> has a self portrait of his own ageing face. </p>
<p><a href="http://www.rodneypople.com/">Rodney Pople</a>, an Archibald regular, has painted Frannie Hopkirk, Brett Whiteley’s sister looking bug-eyed, while former National Portrait Gallery director <a href="http://www.sayerspictures.com.au/#!words/c786">Andrew Sayers</a> has a portrait of Tim Bonyhady but manages to give him an expression that looks a bit like Sayers himself.</p>
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<figcaption>
<span class="caption">2015 Archibald Prize finalist Filippa Buttitta - portrait of Judy Cassab (portrait of an artist), oil on Italian linen.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<p>Perhaps the selection of so many people from the arts is a retreat from the current abysmal state of Australian politics – the only politicians included are those mad mavericks, Bob Katter and Cory Bernardi – neither with works that are especially memorable. </p>
<p>There is a sign of a better world with <a href="http://www.sallyross.com.au/">Sally Ross</a>’s very sweet portrait of documentary film maker Eva Orner, which hangs adjacent to <a href="http://guymorgan.com/">Guy Morgan</a>’s portrait of Louise Voigt, the CEO of Barnardo’s Australia. </p>
<p>The <a href="https://theconversation.com/congratulations-natasha-bieniek-but-the-wynne-prize-is-deeply-flawed-44763">Wynne Prize</a>, also judged by the Trustees, is often overlooked in the annual festival of faces. Mostly that neglect is justified, but this year the Trustees have reached out and given the prize to a young Melbourne artist <a href="http://diannetanzergallery.net.au/Natasha-Bieniek">Natasha Bieniek</a>. </p>
<p>I get the impression that, having done their duty by the public and paid homage to the sheer exuberant sensationalism of the Archibald, the Trustees have collectively released their inner aesthete and indulged in supporting both quality and the coming generation. As Guido Belgiorno-Nettis says, judging these prizes is “absolutely the most fun thing”.</p>
<p><br>
<strong>See also:</strong><br>
<a href="https://theconversation.com/congratulations-natasha-bieniek-but-the-wynne-prize-is-deeply-flawed-44763">Congratulations Natasha Bieniek, but the Wynne Prize is deeply flawed</a></p>
<p><br>
<em>The Archibald Prize exhibition will show at the Art Gallery of NSW from July 18 - September 27. More details <a href="http://www.artgallery.nsw.gov.au/exhibitions/archibald-wynne-sulman-prizes-2015/">here</a></em></p>
<h2>See the rest of the Archibald Prize Finalist portraits here:</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88571/original/image-20150715-26280-1w0t7wb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88571/original/image-20150715-26280-1w0t7wb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88571/original/image-20150715-26280-1w0t7wb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=599&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88571/original/image-20150715-26280-1w0t7wb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=599&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88571/original/image-20150715-26280-1w0t7wb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=599&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88571/original/image-20150715-26280-1w0t7wb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=752&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88571/original/image-20150715-26280-1w0t7wb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=752&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88571/original/image-20150715-26280-1w0t7wb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=752&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize Finalist Richard Bell - self portrait, acrylic on canvas.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88572/original/image-20150715-26325-5xk3ww.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88572/original/image-20150715-26325-5xk3ww.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88572/original/image-20150715-26325-5xk3ww.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=602&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88572/original/image-20150715-26325-5xk3ww.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=602&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88572/original/image-20150715-26325-5xk3ww.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=602&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88572/original/image-20150715-26325-5xk3ww.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=756&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88572/original/image-20150715-26325-5xk3ww.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=756&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88572/original/image-20150715-26325-5xk3ww.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=756&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize Finalist Jiawei Shen - How to explain art with a white rabbit, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88575/original/image-20150715-26280-1wv3xpm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88575/original/image-20150715-26280-1wv3xpm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88575/original/image-20150715-26280-1wv3xpm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=672&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88575/original/image-20150715-26280-1wv3xpm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=672&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88575/original/image-20150715-26280-1wv3xpm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=672&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88575/original/image-20150715-26280-1wv3xpm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=844&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88575/original/image-20150715-26280-1wv3xpm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=844&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88575/original/image-20150715-26280-1wv3xpm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=844&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize Finalist Angus McDonald - Romanticide - portrait of Abbe May, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88577/original/image-20150715-26277-g10iqx.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88577/original/image-20150715-26277-g10iqx.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88577/original/image-20150715-26277-g10iqx.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=905&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88577/original/image-20150715-26277-g10iqx.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=905&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88577/original/image-20150715-26277-g10iqx.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=905&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88577/original/image-20150715-26277-g10iqx.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1137&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88577/original/image-20150715-26277-g10iqx.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1137&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88577/original/image-20150715-26277-g10iqx.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1137&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize Finalist Kim Leutwyler - Start the riot, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88580/original/image-20150715-26284-nlaw5p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88580/original/image-20150715-26284-nlaw5p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88580/original/image-20150715-26284-nlaw5p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=730&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88580/original/image-20150715-26284-nlaw5p.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=730&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88580/original/image-20150715-26284-nlaw5p.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=730&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88580/original/image-20150715-26284-nlaw5p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=917&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88580/original/image-20150715-26284-nlaw5p.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=917&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88580/original/image-20150715-26284-nlaw5p.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=917&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist John Beard - Bill, oil and wax on linen.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88587/original/image-20150716-26319-1lxlru9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88587/original/image-20150716-26319-1lxlru9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88587/original/image-20150716-26319-1lxlru9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=804&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88587/original/image-20150716-26319-1lxlru9.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=804&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88587/original/image-20150716-26319-1lxlru9.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=804&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88587/original/image-20150716-26319-1lxlru9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1010&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88587/original/image-20150716-26319-1lxlru9.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1010&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88587/original/image-20150716-26319-1lxlru9.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1010&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Tom Carment - self portrait at 60, oil on linen.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88588/original/image-20150716-26325-1clpe7q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88588/original/image-20150716-26325-1clpe7q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88588/original/image-20150716-26325-1clpe7q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=945&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88588/original/image-20150716-26325-1clpe7q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=945&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88588/original/image-20150716-26325-1clpe7q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=945&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88588/original/image-20150716-26325-1clpe7q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1188&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88588/original/image-20150716-26325-1clpe7q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1188&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88588/original/image-20150716-26325-1clpe7q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1188&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Rodney Pople - Frannie and Brett, tempera, watercolour and ink on plywood.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88589/original/image-20150716-26314-qwsls5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88589/original/image-20150716-26314-qwsls5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88589/original/image-20150716-26314-qwsls5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=810&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88589/original/image-20150716-26314-qwsls5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=810&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88589/original/image-20150716-26314-qwsls5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=810&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88589/original/image-20150716-26314-qwsls5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1018&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88589/original/image-20150716-26314-qwsls5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1018&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88589/original/image-20150716-26314-qwsls5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1018&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Andrew Sayers - portrait of Tim Bonyhady, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88590/original/image-20150716-26309-2gjlns.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88590/original/image-20150716-26309-2gjlns.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88590/original/image-20150716-26309-2gjlns.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=912&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88590/original/image-20150716-26309-2gjlns.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=912&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88590/original/image-20150716-26309-2gjlns.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=912&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88590/original/image-20150716-26309-2gjlns.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1145&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88590/original/image-20150716-26309-2gjlns.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1145&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88590/original/image-20150716-26309-2gjlns.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1145&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Sally Ross - portrait of Eva, oil on wood panel.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88591/original/image-20150716-26289-r2eec.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88591/original/image-20150716-26289-r2eec.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88591/original/image-20150716-26289-r2eec.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=602&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88591/original/image-20150716-26289-r2eec.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=602&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88591/original/image-20150716-26289-r2eec.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=602&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88591/original/image-20150716-26289-r2eec.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=757&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88591/original/image-20150716-26289-r2eec.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=757&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88591/original/image-20150716-26289-r2eec.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=757&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Guy Morgan - portrait of Louise Voigt (CEO Barnardos Australia, after retinal detachment), oil on canvas.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88742/original/image-20150717-5084-eejbet.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88742/original/image-20150717-5084-eejbet.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88742/original/image-20150717-5084-eejbet.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=824&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88742/original/image-20150717-5084-eejbet.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=824&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88742/original/image-20150717-5084-eejbet.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=824&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88742/original/image-20150717-5084-eejbet.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1035&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88742/original/image-20150717-5084-eejbet.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1035&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88742/original/image-20150717-5084-eejbet.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1035&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Adam Alcorn - portrait of Alice Fraser, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88745/original/image-20150717-5108-1n23arp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88745/original/image-20150717-5108-1n23arp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88745/original/image-20150717-5108-1n23arp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=598&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88745/original/image-20150717-5108-1n23arp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=598&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88745/original/image-20150717-5108-1n23arp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=598&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88745/original/image-20150717-5108-1n23arp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=752&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88745/original/image-20150717-5108-1n23arp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=752&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88745/original/image-20150717-5108-1n23arp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=752&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Jason Benjamin - I sat by the river. I waited by the road, oil on linen.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88761/original/image-20150717-5111-q6mhcc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88761/original/image-20150717-5111-q6mhcc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88761/original/image-20150717-5111-q6mhcc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=604&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88761/original/image-20150717-5111-q6mhcc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=604&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88761/original/image-20150717-5111-q6mhcc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=604&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88761/original/image-20150717-5111-q6mhcc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=759&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88761/original/image-20150717-5111-q6mhcc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=759&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88761/original/image-20150717-5111-q6mhcc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=759&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Wei Bin Chen - self portrait, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88765/original/image-20150717-24758-1cbos4t.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88765/original/image-20150717-24758-1cbos4t.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88765/original/image-20150717-24758-1cbos4t.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=769&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88765/original/image-20150717-24758-1cbos4t.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=769&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88765/original/image-20150717-24758-1cbos4t.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=769&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88765/original/image-20150717-24758-1cbos4t.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=966&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88765/original/image-20150717-24758-1cbos4t.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=966&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88765/original/image-20150717-24758-1cbos4t.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=966&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Samuel Condon - Jarratt, oil on composition board.</span>
<span class="attribution"><span class="source">© the artist - photograph courtesy of © AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88768/original/image-20150717-5084-iolifx.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88768/original/image-20150717-5084-iolifx.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88768/original/image-20150717-5084-iolifx.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=755&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88768/original/image-20150717-5084-iolifx.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=755&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88768/original/image-20150717-5084-iolifx.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=755&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88768/original/image-20150717-5084-iolifx.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=948&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88768/original/image-20150717-5084-iolifx.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=948&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88768/original/image-20150717-5084-iolifx.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=948&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Tony Costa - portrait of David Fairbairn, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88769/original/image-20150717-5108-wp7wrp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88769/original/image-20150717-5108-wp7wrp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88769/original/image-20150717-5108-wp7wrp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=810&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88769/original/image-20150717-5108-wp7wrp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=810&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88769/original/image-20150717-5108-wp7wrp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=810&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88769/original/image-20150717-5108-wp7wrp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1018&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88769/original/image-20150717-5108-wp7wrp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1018&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88769/original/image-20150717-5108-wp7wrp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1018&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Tony Curran - portrait of Luke, oil on linen.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88770/original/image-20150717-5080-jrnp2v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88770/original/image-20150717-5080-jrnp2v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88770/original/image-20150717-5080-jrnp2v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=603&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88770/original/image-20150717-5080-jrnp2v.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=603&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88770/original/image-20150717-5080-jrnp2v.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=603&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88770/original/image-20150717-5080-jrnp2v.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=758&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88770/original/image-20150717-5080-jrnp2v.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=758&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88770/original/image-20150717-5080-jrnp2v.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=758&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Blak Douglas - smoke & mirrors (portrait of Uncle Max Eulo), acrylic on canvas.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88771/original/image-20150717-24758-p817xr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88771/original/image-20150717-24758-p817xr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88771/original/image-20150717-24758-p817xr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=428&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88771/original/image-20150717-24758-p817xr.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=428&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88771/original/image-20150717-24758-p817xr.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=428&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88771/original/image-20150717-24758-p817xr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=538&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88771/original/image-20150717-24758-p817xr.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=538&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88771/original/image-20150717-24758-p817xr.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=538&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Marc Etherington - portrait of Del Kathryn Barton and Magic Dog, acrylic on canvas.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88775/original/image-20150717-5070-17h3xjc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88775/original/image-20150717-5070-17h3xjc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88775/original/image-20150717-5070-17h3xjc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=707&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88775/original/image-20150717-5070-17h3xjc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=707&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88775/original/image-20150717-5070-17h3xjc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=707&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88775/original/image-20150717-5070-17h3xjc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=889&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88775/original/image-20150717-5070-17h3xjc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=889&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88775/original/image-20150717-5070-17h3xjc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=889&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize Finalist Prudence Flint - Baby, oil on linen.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88778/original/image-20150717-24758-11hetdg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88778/original/image-20150717-24758-11hetdg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88778/original/image-20150717-24758-11hetdg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=541&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88778/original/image-20150717-24758-11hetdg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=541&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88778/original/image-20150717-24758-11hetdg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=541&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88778/original/image-20150717-24758-11hetdg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=679&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88778/original/image-20150717-24758-11hetdg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=679&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88778/original/image-20150717-24758-11hetdg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=679&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Juan Ford - A bungled clairvoyance of William Buckley or Ludwig Leichhardt’s most intense moments (I can’t decide which, you choose), attempted while atop a mountain, oil on linen.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88780/original/image-20150717-5111-110q4eo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88780/original/image-20150717-5111-110q4eo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88780/original/image-20150717-5111-110q4eo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=881&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88780/original/image-20150717-5111-110q4eo.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=881&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88780/original/image-20150717-5111-110q4eo.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=881&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88780/original/image-20150717-5111-110q4eo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1107&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88780/original/image-20150717-5111-110q4eo.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1107&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88780/original/image-20150717-5111-110q4eo.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1107&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Bruno Jean Grasswell - portrait of Michael Caton, oil.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88781/original/image-20150717-5080-13hfnpq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88781/original/image-20150717-5080-13hfnpq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88781/original/image-20150717-5080-13hfnpq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=846&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88781/original/image-20150717-5080-13hfnpq.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=846&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88781/original/image-20150717-5080-13hfnpq.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=846&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88781/original/image-20150717-5080-13hfnpq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1064&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88781/original/image-20150717-5080-13hfnpq.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1064&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88781/original/image-20150717-5080-13hfnpq.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1064&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Tim Gregory - Self-portrait as ancestors, oil on Endura paper.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88783/original/image-20150717-5104-1wxqq2h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88783/original/image-20150717-5104-1wxqq2h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88783/original/image-20150717-5104-1wxqq2h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=596&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88783/original/image-20150717-5104-1wxqq2h.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=596&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88783/original/image-20150717-5104-1wxqq2h.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=596&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88783/original/image-20150717-5104-1wxqq2h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=749&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88783/original/image-20150717-5104-1wxqq2h.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=749&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88783/original/image-20150717-5104-1wxqq2h.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=749&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Leon Hall - Self portrait, oil on hardboard.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88784/original/image-20150717-5104-jiuq0o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88784/original/image-20150717-5104-jiuq0o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88784/original/image-20150717-5104-jiuq0o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=822&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88784/original/image-20150717-5104-jiuq0o.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=822&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88784/original/image-20150717-5104-jiuq0o.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=822&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88784/original/image-20150717-5104-jiuq0o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1033&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88784/original/image-20150717-5104-jiuq0o.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1033&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88784/original/image-20150717-5104-jiuq0o.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1033&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Tsering Hannaford - Objet démodé, oil on board.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Felicity Jenkins.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88786/original/image-20150717-5084-shjzvd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88786/original/image-20150717-5084-shjzvd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88786/original/image-20150717-5084-shjzvd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=443&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88786/original/image-20150717-5084-shjzvd.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=443&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88786/original/image-20150717-5084-shjzvd.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=443&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88786/original/image-20150717-5084-shjzvd.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=557&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88786/original/image-20150717-5084-shjzvd.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=557&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88786/original/image-20150717-5084-shjzvd.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=557&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Sophia Hewson - Delivered, oil on board.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Mim Sterling.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88788/original/image-20150717-5084-4f80wq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88788/original/image-20150717-5084-4f80wq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88788/original/image-20150717-5084-4f80wq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=903&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88788/original/image-20150717-5084-4f80wq.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=903&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88788/original/image-20150717-5084-4f80wq.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=903&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88788/original/image-20150717-5084-4f80wq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1134&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88788/original/image-20150717-5084-4f80wq.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1134&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88788/original/image-20150717-5084-4f80wq.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1134&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Tanja Karl - Laurie, acrylic and oil.</span>
<span class="attribution"><span class="source">© the artist, photograph courtesy of AGNSW, Mim Sterling.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88789/original/image-20150717-5111-1oox7ih.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88789/original/image-20150717-5111-1oox7ih.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88789/original/image-20150717-5111-1oox7ih.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=552&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88789/original/image-20150717-5111-1oox7ih.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=552&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88789/original/image-20150717-5111-1oox7ih.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=552&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88789/original/image-20150717-5111-1oox7ih.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=694&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88789/original/image-20150717-5111-1oox7ih.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=694&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88789/original/image-20150717-5111-1oox7ih.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=694&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Matthew Kentmann - Nigel Milsom, Sunday 3 May 2015, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist, photograph courtesy of AGNSW, Mim Sterling.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88790/original/image-20150717-5080-94fvqw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88790/original/image-20150717-5080-94fvqw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88790/original/image-20150717-5080-94fvqw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=802&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88790/original/image-20150717-5080-94fvqw.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=802&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88790/original/image-20150717-5080-94fvqw.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=802&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88790/original/image-20150717-5080-94fvqw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1008&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88790/original/image-20150717-5080-94fvqw.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1008&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88790/original/image-20150717-5080-94fvqw.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1008&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Jeremy Kibel - The portrait of Doctor Dick Quan, mixed media on linen.</span>
<span class="attribution"><span class="source">© the artist, photograph courtesy of AGNSW, Mim Sterling.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88791/original/image-20150717-5089-chh9h7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88791/original/image-20150717-5089-chh9h7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88791/original/image-20150717-5089-chh9h7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=714&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88791/original/image-20150717-5089-chh9h7.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=714&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88791/original/image-20150717-5089-chh9h7.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=714&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88791/original/image-20150717-5089-chh9h7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=897&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88791/original/image-20150717-5089-chh9h7.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=897&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88791/original/image-20150717-5089-chh9h7.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=897&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Stewart MacFarlane - Cory Bernardi, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist, photograph courtesy of AGNSW, Felicity Jenkins.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88792/original/image-20150717-5084-1ptdesg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88792/original/image-20150717-5084-1ptdesg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88792/original/image-20150717-5084-1ptdesg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=758&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88792/original/image-20150717-5084-1ptdesg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=758&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88792/original/image-20150717-5084-1ptdesg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=758&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88792/original/image-20150717-5084-1ptdesg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=953&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88792/original/image-20150717-5084-1ptdesg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=953&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88792/original/image-20150717-5084-1ptdesg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=953&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Robert Hannaford - self portrait, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist, photograph courtesy of AGNSW, Mim Sterling.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88772/original/image-20150717-5089-w65hhm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88772/original/image-20150717-5089-w65hhm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88772/original/image-20150717-5089-w65hhm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=753&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88772/original/image-20150717-5089-w65hhm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=753&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88772/original/image-20150717-5089-w65hhm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=753&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88772/original/image-20150717-5089-w65hhm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=947&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88772/original/image-20150717-5089-w65hhm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=947&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88772/original/image-20150717-5089-w65hhm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=947&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Marcus Wills - El cabeceo, oil on board, multi-panelled altarpiece.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88773/original/image-20150717-5070-1d3hwqh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88773/original/image-20150717-5070-1d3hwqh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88773/original/image-20150717-5070-1d3hwqh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=373&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88773/original/image-20150717-5070-1d3hwqh.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=373&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88773/original/image-20150717-5070-1d3hwqh.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=373&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88773/original/image-20150717-5070-1d3hwqh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=468&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88773/original/image-20150717-5070-1d3hwqh.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=468&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88773/original/image-20150717-5070-1d3hwqh.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=468&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Marcus Wills - El cabeceo (View 2), oil on board, multi-panelled altarpiece.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88774/original/image-20150717-5070-16ud88r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88774/original/image-20150717-5070-16ud88r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88774/original/image-20150717-5070-16ud88r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=701&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88774/original/image-20150717-5070-16ud88r.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=701&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88774/original/image-20150717-5070-16ud88r.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=701&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88774/original/image-20150717-5070-16ud88r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=881&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88774/original/image-20150717-5070-16ud88r.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=881&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88774/original/image-20150717-5070-16ud88r.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=881&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Mirra Whale - portrait of Elizabeth, oil on canvas.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88776/original/image-20150717-24758-1uhyvdi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88776/original/image-20150717-24758-1uhyvdi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88776/original/image-20150717-24758-1uhyvdi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=640&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88776/original/image-20150717-24758-1uhyvdi.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=640&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88776/original/image-20150717-24758-1uhyvdi.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=640&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88776/original/image-20150717-24758-1uhyvdi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=804&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88776/original/image-20150717-24758-1uhyvdi.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=804&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88776/original/image-20150717-24758-1uhyvdi.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=804&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Kristin Tennyson - portrait of Bob Katter, mixed media on canvas.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Mim Sterling</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88777/original/image-20150717-5070-qxdbqh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88777/original/image-20150717-5070-qxdbqh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88777/original/image-20150717-5070-qxdbqh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=906&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88777/original/image-20150717-5070-qxdbqh.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=906&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88777/original/image-20150717-5070-qxdbqh.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=906&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88777/original/image-20150717-5070-qxdbqh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1139&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88777/original/image-20150717-5070-qxdbqh.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1139&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88777/original/image-20150717-5070-qxdbqh.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1139&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Leslie Rice - Hill End bacchanal (portrait of Luke Sciberras), acrylic on black velvet.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Jenni Carter</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88782/original/image-20150717-5114-1rxa85l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88782/original/image-20150717-5114-1rxa85l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88782/original/image-20150717-5114-1rxa85l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=1199&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88782/original/image-20150717-5114-1rxa85l.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=1199&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88782/original/image-20150717-5114-1rxa85l.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=1199&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88782/original/image-20150717-5114-1rxa85l.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1507&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88782/original/image-20150717-5114-1rxa85l.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1507&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88782/original/image-20150717-5114-1rxa85l.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1507&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Jason Phu - Lisa has a much more pleasant face than Glenn. She also doesn’t sing horribly while playing a guitar or try to put her cat up a tree while I’m painting her, ink on Chinese paper.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Mim Sterling.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88785/original/image-20150717-5084-1txog0s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88785/original/image-20150717-5084-1txog0s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88785/original/image-20150717-5084-1txog0s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=905&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88785/original/image-20150717-5084-1txog0s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=905&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88785/original/image-20150717-5084-1txog0s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=905&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88785/original/image-20150717-5084-1txog0s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1137&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88785/original/image-20150717-5084-1txog0s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1137&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88785/original/image-20150717-5084-1txog0s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1137&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Alicia Mozqueira - portrait of Doug Hall, oil on clay board.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Mim Sterling.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88787/original/image-20150717-5111-9q5oyy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88787/original/image-20150717-5111-9q5oyy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88787/original/image-20150717-5111-9q5oyy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=802&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88787/original/image-20150717-5111-9q5oyy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=802&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88787/original/image-20150717-5111-9q5oyy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=802&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88787/original/image-20150717-5111-9q5oyy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1008&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88787/original/image-20150717-5111-9q5oyy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1008&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88787/original/image-20150717-5111-9q5oyy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1008&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Archibald Prize finalist Julian Meagher - portrait of Daniel Johns, oil on linen.</span>
<span class="attribution"><span class="source">© the artist, photgraph courtesy of AGNSW, Mim Sterling.</span></span>
</figcaption>
</figure><img src="https://counter.theconversation.com/content/44717/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn receives funding from the ARC through a Linkage Project on the History of Exhibitions of Australian Art and has been a recipient of an ARC LIEF grant for Design and Art of Australia Online.</span></em></p>
Nigel Milsom has won the 2015 Archibald Prize for his portrait of barrister Charles Waterstreet. It’s clear the regime of the Archibald Prize is quickly, and positively, shifting.
Joanna Mendelssohn, Associate Professor, Art & Design: UNSW Australia. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/44763
2015-07-17T03:19:55Z
2015-07-17T03:19:55Z
Congratulations Natasha Bieniek, but the Wynne Prize is deeply flawed
<figure><img src="https://images.theconversation.com/files/88744/original/image-20150717-5111-10muzj0.jpg?ixlib=rb-1.1.0&rect=265%2C1142%2C2444%2C1293&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">The 2015 Wynne Prize winner is Natasha Bieniek, with Biophilia, oil on dibond.</span> <span class="attribution"><span class="source">© Natasha Bieniek. Photography courtesy of © AGNSW, Diana Panuccio.</span></span></figcaption></figure><p>Today, Natasha Bieniek won the 2015 AU$50,000 Wynne Prize for her work, Biophilia (main image). This is happy news, considering the prize has been hounded by a history of gender inequality. Her work is a miniature painting, smaller than a Polaroid photo. It represents the artist’s love of the minute biological details of nature. </p>
<p>The nexus of science and art is a rapidly growing area of contemporary art and, as such, the winning work reflects a major BioArt trend around the world. It addresses an important theme in contemporary life: how do humans relate to nature in an increasingly digitised world. </p>
<p>Since 1897, the Art Gallery of NSW’s <a href="http://www.artgallery.nsw.gov.au/prizes/wynne/">Wynne Prize</a> has been awarded for “the best landscape painting of Australian scenery in oils or watercolours or for the best example of figure sculpture by Australian artists”. </p>
<p>While this prize has consistently been a strange mash-up of media (painting and sculpture) and concept (landscape and figuration), the hybrid structure of the prize is the least of its worries. So what are the main ones?</p>
<p>The first is that, since 1900, 105 men have won the prize, as opposed to only 10 women (including Bieniek this year). Is that because women can’t understand the idea of nature? Is it because women are not muscular enough to be sculptors? The poor representation of women artists in this category is more bewildering than anything. The gender politics need to be redressed, as they have been this year, at least, with Bieniek’s work.</p>
<p>And if we look at the <a href="http://www.artgallery.nsw.gov.au/prizes/wynne/2015/">2015 short-listed</a> Wynne entries, there were three major women artists whose works were equally deserving of the main prize.</p>
<p>First there was <a href="http://kwgallery.com/artists/aida-tomescu">Aida Tomescu</a>’s entry, Bribie (below). </p>
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<a href="https://images.theconversation.com/files/88721/original/image-20150716-5092-1i17k97.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88721/original/image-20150716-5092-1i17k97.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88721/original/image-20150716-5092-1i17k97.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=724&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88721/original/image-20150716-5092-1i17k97.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=724&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88721/original/image-20150716-5092-1i17k97.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=724&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88721/original/image-20150716-5092-1i17k97.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=910&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88721/original/image-20150716-5092-1i17k97.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=910&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88721/original/image-20150716-5092-1i17k97.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=910&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Aida Tomescu - Bribie, oil on linen.</span>
<span class="attribution"><span class="source">© Aida Tomescu. Photograph courtesy of © AGNSW, Diana Panuccio</span></span>
</figcaption>
</figure>
<p>In 2001, Tomescu <a href="http://archive.artgallery.nsw.gov.au/media/archives_2001/2001_wynne_prize_winner/">won</a> the Wynne, and deservedly so. She paints hedonistic landscape experiences. Heavy applications of oil are palette-knifed or brushed onto the surface, exposing the layers of earthy sediment or the currents of seawater. </p>
<p>Her paint is sucking mud, salty claypan or icy aquamarine water. Her work gives us a sensuous and material experience of the environment. They are stories already inscribed on the land, in the marks left by crabs at night in the sand, or in the scribbly bark of the gum tree. </p>
<p>Tomescu’s paintings are rakings in the soil, stories that are dug up along with the minerals in the earth, they are stories that pile up like hills of landfill or are buried in graveyards. These are the complex stories, already there on the earth.</p>
<p><a href="http://www.jobertini.com.au/">Jo Bertini</a> was also shortlised this year, for Mound Spring (below).</p>
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<a href="https://images.theconversation.com/files/88619/original/image-20150716-32638-1r9nc21.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88619/original/image-20150716-32638-1r9nc21.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88619/original/image-20150716-32638-1r9nc21.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=509&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88619/original/image-20150716-32638-1r9nc21.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=509&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88619/original/image-20150716-32638-1r9nc21.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=509&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88619/original/image-20150716-32638-1r9nc21.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=639&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88619/original/image-20150716-32638-1r9nc21.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=639&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88619/original/image-20150716-32638-1r9nc21.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=639&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Jo Bertini - Mound spring, oil on canvas.</span>
<span class="attribution"><span class="source">© Jo Bertini. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<p>Bertini’s paintings are the result of expedition trips to isolated regions of the Australian desert alongside biologists, botanists and environmental scientists from universities and museums around the world. </p>
<p>She heads off with satellite phone and a string of camels and paints the experience of isolation and loneliness that is the Australian interior. She comes home afterwards, muscled, her skin tanned and a new knowledge in her eye (a wildness) that is slightly frightening. </p>
<p>When she returns from her trips she talks about the bounty of the desert, its benevolence. This cornucopia is so contrary to the way we have understood the isolated interior, as painted by historical male counterparts such as <a href="http://adb.anu.edu.au/biography/drysdale-sir-george-russell-12439">Russell Drysdale</a> or <a href="http://www.sidneynolantrust.org/about/sidney-nolan">Sidney Nolan</a>. </p>
<p>There is sometimes a bleak quality to Bertini’s work but it is both emotional and scientific, both empathic and measured. It is fiercely female. </p>
<p>Her work this year, Mound Spring (as pictured above), is a vertiginous desert edifice with a sole tree, stuck on its cliff edge. The tree is a forlorn and lonely reminder of the history of landscape painting, where an identifiable trope (a fallen tree, a tree stump or a view through trees) needs to be abandoned. </p>
<p>Nature, now, is a devastated, compromised and annihilated concept.</p>
<p>The third strong female contender for the Wynne Prize this year was <a href="http://www.kateshaw.org/">Kate Shaw</a>, with her work Anthropocene (below). </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88606/original/image-20150716-26296-1s7bw5s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88606/original/image-20150716-26296-1s7bw5s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88606/original/image-20150716-26296-1s7bw5s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=301&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88606/original/image-20150716-26296-1s7bw5s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=301&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88606/original/image-20150716-26296-1s7bw5s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=301&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88606/original/image-20150716-26296-1s7bw5s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=378&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88606/original/image-20150716-26296-1s7bw5s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=378&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88606/original/image-20150716-26296-1s7bw5s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=378&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Kate Shaw – Anthropocene, acrylic and resin on board.</span>
<span class="attribution"><span class="source">© Kate Shaw. Photograph courtesy of © AGNSW, Diana Panuccio</span></span>
</figcaption>
</figure>
<p>Shaw uses acrylic and resin to create reflective and mesmerising prisms of colour. This is landscape as kaleidoscope of fluorescent pinks. Colours bleed into one another on the painting surface in a swoon of childhood memories of the entire collection of Derwent coloured pencils. </p>
<p>But Shaw’s work is not merely a nostalgic tour of “colour-love”. Her work is perversely environmental. Perverse, because she creates an artificial world. Her luminous reds, lurid greens, high-vis yellow and patchwork pinks are man-made. Her trees leak into their background, her ice scenes are melting in a critical climate change epoch. </p>
<p>The title of her shortlisted work, <a href="http://www.theguardian.com/science/2014/oct/16/-sp-scientists-gather-talks-rename-human-age-anthropocene-holocene">Anthropocene</a>, refers to a theme in philosophy, art and science in recent times. It is the period of time, since <a href="http://www.britannica.com/topic/industrialization">Industrialisation</a>, as measured by the top geological layer of the earth. </p>
<p>There, in the soil, littered with plastic refuse and a century’s worth of discarded machinery and an equivalent layer of harmful carbon, is the story of mankind’s effect on the landscape. </p>
<p>The painting is a view through the cave-like mouth of deep time. The earth is alive. It is monstrous and the gaping lips of death look out onto an idyllic view or scene that may not last for as long as we hope.</p>
<p>So what do these powerful examples of landscape painting, by women, tell us? </p>
<p>They tell us to stop overlooking women who paint vast scenes that are a challenge in different ways. These artists deserve closer attention.</p>
<p>The second problem with the Wynne Prize is that it always looks truly terrible, in situ. </p>
<p>A bit of figure sculpture (which the <a href="http://www.artgallery.nsw.gov.au/about-us/people/agnsw-trust/">Trustees</a> clearly have trouble defining), a bit of landscape painting (and the parameters are becoming increasingly unbounded each year), and the result is no less than a mess. </p>
<p>From its inception until 1928, the prize was not exhibited at the Art Gallery of NSW. Instead, the winners were selected by the gallery Trustees, who travelled to local exhibitions and studios and selected the winner, personally.
Perhaps this is the key to a re-invigoration of the Wynne Prize. Let’s not dump them all together like a horrifying kitchen table mess of spilt milk, soggy cornflakes and burnt toast. </p>
<p>Instead, let’s return to the original process of Wynne-awarding. Send the trustees out to select a winner and reward that work, alone. Hang it in the AGNSW, alone. </p>
<p>What gladdens the heart, this year, is that all four artists mentioned here (not least the wonderful winning work) managed to harness a love for painting and an equal love for the environment.</p>
<p><br>
<em>The Wynne Prize exhibition will show at the Art Gallery of NSW from July 18 - September 27. More details <a href="http://www.artgallery.nsw.gov.au/exhibitions/archibald-wynne-sulman-prizes-2015/">here</a></em></p>
<h2>See the rest of the Wynne Prize finalists here:</h2>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88732/original/image-20150717-5084-1c0h0bi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88732/original/image-20150717-5084-1c0h0bi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88732/original/image-20150717-5084-1c0h0bi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=529&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88732/original/image-20150717-5084-1c0h0bi.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=529&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88732/original/image-20150717-5084-1c0h0bi.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=529&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88732/original/image-20150717-5084-1c0h0bi.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=665&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88732/original/image-20150717-5084-1c0h0bi.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=665&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88732/original/image-20150717-5084-1c0h0bi.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=665&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Christine Fontana - Mappa mundi: the known world, mixed media on Japanese rice paper.</span>
<span class="attribution"><span class="source">© Christine Fontana. Photograph courtesy of © AGNSW, Felicity Jenkins.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88733/original/image-20150717-5089-edt0ul.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88733/original/image-20150717-5089-edt0ul.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88733/original/image-20150717-5089-edt0ul.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=778&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88733/original/image-20150717-5089-edt0ul.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=778&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88733/original/image-20150717-5089-edt0ul.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=778&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88733/original/image-20150717-5089-edt0ul.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=978&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88733/original/image-20150717-5089-edt0ul.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=978&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88733/original/image-20150717-5089-edt0ul.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=978&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Robert Malherbe – Blackheath street landscape, oil on linen.</span>
<span class="attribution"><span class="source">© Robert Malherbe. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88734/original/image-20150717-5114-n3zcup.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88734/original/image-20150717-5114-n3zcup.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88734/original/image-20150717-5114-n3zcup.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=712&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88734/original/image-20150717-5114-n3zcup.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=712&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88734/original/image-20150717-5114-n3zcup.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=712&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88734/original/image-20150717-5114-n3zcup.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=895&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88734/original/image-20150717-5114-n3zcup.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=895&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88734/original/image-20150717-5114-n3zcup.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=895&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Guy Maestri – Black gold no. 5, oil on linen.</span>
<span class="attribution"><span class="source">© Guy Maestri. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88735/original/image-20150717-5092-1ip98cb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88735/original/image-20150717-5092-1ip98cb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88735/original/image-20150717-5092-1ip98cb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=411&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88735/original/image-20150717-5092-1ip98cb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=411&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88735/original/image-20150717-5092-1ip98cb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=411&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88735/original/image-20150717-5092-1ip98cb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=517&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88735/original/image-20150717-5092-1ip98cb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=517&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88735/original/image-20150717-5092-1ip98cb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=517&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Max Miller –</span>
<span class="attribution"><span class="source">© Max Miller. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88736/original/image-20150717-5080-z3zj2p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88736/original/image-20150717-5080-z3zj2p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88736/original/image-20150717-5080-z3zj2p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=81&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88736/original/image-20150717-5080-z3zj2p.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=81&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88736/original/image-20150717-5080-z3zj2p.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=81&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88736/original/image-20150717-5080-z3zj2p.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=101&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88736/original/image-20150717-5080-z3zj2p.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=101&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88736/original/image-20150717-5080-z3zj2p.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=101&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Viola Dominello – On the river, watercolour on Moleskine diary.</span>
<span class="attribution"><span class="source">© Viola Dominello. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88620/original/image-20150716-32635-5ka8oc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88620/original/image-20150716-32635-5ka8oc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88620/original/image-20150716-32635-5ka8oc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=225&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88620/original/image-20150716-32635-5ka8oc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=225&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88620/original/image-20150716-32635-5ka8oc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=225&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88620/original/image-20150716-32635-5ka8oc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=282&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88620/original/image-20150716-32635-5ka8oc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=282&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88620/original/image-20150716-32635-5ka8oc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=282&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Karl de Waal – The channel series, mixed media.</span>
<span class="attribution"><span class="source">© Karl de Waal. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88737/original/image-20150717-24758-irzdwa.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88737/original/image-20150717-24758-irzdwa.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88737/original/image-20150717-24758-irzdwa.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=506&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88737/original/image-20150717-24758-irzdwa.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=506&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88737/original/image-20150717-24758-irzdwa.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=506&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88737/original/image-20150717-24758-irzdwa.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=636&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88737/original/image-20150717-24758-irzdwa.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=636&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88737/original/image-20150717-24758-irzdwa.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=636&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Susan J White – Approaching storm, acrylic wash, wax and watercolour on paper.</span>
<span class="attribution"><span class="source">© Susan J White. Photography courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88739/original/image-20150717-5092-98536i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88739/original/image-20150717-5092-98536i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88739/original/image-20150717-5092-98536i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=426&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88739/original/image-20150717-5092-98536i.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=426&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88739/original/image-20150717-5092-98536i.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=426&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88739/original/image-20150717-5092-98536i.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=536&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88739/original/image-20150717-5092-98536i.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=536&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88739/original/image-20150717-5092-98536i.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=536&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Steve Burley – Chewton Bushlands, oilon board.</span>
<span class="attribution"><span class="source">© Steve Burley. Photography courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=730&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=730&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=730&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=918&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=918&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=918&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Jun Chen – Tropical forest II, oil on canvas.</span>
<span class="attribution"><span class="source">© Jun Chen. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88740/original/image-20150717-24758-bkesdb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88740/original/image-20150717-24758-bkesdb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88740/original/image-20150717-24758-bkesdb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=449&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88740/original/image-20150717-24758-bkesdb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=449&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88740/original/image-20150717-24758-bkesdb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=449&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88740/original/image-20150717-24758-bkesdb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=564&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88740/original/image-20150717-24758-bkesdb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=564&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88740/original/image-20150717-24758-bkesdb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=564&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist James Drinkwater – Encrusting the marvellous heart, oil and collage on headboard.</span>
<span class="attribution"><span class="source">© James Drinkwater. Photography courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88741/original/image-20150717-5092-8azbs7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88741/original/image-20150717-5092-8azbs7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88741/original/image-20150717-5092-8azbs7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=725&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88741/original/image-20150717-5092-8azbs7.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=725&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88741/original/image-20150717-5092-8azbs7.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=725&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88741/original/image-20150717-5092-8azbs7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=911&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88741/original/image-20150717-5092-8azbs7.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=911&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88741/original/image-20150717-5092-8azbs7.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=911&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Niel Haddon - The first time again, oil and enamel paint on aluminium panel.</span>
<span class="attribution"><span class="source">© Niel Haddon. Photography courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88743/original/image-20150717-5080-13gkmno.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88743/original/image-20150717-5080-13gkmno.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88743/original/image-20150717-5080-13gkmno.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=501&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88743/original/image-20150717-5080-13gkmno.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=501&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88743/original/image-20150717-5080-13gkmno.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=501&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88743/original/image-20150717-5080-13gkmno.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=629&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88743/original/image-20150717-5080-13gkmno.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=629&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88743/original/image-20150717-5080-13gkmno.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=629&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Nicole Kelly – Love letter to a friend, oil on polyester.</span>
<span class="attribution"><span class="source">© Nicole Kelly. Photography courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88618/original/image-20150716-32630-171rc1s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88618/original/image-20150716-32630-171rc1s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88618/original/image-20150716-32630-171rc1s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=448&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88618/original/image-20150716-32630-171rc1s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=448&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88618/original/image-20150716-32630-171rc1s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=448&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88618/original/image-20150716-32630-171rc1s.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=562&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88618/original/image-20150716-32630-171rc1s.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=562&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88618/original/image-20150716-32630-171rc1s.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=562&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Ildiko Kovacs – Sunlit, oil paint on plywood.</span>
<span class="attribution"><span class="source">© Ilkdiko Kovacs. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88747/original/image-20150717-5092-nqxcva.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88747/original/image-20150717-5092-nqxcva.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88747/original/image-20150717-5092-nqxcva.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=602&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88747/original/image-20150717-5092-nqxcva.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=602&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88747/original/image-20150717-5092-nqxcva.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=602&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88747/original/image-20150717-5092-nqxcva.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=757&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88747/original/image-20150717-5092-nqxcva.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=757&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88747/original/image-20150717-5092-nqxcva.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=757&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Tim McMonagle – Bed & stretch, oil on linen.</span>
<span class="attribution"><span class="source">© Tim McMonagle. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88614/original/image-20150716-26314-1nudbsj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88614/original/image-20150716-26314-1nudbsj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88614/original/image-20150716-26314-1nudbsj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=479&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88614/original/image-20150716-26314-1nudbsj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=479&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88614/original/image-20150716-26314-1nudbsj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=479&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88614/original/image-20150716-26314-1nudbsj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=602&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88614/original/image-20150716-26314-1nudbsj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=602&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88614/original/image-20150716-26314-1nudbsj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=602&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Christopher McVinish – Quiet lives – Australia Day revisited, oil on linen.</span>
<span class="attribution"><span class="source">© Christopher McVinish. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88748/original/image-20150717-5108-pgv3a6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88748/original/image-20150717-5108-pgv3a6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88748/original/image-20150717-5108-pgv3a6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=502&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88748/original/image-20150717-5108-pgv3a6.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=502&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88748/original/image-20150717-5108-pgv3a6.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=502&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88748/original/image-20150717-5108-pgv3a6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=630&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88748/original/image-20150717-5108-pgv3a6.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=630&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88748/original/image-20150717-5108-pgv3a6.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=630&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Julian Meagher – The fatal shore (island life), oil on linen.</span>
<span class="attribution"><span class="source">© Julian Meagher. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88749/original/image-20150717-5108-1qr86aj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88749/original/image-20150717-5108-1qr86aj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88749/original/image-20150717-5108-1qr86aj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=414&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88749/original/image-20150717-5108-1qr86aj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=414&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88749/original/image-20150717-5108-1qr86aj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=414&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88749/original/image-20150717-5108-1qr86aj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=520&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88749/original/image-20150717-5108-1qr86aj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=520&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88749/original/image-20150717-5108-1qr86aj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=520&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Celia Morgan – Terra nullius, oil on linen board.</span>
<span class="attribution"><span class="source">© Celia Morgan. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88617/original/image-20150716-32656-hcmbm3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88617/original/image-20150716-32656-hcmbm3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88617/original/image-20150716-32656-hcmbm3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=495&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88617/original/image-20150716-32656-hcmbm3.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=495&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88617/original/image-20150716-32656-hcmbm3.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=495&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88617/original/image-20150716-32656-hcmbm3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=621&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88617/original/image-20150716-32656-hcmbm3.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=621&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88617/original/image-20150716-32656-hcmbm3.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=621&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Michael Muir – Through the circle, oil on linen.</span>
<span class="attribution"><span class="source">© Michael Muir. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88750/original/image-20150717-5080-1ggfdzq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88750/original/image-20150717-5080-1ggfdzq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88750/original/image-20150717-5080-1ggfdzq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=734&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88750/original/image-20150717-5080-1ggfdzq.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=734&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88750/original/image-20150717-5080-1ggfdzq.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=734&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88750/original/image-20150717-5080-1ggfdzq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=922&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88750/original/image-20150717-5080-1ggfdzq.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=922&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88750/original/image-20150717-5080-1ggfdzq.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=922&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist George Tjungurrayi - Untitled, acrylic on linen.</span>
<span class="attribution"><span class="source">© George Tjungurrayi. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88751/original/image-20150717-5111-c9b548.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88751/original/image-20150717-5111-c9b548.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88751/original/image-20150717-5111-c9b548.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=847&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88751/original/image-20150717-5111-c9b548.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=847&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88751/original/image-20150717-5111-c9b548.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=847&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88751/original/image-20150717-5111-c9b548.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1064&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88751/original/image-20150717-5111-c9b548.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1064&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88751/original/image-20150717-5111-c9b548.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1064&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Robert Hague – Shutdown, Carrara marble, stainless steel.</span>
<span class="attribution"><span class="source">© Robert Hague. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88752/original/image-20150717-5084-skemqr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88752/original/image-20150717-5084-skemqr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88752/original/image-20150717-5084-skemqr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=479&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88752/original/image-20150717-5084-skemqr.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=479&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88752/original/image-20150717-5084-skemqr.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=479&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88752/original/image-20150717-5084-skemqr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=602&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88752/original/image-20150717-5084-skemqr.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=602&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88752/original/image-20150717-5084-skemqr.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=602&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Peter Jones – Kandos, acrylic on board.</span>
<span class="attribution"><span class="source">© Peter Jones. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88753/original/image-20150717-24758-1xhhex.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88753/original/image-20150717-24758-1xhhex.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88753/original/image-20150717-24758-1xhhex.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=600&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88753/original/image-20150717-24758-1xhhex.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=600&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88753/original/image-20150717-24758-1xhhex.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=600&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88753/original/image-20150717-24758-1xhhex.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=754&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88753/original/image-20150717-24758-1xhhex.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=754&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88753/original/image-20150717-24758-1xhhex.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=754&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Belynda Henry – Think about you, oil paint on canvas.</span>
<span class="attribution"><span class="source">© Belynda Henry. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88610/original/image-20150716-26289-13l4jnm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88610/original/image-20150716-26289-13l4jnm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88610/original/image-20150716-26289-13l4jnm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=436&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88610/original/image-20150716-26289-13l4jnm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=436&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88610/original/image-20150716-26289-13l4jnm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=436&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88610/original/image-20150716-26289-13l4jnm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=548&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88610/original/image-20150716-26289-13l4jnm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=548&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88610/original/image-20150716-26289-13l4jnm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=548&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Jim Thalassoudis – The ‘Skipping Girl’, little Audrey, oil on linen.</span>
<span class="attribution"><span class="source">© Jim Thalassoudis. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88754/original/image-20150717-5108-1fivkxn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88754/original/image-20150717-5108-1fivkxn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88754/original/image-20150717-5108-1fivkxn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=598&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88754/original/image-20150717-5108-1fivkxn.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=598&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88754/original/image-20150717-5108-1fivkxn.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=598&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88754/original/image-20150717-5108-1fivkxn.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=751&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88754/original/image-20150717-5108-1fivkxn.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=751&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88754/original/image-20150717-5108-1fivkxn.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=751&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist what – Silver Birtch, oil on linen.</span>
<span class="attribution"><span class="source">© what. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88755/original/image-20150717-5074-1q72sr1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88755/original/image-20150717-5074-1q72sr1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88755/original/image-20150717-5074-1q72sr1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=180&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88755/original/image-20150717-5074-1q72sr1.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=180&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88755/original/image-20150717-5074-1q72sr1.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=180&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88755/original/image-20150717-5074-1q72sr1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=227&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88755/original/image-20150717-5074-1q72sr1.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=227&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88755/original/image-20150717-5074-1q72sr1.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=227&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Philip Wolfhagen – Alpine transect, oil and beeswax on linen.</span>
<span class="attribution"><span class="source">© Philip Wolfhagen Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88756/original/image-20150717-24758-1owh8ck.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88756/original/image-20150717-24758-1owh8ck.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88756/original/image-20150717-24758-1owh8ck.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=548&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88756/original/image-20150717-24758-1owh8ck.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=548&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88756/original/image-20150717-24758-1owh8ck.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=548&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88756/original/image-20150717-24758-1owh8ck.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=689&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88756/original/image-20150717-24758-1owh8ck.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=689&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88756/original/image-20150717-24758-1owh8ck.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=689&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Robert Ryan – Belongil Field, oil on canvas.</span>
<span class="attribution"><span class="source">© Robert Ryan. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88757/original/image-20150717-5080-fgwtpf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88757/original/image-20150717-5080-fgwtpf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88757/original/image-20150717-5080-fgwtpf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=438&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88757/original/image-20150717-5080-fgwtpf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=438&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88757/original/image-20150717-5080-fgwtpf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=438&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88757/original/image-20150717-5080-fgwtpf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=550&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88757/original/image-20150717-5080-fgwtpf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=550&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88757/original/image-20150717-5080-fgwtpf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=550&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Michael Zavros - Weeping, oil on panel.</span>
<span class="attribution"><span class="source">© Michael Zavros. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88758/original/image-20150717-5104-18dsn8m.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88758/original/image-20150717-5104-18dsn8m.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88758/original/image-20150717-5104-18dsn8m.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=555&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88758/original/image-20150717-5104-18dsn8m.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=555&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88758/original/image-20150717-5104-18dsn8m.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=555&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88758/original/image-20150717-5104-18dsn8m.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=698&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88758/original/image-20150717-5104-18dsn8m.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=698&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88758/original/image-20150717-5104-18dsn8m.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=698&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Theo Papathomas – Constructed landscape, oil paint and enamel on canvas.</span>
<span class="attribution"><span class="source">© Theo Papathomas. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88760/original/image-20150717-5111-6w7a8w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88760/original/image-20150717-5111-6w7a8w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88760/original/image-20150717-5111-6w7a8w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=395&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88760/original/image-20150717-5111-6w7a8w.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=395&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88760/original/image-20150717-5111-6w7a8w.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=395&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88760/original/image-20150717-5111-6w7a8w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=497&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88760/original/image-20150717-5111-6w7a8w.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=497&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88760/original/image-20150717-5111-6w7a8w.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=497&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Luke Sciberras – Up Shit Creek, Gallipoli, oil on board.</span>
<span class="attribution"><span class="source">© Luke Sciberras. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88762/original/image-20150717-5108-v9enpb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88762/original/image-20150717-5108-v9enpb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88762/original/image-20150717-5108-v9enpb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=292&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88762/original/image-20150717-5108-v9enpb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=292&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88762/original/image-20150717-5108-v9enpb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=292&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88762/original/image-20150717-5108-v9enpb.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=367&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88762/original/image-20150717-5108-v9enpb.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=367&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88762/original/image-20150717-5108-v9enpb.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=367&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist John R Walker – Flood Creek approaching Summer I, archival oil on polyester.</span>
<span class="attribution"><span class="source">© John R Walker. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88763/original/image-20150717-5089-1zje4r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88763/original/image-20150717-5089-1zje4r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88763/original/image-20150717-5089-1zje4r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=973&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88763/original/image-20150717-5089-1zje4r.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=973&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88763/original/image-20150717-5089-1zje4r.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=973&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88763/original/image-20150717-5089-1zje4r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1223&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88763/original/image-20150717-5089-1zje4r.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1223&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88763/original/image-20150717-5089-1zje4r.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1223&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Ulan Murray – Vita in extremis, copper, stainless steel and black steel.</span>
<span class="attribution"><span class="source">© Ulan Murray. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88764/original/image-20150717-5092-elu6ym.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88764/original/image-20150717-5092-elu6ym.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88764/original/image-20150717-5092-elu6ym.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=832&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88764/original/image-20150717-5092-elu6ym.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=832&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88764/original/image-20150717-5092-elu6ym.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=832&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88764/original/image-20150717-5092-elu6ym.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1046&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88764/original/image-20150717-5092-elu6ym.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1046&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88764/original/image-20150717-5092-elu6ym.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1046&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Louis Pratt – King Coal, coal, resin, fibreglass and steel.</span>
<span class="attribution"><span class="source">© Louis Pratt. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88766/original/image-20150717-5108-7ykh9h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88766/original/image-20150717-5108-7ykh9h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88766/original/image-20150717-5108-7ykh9h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=332&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88766/original/image-20150717-5108-7ykh9h.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=332&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88766/original/image-20150717-5108-7ykh9h.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=332&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88766/original/image-20150717-5108-7ykh9h.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=418&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88766/original/image-20150717-5108-7ykh9h.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=418&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88766/original/image-20150717-5108-7ykh9h.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=418&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Angus Nivison – Poet, acrylic and pigment on canvas.</span>
<span class="attribution"><span class="source">© Angus Nivison. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88767/original/image-20150717-5104-1xp9zre.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88767/original/image-20150717-5104-1xp9zre.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88767/original/image-20150717-5104-1xp9zre.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=900&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88767/original/image-20150717-5104-1xp9zre.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=900&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88767/original/image-20150717-5104-1xp9zre.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=900&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88767/original/image-20150717-5104-1xp9zre.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1131&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88767/original/image-20150717-5104-1xp9zre.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1131&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88767/original/image-20150717-5104-1xp9zre.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1131&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Abdul-Rahman Abdullah – In the name, tinted silicone, urethane, steel gambrel and galvanised chain, editiion 1/3.</span>
<span class="attribution"><span class="source">© Abdul-Rahman Abdullah. Photography courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=730&fit=crop&dpr=1 600w, https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=730&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=730&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=918&fit=crop&dpr=1 754w, https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=918&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/88615/original/image-20150716-32625-1mu01yg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=918&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">2015 Wynne Prize finalist Jun Chen – Tropical forest II, oil on canvas.</span>
<span class="attribution"><span class="source">© Jun Chen. Photograph courtesy of © AGNSW, Diana Panuccio.</span></span>
</figcaption>
</figure><img src="https://counter.theconversation.com/content/44763/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Prudence Gibson does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>
The Wynne Prize has been notoriously male-dominated. What does this year’s winning artwork by Natasha Bieniek tell us about the nature of this particular award and how we can improve it?
Prudence Gibson, Art writer and Tutor, UNSW, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/28914
2014-07-10T05:04:11Z
2014-07-10T05:04:11Z
Populist candy-floss or not, the Archibald Prize soldiers on
<figure><img src="https://images.theconversation.com/files/53508/original/xxw2q8nk-1404966543.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Tim Maguire's portrait of Cate Blanchett is one of the finalists for this year's Archibald Prize.</span> <span class="attribution"><span class="source">AGNSW</span></span></figcaption></figure><p>The real spectacle of the <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2014/">Archibald Portrait Prize</a> emerges behind the scenes. Each year, the Art Gallery of New South Wales (AGNSW) loading dock turns into a frenzy of artwork arrivals and departures. Packing staff shout, bubble wrap piles up, more than 2,000 paintings lean against walls, queueing up for the judging “march of doom” by the territorial art overlords: the <a href="http://www.artgallery.nsw.gov.au/about-us/people/agnsw-trust/">Board of Trustees</a>. </p>
<p>Today, the finalists for the 2014 Archibald Prize were announced at the Gallery – and, like many others, I was there.</p>
<p>Having worked at the AGNSW for six years during the late nineties, I could see today that the the merry and spirited chaos of this massive event perseveres. When the new director <a href="http://www.artgallery.nsw.gov.au/about-us/people/agnsw-executive/">Michael Brand</a> was appointed in 2012, old colleagues mumbled to me that perhaps this was the chance to get rid of the “cold-sore” on the Sydney art world calendar – the <a href="http://www.artgallery.nsw.gov.au/exhibitions/archibald-wynne-sulman-prizes-2014/">Archibald, Sulman and Wynne Prizes</a>. </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/53509/original/wpc38fyn-1404966613.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/53509/original/wpc38fyn-1404966613.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/53509/original/wpc38fyn-1404966613.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=908&fit=crop&dpr=1 600w, https://images.theconversation.com/files/53509/original/wpc38fyn-1404966613.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=908&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/53509/original/wpc38fyn-1404966613.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=908&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/53509/original/wpc38fyn-1404966613.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1140&fit=crop&dpr=1 754w, https://images.theconversation.com/files/53509/original/wpc38fyn-1404966613.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1140&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/53509/original/wpc38fyn-1404966613.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1140&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nicolee Payne, Fuifui Moimoi (2014).</span>
<span class="attribution"><span class="source">AGNSW</span></span>
</figcaption>
</figure>
<p>Long considered populist candy-floss by art aficionados, the prizes have always been subjected to “inside” criticisms of perceived low quality. Brand, however, saw the merit in an event that allows aesthetic access for the general public, not to mention a substantial income during a political era where the arts are increasingly omitted from budgets. </p>
<p>But why is the Archie so popular? </p>
<p>The answer is that it’s a hoot to see who’s hot and who’s not. The Archie is nothing if not a minor celebrity checklist and always has been. Does the Archie create Australian culture or is it Australia’s annual stock-take of “success and taste”? </p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/53510/original/3mtkwt9v-1404966701.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/53510/original/3mtkwt9v-1404966701.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/53510/original/3mtkwt9v-1404966701.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=404&fit=crop&dpr=1 600w, https://images.theconversation.com/files/53510/original/3mtkwt9v-1404966701.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=404&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/53510/original/3mtkwt9v-1404966701.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=404&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/53510/original/3mtkwt9v-1404966701.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=507&fit=crop&dpr=1 754w, https://images.theconversation.com/files/53510/original/3mtkwt9v-1404966701.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=507&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/53510/original/3mtkwt9v-1404966701.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=507&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">James Powditch, Citizen Kave (2014).</span>
<span class="attribution"><span class="source">AGNSW</span></span>
</figcaption>
</figure>
<p>The truth is, there is a randomness to the judging process that denies any logic or reason to its worth as a litmus test of socio-political status. The entire Board of Trustees judges the Archibald and Wynne and this year artist <a href="http://www.artgallery.nsw.gov.au/collection/works/?artist_id=watson-jenny">Jenny Watson</a> was invited as the 2014 Sulman Prize judge. </p>
<p>The judges assemble – and then the paintings are mercilessly paraded past the judging desk, quicker than a card-shuffle. Bend down to tie a shoelace, or glance at a phone text and a judge is likely to miss three paintings, at least. Lucky there’s a whole panel.</p>
<p>A 1976 The Bulletin newspaper clipping on that year’s Archibald noted: “The usual array of petty dignitaries in red robes or respectable lounge suits to be giggled at.”</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/53507/original/y3qwr37h-1404966366.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/53507/original/y3qwr37h-1404966366.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/53507/original/y3qwr37h-1404966366.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=752&fit=crop&dpr=1 600w, https://images.theconversation.com/files/53507/original/y3qwr37h-1404966366.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=752&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/53507/original/y3qwr37h-1404966366.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=752&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/53507/original/y3qwr37h-1404966366.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=945&fit=crop&dpr=1 754w, https://images.theconversation.com/files/53507/original/y3qwr37h-1404966366.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=945&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/53507/original/y3qwr37h-1404966366.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=945&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Salvatore Zofrea, Ms Gladys Berejiklian MP (2014).</span>
<span class="attribution"><span class="source">AGNSW</span></span>
</figcaption>
</figure>
<p>Well, in that vein, this year, Frank Lowy AC has been painted by Paul Newton, Minister for Transport Gladys Berejiklian MP has been painted by Salvatore Zofrea, (aged 68 and having seen a fair few Archie’s march past), Australian track cyclist Anna Meares painted by Phillip Barnes, Cate Blanchett painted in a sensual schizo-diptych by Tim Maguire, rugby league star Fuifui Moimoi by Nicolee Payne and more. </p>
<p>All credit to these minor and major celebrities because, as someone who has “sat” for a number of artists’ portraits, it is a tortuous and uncomfortable process: an endurance test.</p>
<p>This year, there is the usual cavalcade of artists painting artists, (marking opportunism rather than narcissism), such as Heidi Yardley’s Julia De Ville, Matthew Lynn’s Ken Unsworth, Lee Wise’s Michael Zavros and Rodney Pople’s Barry Humphries (a self-avowed artist too). </p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/53503/original/k6n9gb6v-1404966068.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/53503/original/k6n9gb6v-1404966068.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/53503/original/k6n9gb6v-1404966068.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=1205&fit=crop&dpr=1 600w, https://images.theconversation.com/files/53503/original/k6n9gb6v-1404966068.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=1205&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/53503/original/k6n9gb6v-1404966068.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=1205&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/53503/original/k6n9gb6v-1404966068.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1514&fit=crop&dpr=1 754w, https://images.theconversation.com/files/53503/original/k6n9gb6v-1404966068.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1514&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/53503/original/k6n9gb6v-1404966068.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1514&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">The painting that won the Packers’ Prize: Tim Storrier’s The Member, Dr Sir Leslie Colin Patterson KCB AO (2014).</span>
<span class="attribution"><span class="source">AGNSW</span></span>
</figcaption>
</figure>
<p>Note here, Tim Storrier’s portrait of Sir Les Patterson won the <a href="http://www.smh.com.au/entertainment/art-and-design/tim-storrier-wins-archibald-packing-room-prize-with-portrait-of-sir-les-patterson-20140710-zt24g.html">2014 Packing Room prize</a>. Although the Packing Room Prize is “ever the bridesmaid, never the bride,” Storrier received the award in good grace, reciting a telegram from the fictive Sir Les, who felt honoured to be painted, as one of the few extant political actors on the Australian scene worth his salt. Hear, hear, Sir Les. No arguments here.</p>
<p>What fascinates me this year is one of the better works in the assembly: Fiona Lowry’s portrait of Penelope Seidler. </p>
<p>As an elegant, well-groomed patron of the Sydney art world, Seidler is a prominent member of the unspoken but ever-present art monarchical system. Alongside two of the AGNSW Board of Trustees Eleanora Triguboff and Gretel Packer, Seidler is a doyenne, an active participant in the circus of exhibition openings, panel talks and lunches. </p>
<p>Her fey demeanour and admirable social grace are evident in Lowry’s ethereal spray of subtle, misty paint.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/53505/original/wstp7gts-1404966245.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/53505/original/wstp7gts-1404966245.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/53505/original/wstp7gts-1404966245.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=731&fit=crop&dpr=1 600w, https://images.theconversation.com/files/53505/original/wstp7gts-1404966245.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=731&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/53505/original/wstp7gts-1404966245.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=731&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/53505/original/wstp7gts-1404966245.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=918&fit=crop&dpr=1 754w, https://images.theconversation.com/files/53505/original/wstp7gts-1404966245.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=918&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/53505/original/wstp7gts-1404966245.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=918&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Fiona Lowry, Penelope Seidler (2014).</span>
<span class="attribution"><span class="source">AGNSW</span></span>
</figcaption>
</figure>
<p>Lowry’s work is reliably startling, unnerving and discomforting. She manages to evoke the uncanny as well as a tender vulnerability in Penelope Seidler; a perceptive and intriguing, psychological study. </p>
<p>Pity, though, the poor artists in the high hundreds, who paid for their paintings to be framed, then begged/borrowed/stole to transport their works to the gallery, paid the entry fee and then had to endure the “walk of shame” to collect their rejected artworks at the end of the judging period. With all spectacles and within all art fiefdoms, there must be a multitude of lambs slaughtered. </p>
<p>The public audience is lucky to have the time and innocence to view the paintings and sculptures. </p>
<p>They are free from the behind-the-scenes politics, exempted from the heart-breaking disappointment of the many rejected artists and excused from the avaricious deals the galleries must perform, making haste to clinch sales before the mania subsides. </p>
<p>The viewing public, then, is the real Archibald winner.</p>
<p><br>
<em>The Archibald, Wynne and Sulman prizes are on show at the Art Gallery of NSW until September 28 2014. Details <a href="http://www.artgallery.nsw.gov.au/exhibitions/archibald-wynne-sulman-prizes-2014/">here</a>.</em></p><img src="https://counter.theconversation.com/content/28914/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Prudence Gibson does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>
The real spectacle of the Archibald Portrait Prize emerges behind the scenes. Each year, the Art Gallery of New South Wales (AGNSW) loading dock turns into a frenzy of artwork arrivals and departures…
Prudence Gibson, Art writer and Teaching Fellow (creative writing), UNSW, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/22436
2014-01-25T23:18:31Z
2014-01-25T23:18:31Z
Eye on the prize
<figure><img src="https://images.theconversation.com/files/39940/original/jqtytmfs-1390867529.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">The Young Archie is a new category in the annual Archibald Prize. But should it be abandoned?</span> <span class="attribution"><span class="source">AAP Image/Paul Miller</span></span></figcaption></figure><figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/39940/original/jqtytmfs-1390867529.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/39940/original/jqtytmfs-1390867529.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/39940/original/jqtytmfs-1390867529.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/39940/original/jqtytmfs-1390867529.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/39940/original/jqtytmfs-1390867529.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/39940/original/jqtytmfs-1390867529.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/39940/original/jqtytmfs-1390867529.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/39940/original/jqtytmfs-1390867529.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">The Young Archie is a new category in the annual Archibald Prize. But should cultural prizes be abandoned?</span>
<span class="attribution"><span class="source">AAP Image/Paul Miller</span></span>
</figcaption>
</figure>
<p>Prizes are a common feature on the cultural economy landscape. In Australia there is the famous <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/">Archibald Prize</a> for portraiture, there are numerous prizes for <a href="http://en.wikipedia.org/wiki/List_of_Australian_literary_awards#Poetry">literature and poetry</a>, the <a href="http://en.wikipedia.org/wiki/Australian_Film_Institute_Awards">AFI Awards</a> in film and television, the <a href="http://www.walkleys.com/walkley-awards">Walkley Awards</a> for journalism, and so on.</p>
<p>Prizes can be entertaining spectacle; they can guide consumers to what is new and best; they make a fine vehicle for a generous benefactor; and they surely nudge cultural producers, whether they will admit it or not, closer to excellence. Yet a case can be made that, due to the interaction of three emergent effects, we’d actually be better off without them.</p>
<p>First, prizes function for consumers as what sociologists call “judgement devices”. An overarching feature of the cultural economy is the continuous production of novel products that are of uncertain quality: they are pure <a href="http://en.wikipedia.org/wiki/Experience_good">experience goods</a>. In most markets, such as for furnishings, shoes or cars, the price of a product is a reliable guide to quality. But an awful movie has much the same ticket price as something brilliant. A few years ago some colleagues and I looked at the role of the choices of other consumers as a judgement device in what we called <a href="http://www.paulormerod.com/wp-content/uploads/2012/06/social-network-markets.pdf">social network markets</a>. Prizes also fulfil this role, but through the mechanism of an expert panel rather than wisdom-of-crowd effects.</p>
<p>Second, prizes introduce a discontinuity between winners and other nominees (also-rans) that distorts perceptions of underlying differences in quality: consecrating a select few, and throwing the near winners back into the vast pools of mediocrity.</p>
<p>Third, because prizes are awarded by juries of experts – usually with different tastes and preferences than mass audiences (preferring stories about righteous courage in overcoming historical injustice, say, than street-racing robot fighting aliens) – prizes are costly to go after in terms of market risk. If you try and fail, you end up with not only no prize, but also with something without much market appeal.</p>
<p>When we think about the effect of prizes, we usually have in mind a single-valued reward structure – that is, simply rewarding excellence that has already happened. But as Gabriel Rossman and Oliver Schilke in a paper just published in the <a href="http://asr.sagepub.com/content/early/2013/12/30/0003122413516342.abstract">American Sociology Review</a> (an ungated version of the paper is available <a href="http://papers.ccpr.ucla.edu/papers/PWP-CCPR-2012-019/PWP-CCPR-2012-019.pdf">here</a>) explain the problem is that prizes are actually <a href="http://en.wikipedia.org/wiki/Bimodal_distribution">bimodal</a> in their reward structure because of what economists (following the work of <a href="http://en.wikipedia.org/wiki/Gordon_Tullock">Gordon Tullock</a>) call an <a href="http://en.wikipedia.org/wiki/All-pay_auction">all-pay auction</a>.</p>
<p>In an <a href="https://theconversation.com/youve-got-7-billion-so-how-will-you-fund-the-arts-18839">earlier piece</a> I was bullish on prizes, but the issue is complex. The thing about prizes is that we need to consider not only the benefits to those who win, but also the costs to the losers. Everyone pays to enter, in sacrificing market appeal, but only a few take the prize, and receive the consumer pay-off; for the rest, they’re now in a worse position than if they had never sought the prize.</p>
<p>Fittingly for this time of year Rossman and Schilke’s research focuses on Oscar nominated Hollywood films. Their method is to identify films that are seeking prizes by constructing and estimating an index they call “Oscar appeal” (which correlates well with actual Oscar nominations). They then study the correlation between that index and a film’s financial returns (box office revenues divided by production cost).</p>
<p>They find that Oscar appeal splits into two categories: those that do receive nominations (and that tend to make money) and those that don’t receive nominations (and that tend to lose money). But the interesting thing is that “taken together these two types of movies are no more or less profitable than movies with low Oscar appeal.” In econ-speak, this means that “the Oscars follow the structure of a Tullock lottery and seem to exhibit rent dissipation.”</p>
<p>Economists tend to be sceptical of the value of artificially created rents by government, such as exclusive licensing, or preferential purchasing provisions, because of rent-dissipation in all-pay bidding to obtain these benefits. But what is significant about this research is that it extends this <a href="http://en.wikipedia.org/wiki/Rent-seeking">economic critique</a> to the domain of prizes, which are a prominent mechanism in the cultural economy (and also in the academic research economy: a research grant is also a prize!).</p>
<p>Should we abandon prizes? The counter-factual world without prizes would mean fewer prize worthy films, which means less breadth in the field, but this only occurs if prize-seeking is actually costly in terms of market risk. The take-away is simply that nothing is for free, including prizes; or more specifically at the industry level that prize seeking strategies do not produce above-market returns.</p><img src="https://counter.theconversation.com/content/22436/count.gif" alt="The Conversation" width="1" height="1" />
Prizes are a common feature on the cultural economy landscape. In Australia there is the famous Archibald Prize for portraiture, there are numerous prizes for literature and poetry, the AFI Awards in film…
Jason Potts, Professor of Economics, RMIT University
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/13058
2013-04-02T03:24:36Z
2013-04-02T03:24:36Z
Times change but the art establishment rolls on
<figure><img src="https://images.theconversation.com/files/21844/original/shgdhmr9-1364436462.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Namatjira, by Imants Tillers, which won the 2013 Wynne Prize.</span> <span class="attribution"><span class="source">Art Gallery of NSW</span></span></figcaption></figure><p>It was the 1960s when a curator – who shall remain nameless – was ordered to hang Aboriginal artist <a href="http://adb.anu.edu.au/biography/namatjira-albert-elea-11217">Albert Namatjira’s</a> work in his gallery. He hung the painting next to the ladies toilet with a vase of gladioli. This was seen as wit.</p>
<p>Everything changes, and so do the lives and circumstances of artists.</p>
<p>This year, <a href="http://www.artgallery.nsw.gov.au/galleries/australian/featured-works/tillers/">Imants Tillers</a> won the Art Gallery of NSW’s <a href="http://www.artgallery.nsw.gov.au/prizes/wynne/">Wynne Prize</a> for a work that pays tribute to Namatjira.</p>
<p>His winning painting, <a href="http://www.artgallery.nsw.gov.au/prizes/wynne/2013/29422/"><em>Namatjira</em></a>, is easily the strongest and most powerful work in the exhibition. It dwarfs Tillers first modest entry of 1974, <em>Summer murmurs</em>, an appropriation based on Hans Heysen’s 1909 watercolour, <a href="http://www.artgallery.nsw.gov.au/collection/works/4804"><em>Summer</em></a>.</p>
<h2>Then and now</h2>
<p>Back in 1974, when Heysen was seen as a stodgy but potent icon, <a href="http://adb.anu.edu.au/biography/namatjira-albert-elea-11217">Albert Namatjira</a> was widely regarded as kitsch.</p>
<p>Because his art was favoured by both conservative taste and women’s magazines, he was mocked by the progressives.</p>
<p>Tillers, at that time, was a young artist who had received a degree of critical acclaim, but was hardly well-known to the conservative taste that then dominated the Trustees of the Art Gallery of NSW. His previous success in popular competitions had come from winning prizes in the Kingsgrove RSL Art Prize and the Rockdale Art Prize.</p>
<p>I was, at that time, working at the Art Gallery of New South Wales as the very junior curatorial assistant and therefore had the task of supervising the hanging of the three popular prize exhibitions: the <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/">Archibald</a>, the <a href="http://www.artgallery.nsw.gov.au/prizes/wynne/">Wynne</a> and the <a href="http://www.artgallery.nsw.gov.au/prizes/sulman/">Sulman</a>. These were the days before the gallery had worked out that a bit of showmanship from the director could make money out of dross.</p>
<p>Heysen, at that time, was seen as an artist of the academic establishment. I took a great deal of pleasure in hanging Tillers’ radical small scale manipulated work so that it was surrounded by very traditional oil paintings. </p>
<p>By 1993, Tillers was seen as sufficiently eminent to be invited to judge the <a href="http://www.artgallery.nsw.gov.au/prizes/sulman/">Sulman Prize</a>. The Sulman is different from the Archibald and Wynne, which are governed by rules that dictate the judges are the Gallery’s trustees. Instead it is judged by a single artist, selected by the trustees.</p>
<p>As judge, Imants Tillers gave the 1993 <a href="http://www.artgallery.nsw.gov.au/prizes/sulman/1993/">Sulman Prize</a> to John Montefiore’s giant masterwork, <em>Life Series</em> and then shaped the rest of the exhibition so that all the works selected complemented the winner. For many of these artists, it was the first time they had ever been hung at the Art Gallery of New South Wales, and this was very much to the benefit of their professional careers.</p>
<p>As Imants Tillers’ career evolved, he became seen as a fully-fledged member of the arts establishment and from 2001 to 2009 served as a Trustee of the Art Gallery of NSW.</p>
<p>The awarding of the Archibald and/or Wynne Prize to a former trustee has been a standard practice at the Gallery from time immemorial. It is an improvement on the practice of the 1930s when the prize sometimes went to current trustees.</p>
<p>Tillers’ longstanding practice has been based on appropriation, of manipulating large scale reproductions of the work of others reconsidered with layers of text.</p>
<p>In 2012 Tillers was awarded the Wynne prize for <a href="http://www.artgallery.nsw.gov.au/prizes/wynne/2012/29209/">Waterfall (after Williams)</a>, a painting that cites the 20th century’s <a href="http://cs.nga.gov.au/Detail.cfm?IRN=100814">Fred Williams</a> tribute to the 19th century artist Eugene von Guérard’s <a href="http://www.artgallery.nsw.gov.au/collection/works/OA3.1967/">Waterfall, Strath Creek</a>, overlaid with an Indian sutra on the fleeting nature of life.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/21845/original/m65qh4fq-1364436886.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/21845/original/m65qh4fq-1364436886.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=761&fit=crop&dpr=1 600w, https://images.theconversation.com/files/21845/original/m65qh4fq-1364436886.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=761&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/21845/original/m65qh4fq-1364436886.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=761&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/21845/original/m65qh4fq-1364436886.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=956&fit=crop&dpr=1 754w, https://images.theconversation.com/files/21845/original/m65qh4fq-1364436886.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=956&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/21845/original/m65qh4fq-1364436886.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=956&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">‘Waterfall, Strath Creek’ by Eugene von Guérard.</span>
<span class="attribution"><span class="source">Art Gallery of NSW</span></span>
</figcaption>
</figure>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/21846/original/x3hgtbx6-1364436888.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/21846/original/x3hgtbx6-1364436888.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=863&fit=crop&dpr=1 600w, https://images.theconversation.com/files/21846/original/x3hgtbx6-1364436888.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=863&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/21846/original/x3hgtbx6-1364436888.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=863&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/21846/original/x3hgtbx6-1364436888.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1084&fit=crop&dpr=1 754w, https://images.theconversation.com/files/21846/original/x3hgtbx6-1364436888.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1084&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/21846/original/x3hgtbx6-1364436888.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1084&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">‘Waterfall (after Williams)’ by Imants Tillers, won the 2012 Wynne Prize. The work cites Fred William’s tribute to 19th century artist Eugene von Guérard’s work ‘Waterfall, Strath Creek’</span>
<span class="attribution"><span class="source">Art Gallery of NSW</span></span>
</figcaption>
</figure>
<p>This work could be thought of as Tillers placing himself in partnership with these two predecessors as an interrogation of one of the central questions of Australian art history.</p>
<p>In <em>Namatjira</em>, Tillers layers the words of the Austrian poet Thomas Bernhard, to echo the tragedies of Namatjira’s life:</p>
<p><em>a victim of infinite distances/
a victim of what is infinitely close at hand</em></p>
<p>It reads and looks like an artist’s chant of grief:</p>
<p><em>because of your covenant with desolation/ the greatest calamity affecting a person/ the inscrutability of heaven</em>.</p>
<p>Albert Namatjira is now honoured in every major Australian public art museum.</p>
<p>Tiller’s winning work not only honours the landscape tradition, it also honours Albert Namatjira for his art, and for the way he has acted as a cultural beacon for his people.</p>
<h2>Future shifts</h2>
<p>While they usually endorse the establishment, the annual exhibitions can also signal future cultural shifts.</p>
<p>This year the Trustees gave the $2000 watercolour prize to Xiuying Chen’s delightful <a href="http://www.artgallery.nsw.gov.au/prizes/wynne/2013/29397/">Central Railway Station, Sydney</a>, where doves in pairs shower blessings on a very Chinese vision of Sydney’s transit hub.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/21847/original/t9thnwty-1364437234.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/21847/original/t9thnwty-1364437234.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=312&fit=crop&dpr=1 600w, https://images.theconversation.com/files/21847/original/t9thnwty-1364437234.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=312&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/21847/original/t9thnwty-1364437234.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=312&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/21847/original/t9thnwty-1364437234.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=392&fit=crop&dpr=1 754w, https://images.theconversation.com/files/21847/original/t9thnwty-1364437234.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=392&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/21847/original/t9thnwty-1364437234.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=392&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Xiuying Chen’s work ‘Central Railway Station, Sydney’ won the 2013 Trustees’ Watercolour Prize.</span>
<span class="attribution"><span class="source">Art Gallery of NSW</span></span>
</figcaption>
</figure>
<p>It is a well deserved win, but Chen is not the only Asian artist to star in the exhibitions. Pei Pei He shares Xiuying Chen’s interst in <a href="http://www.artgallery.nsw.gov.au/prizes/sulman/2013/29434/">another investigation of city trams</a> this time hung in the Sulman, as is <a href="http://www.artgallery.nsw.gov.au/prizes/sulman/2013/29454/">Dong Wan Fan’s</a> wonderful colourful dragons.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/21848/original/hqxfjzt5-1364437353.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/21848/original/hqxfjzt5-1364437353.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=560&fit=crop&dpr=1 600w, https://images.theconversation.com/files/21848/original/hqxfjzt5-1364437353.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=560&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/21848/original/hqxfjzt5-1364437353.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=560&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/21848/original/hqxfjzt5-1364437353.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=703&fit=crop&dpr=1 754w, https://images.theconversation.com/files/21848/original/hqxfjzt5-1364437353.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=703&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/21848/original/hqxfjzt5-1364437353.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=703&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Pei Pei He’s work ‘City circle’ also hangs in the Sulman exhibition this year.</span>
<span class="attribution"><span class="source">Art Gallery of NSW</span></span>
</figcaption>
</figure>
<p>These Chinese and Southeast Asian artists with their different ways of seeing are gradually becoming a critical mass. Given time, some of them – like Tillers and other artists before him – will join the artistic establishment.</p><img src="https://counter.theconversation.com/content/13058/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn receives funding from the ARC through a Linkage Project on the History of Exhibitions of Australian Art where she is lead Chief Investigator. Her fellow chief investigators are Dr Catherine De Lorenzo (UNSW), Professor Catherine Speck (University of Adelaide) and Associate Professor Alison Inglis (University of Melbourne). The industry partners in this project are the National Gallery of Australia, National Gallery of Victoria, Art Gallery of New South Wales, Art Gallery of South Australia and Museums Australia.</span></em></p>
It was the 1960s when a curator – who shall remain nameless – was ordered to hang Aboriginal artist Albert Namatjira’s work in his gallery. He hung the painting next to the ladies toilet with a vase of…
Joanna Mendelssohn, Program Director, Art Administration, School of Art History and Art Education. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/12904
2013-03-21T19:29:26Z
2013-03-21T19:29:26Z
Australian art’s great circus: loving and loathing the Archibald
<figure><img src="https://images.theconversation.com/files/21601/original/zbdgsysc-1363917832.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Del Kathryn Barton’s Hugo is the 2013 winner.</span> <span class="attribution"><span class="source">AAP/Art Gallery of New South Wales</span></span></figcaption></figure><p><em>UPDATE: Del Kathryn Barton has won the 2013 Archibald Prize for her portrait of Hugo Weaving.</em></p>
<p><em>This is the second time Barton has won the prize, her last winner was in 2008. The only other woman to win it twice has been Judy Cassab, and that was back in 1960 and 1967. The Archibald has an historic prejudice against women; with only eight wins for women in its long history.</em></p>
<p><em>The hint that Barton’s painting might be the winner was in the placement of the podium where the announcement was made. It was opposite the portrait, so that there was a clear view for cameras when they swivelled around. Despite its privileged position in the room, McLean Edwards’ painting wasn’t even on the shortlist.</em></p>
<hr>
<p><a href="http://www.artgallery.nsw.gov.au/prizes/archibald/">The Archibald Prize</a> is the case of an unavoidable meeting between popular culture and those whose lives are defined by their passion for art. Saturation coverage in the media contrasts with the mild interest bordering on ennui of the arts community. </p>
<p>The Art Gallery of New South Wales’ task is to somehow breach that gap, so that those who love the Archibald might even consider entering the gallery for another purpose, while those who take art ever-so-seriously start to consider the feelings of <em>hoi polloi</em>.</p>
<p>For many years the professional staff of the gallery made no pretence of valuing the Archibald, treating it as a tiresome folk festival foisted on them by the will of the late J.F. Archibald. </p>
<p>In the early years of last century he had decreed that the bulk of his estate was to be given to the Art Gallery of New South Wales so that a prize be awarded to:</p>
<blockquote>
<p>The best portrait, preferentially of some man or woman distinguished in art, letters, science or politics, painted by an artist resident in Australia during the twelve months preceding the date fixed by the trustees for sending in the pictures. </p>
</blockquote>
<p>Archibald’s will names the gallery’s <a href="http://www.artgallery.nsw.gov.au/about-us/people/agnsw-trust/">board of trustees</a> as judges, so for all the annual caterwauling at the inappropriateness of political cronies and captains of industry (albeit mitigated by the presence of two artists) deciding on matters aesthetic, the gallery is stuck with them.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/21519/original/qv7gszxg-1363826960.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/21519/original/qv7gszxg-1363826960.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/21519/original/qv7gszxg-1363826960.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=756&fit=crop&dpr=1 600w, https://images.theconversation.com/files/21519/original/qv7gszxg-1363826960.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=756&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/21519/original/qv7gszxg-1363826960.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=756&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/21519/original/qv7gszxg-1363826960.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=951&fit=crop&dpr=1 754w, https://images.theconversation.com/files/21519/original/qv7gszxg-1363826960.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=951&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/21519/original/qv7gszxg-1363826960.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=951&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Abdul Abdullah ‘The man’, oil on canvas 150 x 120 cm.</span>
<span class="attribution"><span class="source">AAP/Art Gallery of NSW</span></span>
</figcaption>
</figure>
<p>Former director Edmund Capon’s genius was to take this tired old event and instead of suffering the media circus, celebrate it. </p>
<p>The exhibition was popular, so the gallery began to charge admission. People like to argue about which work should have won, so the gallery started the People’s Choice Prize so they could vote for <em>their</em> artist to be made the chosen one. The profits from the Archibald, which are considerable, now help underwrite the gallery’s other activities.</p>
<p>But Edmund Capon retired last year – 2013 is the first time the scholarly Michael Brand has to front this particular circus. Already a change is evident as he delegated Wayne Tunnicliffe, head of Australian art, to front the media as well as hang the exhibition. </p>
<p>Before Capon, the most colourful director of the gallery was <a href="http://www.daao.org.au/bio/hal-missingham/">Hal Missingham</a> whose clashes with his trustees were legendary. Most of all they loathed him for his ability to read their collective minds. Every year, without fail, Hal Missingham would have the Archibald winner’s telegram written well before the final judging.</p>
<p>Because of the nature of the exhibition space, it is often possible to see who the staff think will win. The announcement is always made in the central court of the main temporary exhibition gallery. This year the podium will be placed in front of Del Kathryn Barton’s decorative portrait of <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2013/29358/">Hugo Weaving</a> and Vincent Fantauzzo’s <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2013/29368/">Love Face</a> (a sweetly photorealist portrait of Asher Keddie which is a shoo-in for people’s choice).</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/21511/original/9bfycfss-1363824320.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/21511/original/9bfycfss-1363824320.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/21511/original/9bfycfss-1363824320.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=340&fit=crop&dpr=1 600w, https://images.theconversation.com/files/21511/original/9bfycfss-1363824320.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=340&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/21511/original/9bfycfss-1363824320.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=340&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/21511/original/9bfycfss-1363824320.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=427&fit=crop&dpr=1 754w, https://images.theconversation.com/files/21511/original/9bfycfss-1363824320.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=427&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/21511/original/9bfycfss-1363824320.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=427&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Vincent Fantauzzo ‘Love face’, oil on linen 174 x 304 cm.</span>
<span class="attribution"><span class="source">AAP/Art Gallery of NSW</span></span>
</figcaption>
</figure>
<p>Diagonally opposite this is McLean Edwards’ darkly expressive portrait of everyone’s favourite curator of contemporary art, <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2013/29366/">Glenn Barkely</a>.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/21514/original/twrw9dvr-1363824393.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/21514/original/twrw9dvr-1363824393.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/21514/original/twrw9dvr-1363824393.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=724&fit=crop&dpr=1 600w, https://images.theconversation.com/files/21514/original/twrw9dvr-1363824393.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=724&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/21514/original/twrw9dvr-1363824393.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=724&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/21514/original/twrw9dvr-1363824393.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=909&fit=crop&dpr=1 754w, https://images.theconversation.com/files/21514/original/twrw9dvr-1363824393.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=909&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/21514/original/twrw9dvr-1363824393.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=909&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">McLean Edwards ‘Glenn Barkley, curator’ acrylic on canvas 159 x 153 cm.</span>
<span class="attribution"><span class="source">AAP/Art Gallery of NSW</span></span>
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</figure>
<p>There are typical whimsical Edwards touches – a tracery of cobwebs in the background and the subject is wearing a badge proclaiming “Yeah”. Tunnicliffe has chosen to hang this in the exact place where previous winners have been hung. The value placed on this painting is reinforced by its opposite number, Jason Benjamin’s <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2013/29359/">Fight Club</a> – a portrait of McLean Edwards himself. If Edwards wins the Archibald it will be easy for the cameras to swivel around from the podium and focus on the winning work. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/21513/original/nz5qps7q-1363824380.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/21513/original/nz5qps7q-1363824380.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/21513/original/nz5qps7q-1363824380.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=600&fit=crop&dpr=1 600w, https://images.theconversation.com/files/21513/original/nz5qps7q-1363824380.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=600&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/21513/original/nz5qps7q-1363824380.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=600&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/21513/original/nz5qps7q-1363824380.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=754&fit=crop&dpr=1 754w, https://images.theconversation.com/files/21513/original/nz5qps7q-1363824380.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=754&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/21513/original/nz5qps7q-1363824380.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=754&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Jason Benjamin ‘Fight Club’, oil on linen 180 x 180 cm.</span>
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</figure>
<p>There is a sound reason for the curators to second-guess the trustees’ thinking. If any of the paintings in this main room are given the prize, then there will be no reason to re-hang and no delaying the announcement.</p>
<p>The two outer rooms are where the also-rans hang. Imants Tillers has submitted a less than successful self-portrait. While his reputation as a major artist, and status as former trustee, would normally have placed him in the winner’s circle, it is really no surprise to see him relegated to the outer circle. Likewise, Jasper Knight’s portrait of the late Adam Cullen looks better as a reproduction than in reality.</p>
<p>For my mind there is one painting in the room of the also-rans that really should be a serious contender for this year’s Archibald Prize. Julie Dowling’s <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2013/29365/">Wilfred Hicks</a> is classic in its simple constrained palette.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/21512/original/kt8gkzvn-1363824338.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/21512/original/kt8gkzvn-1363824338.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/21512/original/kt8gkzvn-1363824338.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=905&fit=crop&dpr=1 600w, https://images.theconversation.com/files/21512/original/kt8gkzvn-1363824338.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=905&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/21512/original/kt8gkzvn-1363824338.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=905&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/21512/original/kt8gkzvn-1363824338.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1137&fit=crop&dpr=1 754w, https://images.theconversation.com/files/21512/original/kt8gkzvn-1363824338.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1137&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/21512/original/kt8gkzvn-1363824338.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1137&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Julie Dowling ‘Wilfred Hicks’, acrylic, red ochre on canvas 152.4 x 110.6 cm.</span>
<span class="attribution"><span class="source">AAP/Art Gallery of NSW</span></span>
</figcaption>
</figure>
<p>She has captured the pain of her subject’s struggle, the wisdom of his years. There are none of the gimmicks which sometimes over-egged her earlier work. Her style here is realist, without being stultifyingly photorealist. It is a pleasure and a surprise to see a work of this quality in the Archibald. </p>
<p>In a year where party politicians are so on the nose that very few bothered to paint them, it is good to see an honorable campaigner for Aboriginal heritage honoured with such a distinguished portrait. It might not win the Archibald, but it definitely belongs in the National Portrait Gallery.</p><img src="https://counter.theconversation.com/content/12904/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Many years ago Joanna Mendelssohn worked at the Art Gallery of New South Wales, where she was responsible for installing the Archibald Prize works. Wayne Tunnicliffe was one of her students in the Master of Art Administration at the College of Fine Arts, UNSW.</span></em></p>
UPDATE: Del Kathryn Barton has won the 2013 Archibald Prize for her portrait of Hugo Weaving. This is the second time Barton has won the prize, her last winner was in 2008. The only other woman to win…
Joanna Mendelssohn, Program Director, Art Administration, School of Art History and Art Education. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.
tag:theconversation.com,2011:article/6159
2012-03-30T00:10:29Z
2012-03-30T00:10:29Z
Judging the Archibald: the rules of the game
<figure><img src="https://images.theconversation.com/files/9140/original/d3rg8kp7-1333065342.jpg?ixlib=rb-1.1.0&rect=10%2C6%2C2232%2C1665&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Vernon Ah Kee - I see Deadly people, Lex Wotton</span> </figcaption></figure><p><em>UPDATE: Tim Storrier has won the 2012 Archibald prize for his self-portrait, <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2012/29250/">The histrionic wayfarer (after Bosch)</a>.</em></p>
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<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/9153/original/hgfxws7t-1333077929.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/9153/original/hgfxws7t-1333077929.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/9153/original/hgfxws7t-1333077929.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=1084&fit=crop&dpr=1 600w, https://images.theconversation.com/files/9153/original/hgfxws7t-1333077929.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=1084&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/9153/original/hgfxws7t-1333077929.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=1084&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/9153/original/hgfxws7t-1333077929.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1363&fit=crop&dpr=1 754w, https://images.theconversation.com/files/9153/original/hgfxws7t-1333077929.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1363&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/9153/original/hgfxws7t-1333077929.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1363&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<p>Shortly after noon today, <a href="http://www.lowyinstitute.org/BoardBio.asp?pid=988">Steven Lowy</a>, president of the trustees of the Art Gallery of New South Wales, will stand at a microphone in a very crowded gallery and, after thanking the commercial sponsors for their continuing support, will announce the annual raft of prizes. </p>
<p>There will be be dutiful applause (and some surprise – because there always is surprise) when the <a href="http://www.artgallery.nsw.gov.au/prizes/sulman/2012/">Sulman</a>, <a href="http://www.artgallery.nsw.gov.au/prizes/wynne/2012/">Wynne</a> and trustees’ watercolour prizes are announced, but the mood will change when it comes to the Archibald Prize for portraiture.</p>
<p>The room will tense; journalists, photographers and cameramen get ready to either swivel to a picture on the wall behind the president (the one the staff thought most likely), or to be the first one to sprint to the surprise winner if it’s an outsider. </p>
<p>I have been present at most of the Archibald announcements for the last 40 years. For the first four of those years I worked for the gallery as the most junior curator, so my job was to manage the process. I was standing next to <a href="http://www.wendysharpe.com/NewFiles/paintings.html">Wendy Sharpe</a> when she was announced as the winner in 1996 and still remember her looking like stunned rabbit caught in spotlight as the photographers and television people ran towards her. It was not a pretty sight.</p>
<h2>A brief history of the Archibald</h2>
<p>Nor is the prize’s history entirely pretty.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/9141/original/jw86qj6d-1333065354.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/9141/original/jw86qj6d-1333065354.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/9141/original/jw86qj6d-1333065354.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=927&fit=crop&dpr=1 600w, https://images.theconversation.com/files/9141/original/jw86qj6d-1333065354.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=927&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/9141/original/jw86qj6d-1333065354.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=927&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/9141/original/jw86qj6d-1333065354.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1165&fit=crop&dpr=1 754w, https://images.theconversation.com/files/9141/original/jw86qj6d-1333065354.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1165&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/9141/original/jw86qj6d-1333065354.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1165&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<p>When <a href="http://adb.anu.edu.au/biography/dobell-sir-william-10025">William Dobell</a> won the prize in 1943 and dissenting artists took the Trustees to court, <a href="http://adb.anu.edu.au/biography/hinton-howard-6681">Howard Hinton</a> later claimed he had meant to vote for another painting. He didn’t make the complaint until he was attacked in the media for his support for Dobell, but it was easier to bring in an impartial authority than argue the toss. The <a href="http://www.artquotes.net/masters/william-dobell/portrait-of-an-artist.htm">portrait of Joshua Smith</a> so flavoured the prize that a generation later people were still calling it the “Dobell prize”. </p>
<p>The court case against the Dobell decision started another grand old Archibald tradition of contesting the judges’ decisions in courts of law. Mostly the litigants are unsuccessful, but in 1975 the awarding of the prize to <a href="http://www.johnbloomfield.net/Archibald_Prize.html">John Bloomfield</a> for a <a href="http://www.johnbloomfield.net/Archibald_Prize_files/Tim%20Burstall%20cap.jpg">portrait</a> based on a photograph was overturned. That was because the conditions then stated that the portrait had to be painted “from life”. </p>
<p>As J.F. Archibald’s will simply stated, the prize was for “the best portrait, preferentially of some man or woman distinguished in art, letters, science or politics, painted by an artist resident in Australia during the twelve months preceding the date fixed by the trustees for sending in the pictures”, it was easy to change that requirement.</p>
<h2>An awkward inheritance</h2>
<p>The Dobell case may have made the prize a popular festival, but it has not always been appreciated by those running the gallery. When I was working at the gallery as a junior curator, the prize was widely regarded as an embarrassment. </p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/9135/original/chswjp8m-1333065327.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/9135/original/chswjp8m-1333065327.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/9135/original/chswjp8m-1333065327.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=1453&fit=crop&dpr=1 600w, https://images.theconversation.com/files/9135/original/chswjp8m-1333065327.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=1453&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/9135/original/chswjp8m-1333065327.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=1453&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/9135/original/chswjp8m-1333065327.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1825&fit=crop&dpr=1 754w, https://images.theconversation.com/files/9135/original/chswjp8m-1333065327.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1825&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/9135/original/chswjp8m-1333065327.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1825&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<p>The gallery had been lumbered with a bequest as a result of the will of Jules Francois Archibald (born “John Feltham” but the man loved France), and the media and public persisted in coming to see the results. It was the one time of year the general public was interested in what happened in the hallowed halls of art, and their presence was merely tolerated. </p>
<p>Since then, the gallery has come to terms with its curious inheritance and re-badged it as both a marketing opportunity to gain new audiences and a significant revenue raiser. </p>
<p>In 1975, the gallery instituted an entry fee for artists of $2 to cover the cost of packing and handling each entry. That is now $30. Free entry to the exhibition has become a charge of $10. Commercial sponsorship supplements Archibald’s (now) modest bequest so that the winner gets $75,000, and thus there is always a sprinkling of serious artists hoping to win the lottery. </p>
<p>The nature of the judging means that every entry has to be regarded as a lottery ticket. The real prize is having a work hung. This year there were 839 entries. In less than a day these were culled to 41. Those odds are over 20:1 which means that most artists are incurable optimists. The culling process is swift and brutal.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/9136/original/bw5y7t7k-1333065328.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/9136/original/bw5y7t7k-1333065328.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/9136/original/bw5y7t7k-1333065328.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=666&fit=crop&dpr=1 600w, https://images.theconversation.com/files/9136/original/bw5y7t7k-1333065328.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=666&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/9136/original/bw5y7t7k-1333065328.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=666&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/9136/original/bw5y7t7k-1333065328.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=837&fit=crop&dpr=1 754w, https://images.theconversation.com/files/9136/original/bw5y7t7k-1333065328.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=837&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/9136/original/bw5y7t7k-1333065328.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=837&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<p>In Archibald’s day most of the <a href="http://www.artgallery.nsw.gov.au/about-us/people/agnsw-trust/">trustees</a> were artists, which is why he made them the judges. Now they are mainly business people with two artists and one art publisher. There have been complaints about the trustees judging art, but because the purpose of the prize is in essence an exercise in social history, the Archibald prize provides an annual chance for mere mortals to gain a relatively easy insight into the way some of the most influential people in the state see the world around them.</p>
<h2>The 2012 finalists</h2>
<p>This year most of the successful entries are of people in the arts. There isn’t a politician in sight, and the only really economically powerful presence is Paul Newton’s <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2012/29236/">mild-mannered portrait of David Gonski</a>, a former President of Trustees. </p>
<p>The other change this year is the significant presence of portraits of (and some by) Aboriginal people. Vernon Ah Kee has painted <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2012/29215/">Lex Wotton</a>; Reko Rennie, <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2012/29239/">Hetti Perkins</a>; Luke Roberts, <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2012/29241/">Richard Bell</a>; Martin Sharp, <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2012/29244/">David Gulpilil</a>. There are a number of portraits of visual artists, including some self-portraits. Other art forms do well with actors, singers, and Adam Chang’s portrait of Oscar winning <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2012/29220/">Emile Sherman</a>.</p>
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<h2>An Australian phenomenon</h2>
<p>The growing Aboriginal presence is a reminder that Archibald, the founding editor of The Bulletin, wanted above all to create a body of work to change a culture. He knew that in the early years of the 20th century Australians thought that both history and personal success was something that happened in England. </p>
<p>Archibald left his money for a portrait prize so that many portraits would be painted and succeeding generations of Australians would know what their forebears looked like. Every time I go to the National Portrait Gallery I see works that have been entered (and sometimes hung) in previous Archibald Prizes, and know that he would be proud to see this part of his legacy. </p>
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<p>Another condition was that the artist be resident in Australia. Archibald was bitterly disappointed that promising Australian artists, including John Longstaff and George Lambert, had decamped to England. The prize was to bring them home, and its presence was a factor in their eventual return. In the 1990s, Sidney Nolan withdrew his entry at the last minute after it was pointed out that he was no longer an Australian resident. </p>
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<p>Finally, Archibald was interested in topicality. The painting must be painted in the previous 12 months. This is where it can get complicated as some works can take a long time to complete. This may be the case with Martin Sharp’s <a href="http://www.artgallery.nsw.gov.au/prizes/archibald/2012/29244/">The Thousand Dollar Bill</a>, a portrait of David Gulpilil. It has the same title and same composition as a work completed in 2006 and exhibited in the Ivan Dougherty Gallery, but Sharp is famous for never finishing any of his paintings.</p>
<p>I will be at the announcement this afternoon, as I have been to so many before. I wouldn’t miss it. The Archibald really is the best show in town.</p><img src="https://counter.theconversation.com/content/6159/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Joanna Mendelssohn does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>
UPDATE: Tim Storrier has won the 2012 Archibald prize for his self-portrait, The histrionic wayfarer (after Bosch). Shortly after noon today, Steven Lowy, president of the trustees of the Art Gallery of…
Joanna Mendelssohn, Program Director, Art Administration, School of Art History and Art Education. Editor in Chief, Design and Art of Australia Online, UNSW Sydney
Licensed as Creative Commons – attribution, no derivatives.