Heading in the right direction?

Given that its history is littered with instances of controversy, there was an oddly subdued general response to this year’s edition of Australia’s most prestigious art prize. The general level of merit among the finalists, and the choice of winner, seemed to satisfy most, even if personal preferences might have lain elsewhere.

Perhaps understandably, realism featured heavily among the finalists; with some approaching photographic likenesses. That would have pleased traditionalists, who have on occasion bemoaned trends towards more whimsical or – heaven forbid – abstract treatment of the various subjects.

There were exceptions however. David Griggs’ ‘The bleeding hearts club #1 (self portrait)’ was an audacious, if grim, version of the artist himself; while Darren Crothers’ ‘Black sheep of the family’ delved straight into anthropomorphism.

Politicians of many hues were popular subjects this year, notably ex-premiers. Bob Carr was given a Warhol-like treatment by Jasper Knight, Sam Leach did an avian number with ‘A Bird Flies Past Jeff Kennett’ and Matthew Lynn appeared to be setting himself up for the next parliamentary portrait commission with his picture of Neville Wran.

Among current politicians, there were competing portraits to the two eco-adversaries of Federal politics, Malcolm Turnbull and Peter Garrett; while Carmen Di Napoli’s picture of NSW Premier Morris Iemma was titled ‘Go For It”.

Of course, the arts also provided a rich vein of subjects. Among them, Abbie McCulloch’s portrait of Toni Collette was one of the more intriguing and least traditional of the finalists; and the same could be said of Ian Waldron’s rendering of Imants Tillers, which probably said more about an individual than any of the other entries.

In the end though, the judges plumbed for John Beard’s stark portrait of fellow artist Janet Laurence. The monochromatic rendering of the subject was reminiscent of ‘David Gulpilil, Two Worlds’ by Craig Ruddy, the winner of the 2004 prize. If you follow the news, you might recall that another finalist challenged that result in the courts (and lost), arguing that the winning entry was not a “painting” as required by the rules, but rather a drawing.

No such dramas seem to have emerged this year though, with most seeming content with the outcome. At the ceremony awarding the prize, AGNSW director Edmund Capon commented that there appeared to be a trend towards “very big heads” in the entries – a comment apparently directed at both the entries and those submitting them. He urged the inclusion of smaller paintings in the awards.

A group of muscular blokes – the packers who handle the works – always has a significant impact on the event with the awarding of the Packing Room Prize. Perhaps a little predictably, they went for Danelle Bergstrom’s muscular portrait of that most blokey of Australian blokes, Jack Thompson. In doing so however, they displayed a rather daring sense of artistic adventure, as Bergstrom’s picture was far from the most straightforward of the entries.

Although the Archibald tends to hog the headlines, the AGNSW also awards two other very significant awards – the Wynne and Sulman Prizes.

The Wynne Prize is awarded for the “best landscape painting of Australian scenery, or figure sculpture”; and this year it went to Phillip Wolfhagen’s ‘Winter Nocturne IV’, a glowering, almost tactile view of a rural landscape about to be lashed by a winter storm.

The Sulman Prize for best subject painting, genre painting or mural project went to David Disher’s potent allegory, Axis of Elvis. The picture shows Elvis Presley meeting Richard Nixon in front of a mosque decorated with his (Elvis’s that is) pictures. It was strikingly composed, painstakingly executed and politically strident.

Despite its longevity, the Archibald Prize remains one of this country’s most important arts events. Just how well it reflects current arts practice is a matter for debate elsewhere; but there is no doubting its continuing fascination for arts audiences, and not just those living in Sydney.

David Edwards

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Archibald, Wynne & Sulman Prizes 2007

Venue: Art Gallery of NSW, The Domain, Sydney
Dates: 3 March - 13 May 2007
Cost: $8 adults
$6 concessions /students/members
$22 family (2 adults + 2 children)
Booked school groups $4/student

Click on the images for a larger view

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