The 2018 Archibald Prize - Part Two

Further to a previous post, here is the second installment in my visit last year to see the touring Archibald Prize at the marvellous Orange Regional Art Gallery. The Archibald Prize is awarded annually to the best portrait 'preferentially of some man or woman distinguished in art, letters, science or politics, painted by any artist resident in Australia.' Often I don't know the subject, so I really enjoy finding out about the people as much as I appreciate the artwork itself.

Don by Mirra Whale

It was the colours in this portrait that caught my eye as they remind me of those 3D paintings or  that have fuzzy flashes of red and blue around the image to make it stand out when one dons special glasses. I had no idea who the subject is, but apparently he is the Honourable Don Harwin, the New South Wales Minister for Resources, the Minister for Energy and Utilities, and the Minister for Arts. The artist claims to be impressed with his "passion, curiosity and dedication to the arts."

"Painting Don, it became very evident that politics is never black or white. In some respects he stands in contrast to the seemingly conservative government he represents. For his portrait, I decided to take this notion further. Using a traditional portrait background, I applied colour to reflect not only his personality but his dynamic contribution to the arts."

Elisabeth Cummings in her studio at Wedderburn 1974 and 2018 by Noel Thurgate 

I really enjoy the kind and generous expression on this woman's face. I presume she is an artist because of the background to the portrait, and I like to see this in context - one should appreciate an artist at work as well as by their output. She appears confident and calm in her ability; her hands have seen much work and knowledge. The way in which the artist has incorporated the wood and other materials into his picture indicate that these have a specific relevance to the subject. I read that he was inspired by a 1974 photo of a young Elisabeth, aged 40, standing beside a tree trunk admiring the construction of her house/ studio in which she would make all the works for a future exhibition.

"Entering the studio, ideas and images immediately tumbled into place. The tree in the 1974 photo is the centre post supporting the roof. The very fabric of the building - stone, clay and wood - reflects the rich, earthy, materiality always evident in Elisabeth's palette. Numerous skylights reveal glimpses of trees and sky, and flood the interior with top-light, while Elisabeth quietly, calmly gets on with it, looking forward to starting the next painting."

The Letter - I really wanted to paint Germaine Greer but she said 'no' (self-portrait) by Stephanie Monteith

The purple and orange hues are exotic and the neat collection of oranges contrasts with the busy pattern of the tablecloth - it is an arresting blend of still-life and portraiture, with fruit, drink and flowers foregrounding the profiled figure. I became even more interested when I read that the artist wanted to paint Germaine Greer whom "I admire for many reasons".

"I made some requests and it became clear that it was unlikely to happen. And so, among other things, this painting is a metaphor for that stereotypical Archibald experience - the search for a desirable sitter... 

"I didn't want to paint myself for the Archibald but I was a convenient, available sitter. I prefer to work directly from life rather than photographs, and the time needed for this can be difficult for other people. To paint myself in profile like this required an arrangement of mirrors reflecting one another."

Uncle Ron Kennedy by Blak Douglas

What stands out to me here are the colours of the Aboriginal flag, and the instant recognition that this is an indigenous artist and subject. The image implies strata (in the background) and contours (in the hat) reflecting the connection to land. The rich reds and yellows contrast with the monochrome black and white to tell a story of appropriation and native representation. It did not surprise me, therefore, to learn that the subject is 'a celebrated Wiradjuri artist, renowned for his naive-style depictions of his mission upbringing'.

"Given Roy's past practice as an etching printmaker, I wished to honour this by depicting him in monotone. This is completely new to me and was much like attempting to speak a foreign language. Metaphorically though, I saw a spiritual man who now lives a lifestyle that is the polar opposite of his mission upbringing. Aesthetically, I've used a cracked acrylic surface - my trademark - around his face in the ochre colours of the earth. This represents the hardness of a man forged from an ancient past whilst living within a fractured present."

Self-portrait with studio wife by Del Kathryn Barton

This is just bonkers with swirling textures, busy colours and the inclusion of a pet. The peculiar perspective is dreamlike and the foreground focus on the hands implies a lambent creativity. The similarity of the slightly unfocused gaze of human and animal indicates a deep and supportive connection between them, which is separated from the viewer. I read that Del Kathryn Baton has won the Archibald Prize twice before and this is her fifth time as a finalist. She began painting this self-portrait halfway through her mother's two-year battle with terminal cancer, and the 'studio wife' in question is her French bulldog, Cherry Bomb.

"With my fierce little Cherry-Bomb-studio-wife keeping a look-out on my shoulder, I was taken aback when finishing the work by how child-like I look. Little-Del-the-daughter is very present.

"I completed the painting four months after Mum's death. My hands open in a state of uncertainty and loss. A single finger touches a giant leaf. This leaf, vibrating the life energy of the universe, is my departed mother.

"Cherry-Bomb is witness to and defender of my creative life. I remain forever grateful for her play-like-it's-the-end-of-the-world presence in my life, especially at a time of indescribable loss. Her deep eye contact is one of the most healing elements in my journey with grief."

Courtney Barnett and her weapon of choice by Melissa Grisancich

I like Courtney Barnett a lot; I like her music and her attitude.The first time I ever saw her, she was singing a duet with Billy Bragg (a cover of Sunday Morning by The Velvet Underground) and that was enough for me - my affection was assured. Her youthful energy is embodied by the childlike print of the wall behind her, while she cradles the guitar with a passion that her singer's cynical expression both reflects and refutes. She and the artist are friends; Gisancich writes,

"I'm a big fan of her music with its unique mix of rock, folk, indie and grunge. I also love her guitar playing, and see her as a strong representative of the positive shift happening for women in Australian music today. 

"Courtney was happy to sit, quietly playing a tune and looking round the room as if I wasn't there. She had a casual warmth about her that I wanted to capture. Her music and witty lyrics are quite colourful, so I have used a lot of colour. The background is inspired by 1930s Australian art-deco patterns, which often feature in my work."