The win signifies a return to the quaint, old-fashioned notion that a portrait should be a good likeness.
was as lacklustre as any year I can remember. When I hear people droning about the Archibald as a great Aussie tradition, I think yes, like ring barking or yabby racing. There are too many gimmick pictures and too many poorly painted ones. Despite a good percentage of realist works, produced with near-photographic accuracy, it’s unlikely any of them were contenders. It would have sent a discouraging message that the trustees were prepared to give the prize to the best picture.
Laura Jones, who turns 42 this year, is by nature, a sloppy, expressive painter whose work can be hit-or-miss. Heris a palpable hit, perhaps because the subject is a shapeless, slapdash figure himself. One rarely sees Winton in anything but a T-shirt, and he’s not known to frequent the celebrity hairdressers. Jones says the novelist acts as though he carries the weight of the world on his shoulders, and she has caught this in the portrait.
As for the other prizes, the Sulman, chosen this year by Tom Polo is predictable, with Naomi Kantjuriny having painted small white figures on a black background inAccording to Gonski, the Wynne Prize for landscape includes two-thirds first-time participants and a majority of Indigenous Australian artists. This perhaps underlines the reason so many of Australia’s best landscapists no longer enter the competition nowadays. They feel they haven’t got a chance.
I hope I haven’t been too discouraging about this year’s shows. The Archibald is always a financial bonanza and in times of debt, straitened budgets, and an unsympathetic government paymaster, the gallery needs your money more than ever.
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