Hyped to the skies as usual, this year’s Archibald Prize 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. Hands up, Angus McDonald and Tsering Hannaford.
The pleasing part about Laura Jones’ victory is that it signifies a return to the quaint, old-fashioned notion that a portrait should be a good likeness that captures something of the sitter’s personality. Last year’s winner, Julia Gutman’s portrait of singer Montaigne , was a gimmick work that appeared to have more to do with the trustees’ desire to give the prize to a young artist. Laura Jones with her Archibald Prize-winning portrait of Tim Winton.
Credit: Janie Barrett This year, the same obsession was in evidence, as outgoing chairman David Gonski announced a record number of first-timers in the Archibald, Wynne and Sulman, and waited for a round of applause – which never came. For most people, it probably doesn’t matter if the shows are full of first-timers or veterans; young ’uns or oldies; boys, girls or others; black artists, white ones or Martians. All they want is to se.
