2011 Archibald Prize
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SYLLABUS CONNECTIONS: 2011 ARCHIBALD PRIZE Framing the Archibald: K–6 and 7–12 discussion questions and activities • The artist’s eye: self-portraits • A different angle: unconventional portraits 3 • Inspiring women: vision and drive • Referencing the past: appropriation • Nature as the motif: pattern and design • Striking a pose: compositional arrangement Analysing the winner Ben Quilty Margaret Olley Years K–6: Visual Arts and links with key learning areas Years 7–12: The frames Focus works: issues for discussion discussion questions and activities K–6 and 7–12 • Jiawei Shen Self-portrait as Quong Tart’s contemporary (after John Thomson) • Lucy Culliton Ray in Paris • Sonia Kretschmar The heart of things (portrait of Cassandra Golds) • Craig Ruddy Cathy Freeman Archibald Prize 2011: finalists Note: Unless otherwise cited, background information and artists quotes are taken from the Archibald Prize exhibition wall texts, AGNSW 2011 26 Section 3 Archibald Prize and Portraiture Art Gallery of New South Wales Education Kit THE ARTIST’S EYE: SELF PORTRAITS 38. Pam Tippett Self-portrait (for a change) 38 oil on canvas The title of Pam Tippett’s self-portrait is both literal and ironic. ‘It’s the first portrait I’ve done in six years, so it is a change,’ says the artist, who is best known for her still-life paintings. ‘But it’s ironic as well because when I do paint a portrait, it’s usually a self-portrait – I’m always available, I don’t get bored or need to flatter myself.’ Assess Tippett’s gaze. Imagine what she is thinking while painting this self-portrait. Do you think she has worked from her reflection in a mirror or from a photograph? Explain your response. From which angle is the light source coming? List what you can see in the studio. What is the mood of this portrait? How has Tippett identified herself as an artist? Assess what Tippett said about her self-portrait, ‘It may not look it to most people but for me it is a relatively loose painting.’ What clues has Tippett 22 given the audience about her art practice? 22. Song Ling My name is Fartunate – self-portrait acrylic on canvas In this satirical self-portrait, Song Ling makes some strong statements about the contemporary culture of modern China and the blind pursuit of luxury goods as an overt symbol of wealth and status. ‘The title of the work, My name is Fartunate is not a typo, but a play on words’, says the artist. The artist has painted the Chinese character for the word ‘far’ on his underpants, which translates as ‘getting rich’. Describe the expression on Ling’s face. Make the expression you would make if you were in this situation. Is Ling dressed appropriately for shopping for luxury goods? Imagine what Ling has 14 purchased in all these labelled bags. Ling’s work is known for its vivid colours and bold illustrative style. Describe how Ling has treated his figure? What do the dots remind you of? Read the accompanying wall text. Consider the importance of the title My name is Fartunate – self-portrait? Discuss the role of irony in this self-portrait and his response to consumerism in contemporary China. Explain how this painting illustrates the influences of the contemporary world and new technologies upon the artist’s practice. 14. Ken Done Me, March 2011 acrylic and enamel on canvas ‘This portrait took me a little over 70 years and one hour to paint,’ says Ken Done. ‘I’ve entered a number of times. All have been rejected. This new work I wanted to be simple, strong and direct: painted with one brush, an almost continuous line and two yellows, one flat and one enamel. You will often find cadmium yellow in my works.’ How important is the use of the intense yellow to the success of this portrait? Done commented that he often uses cadmium yellow in his paintings. What do you think this colour communicates about Done’s personality? Would you respond differently to this portrait if the colour scheme was different? Describe the expression on Done’s face. Do you think this portrait was laboured or created with ease? Discuss your response after reading the accompanying text. Why would Done portray himself in such a minimal style? Find examples of his body of work and assess if this portrait reflects his artistic practice. Compare and contrast Me by Done to Self-portrait on a horse by Zhong Chen in the exhibition. 27 Section 3 Archibald Prize and Portraiture Art Gallery of New South Wales Education Kit A DIFFERENT ANGLE: UNCONVENTIONAL PORTRAITS 37 37. Tim Storrier Moon boy (self-portrait as a young man) acrylic on canvas Tim Storrier is renowned for mysterious, poignant landscapes that capture the melancholy vastness of the Australian outback. Storrier offers the following poetic statement about his self-portrait: 22 On a nostalgic whim using memories of old lost clothes I painted them hanging on a structure to resemble a figure Arranged in ways to suggest the posture, stance and attitude Informed by the emotions and moods of a youthful self long ago, Passed Such method can bring life to the memory of people long gone … scarecrows of nostalgia … Identify the artefacts and clothes you can see in Storrier’s Moon boy. Imagine what a young Storrier was like. What clothes and artefacts would you select to represent yourself in a self-portrait? Access the impact the saturated blue has in landscape and the arrangement. What is the mood of this work? How does this work make you feel? Visualise walking in this landscape. What time of the day is it? Describe the weather conditions? How does Moon boy challenge the traditional notions of portraiture? What other genres are represented in Storrier’s work? 2. Giles Alexander Space or bust (portrait of Sam Leach) oil and resin on linen 2 ‘I decided to go back to what is perhaps the primordial portrait – the bust – and to combine that historical reference with a more futuristic, sci-fi bent’, said Giles Alexander. ‘One of the main areas of interest for both Sam [Leach] and I is the illusion of space: painting a three-dimensional space on a two-dimensional surface – one of the major challenges tackled by Western painting since the 37 Renaissance. So I thought I’d take that one step further and paint deep space with Sam floating around like a Roman emperor having won both the Archibald and the Wynne.’ What is your initial response to this painting? Describe what you can see. Explore how this painting gains the audience’s attention. Imagine you are in a space ship looking out of an oval window. How would you react to this bust floating past? Discuss why Sam Leach has been depicted as a Roman emperor. Do you think the bust appears to be floating in space? Examine the techniques Alexander has employed to create the illusion of depth. Discuss the use of black. Why do you think Alexander has chosen to use resin to create the glossy reflective surface? Does this add to the meaning of the artwork? 6. Natasha Bieniek October oil on board 6 ‘In my self-portrait October my objective was to explore the dual aspects of scale and representation in a contemporary manner’, says the artist. ‘Since my self-portrait is only about the size of a matchbox, sections of the painting have been executed with a pin instead of a brush to ensure an accurate and realistic depiction. The normal physical space between the painting and the viewer is forcibly narrowed. This intimacy seeks to form a singular relationship between the viewer and the work.’ Observe the attention to detail. Consider the process for creating this miniature painting. Visualize Natasha Bieniek with fine brushes, a magnifying glass and working with the point of a pin. Why do you think Bieniek has posed lying down on the floor? How does the lighting add to a sense of drama in this tiny portrait? Reflect on the role of miniature paintings in the history of portraiture. What would be the advantage of having such a small portrait? How does the small scale of this portrait change the way you view it? In the exhibition, stand back and watch the way other visitors view the portrait. Does the scale of this work challenge the audience in an exhibition such as this? 28 Section 3 Archibald Prize and Portraiture Art Gallery of New South Wales Education Kit INSPIRING WOMEN: VISION AND DRIVE 39 39. Barbara Tyson The country’s woman: Her Excellency, Ms Quentin Bryce AC, Governor-General of Australia oil on raw French linen Barbara Tyson’s portrait of Quentin Bryce, the first female Governor-General of Australia, uses three layers of raw linen to metaphorically capture the essence of the growing refinement of a strong, elegant, organised and graceful leader. ‘… Quentin Bryce has been a constant reminder to strive for excellence and be a bold WOMAN’, says Tyson. ‘I chose to portray her stability and strength of character with a touch of humanity by the juxtaposition of her in casual attire beside the solid grand piano.’ Assess Governor-General’s body language. Mimic her pose. How does her stance suggest a person of authority, influence and elegance? How does the interior environment add to idea of elegance and refinement? Gauge where the light source is coming from. Observe the depiction of light upon the figure. Discuss how this elevates the subject? Observe the layering of canvas panels in the composition. Take note of how the artist treated the surface in each view.