Peter Wegner’s Guy Warren in his 100th Year, winner of the 2021 Archibald Prize. AGNSW/Peter Wegner/Photo Jenni Carter
Appropriately, as well as praising Peter Wegner, whose portrait of the centenarian won this year’s Archibald Prize, Warren congratulated the many artists whose works hang alongside his likeness.
Warren is an Archibald realist. He knows the almost random nature of the first cull where the Trustees decide which works have a chance to be considered for hanging, while the great majority go directly to the stacks of rejects.
In 1985 both Warren and his good friend, the artist Bert Flugelman, entered portraits of each other. Portraiture was a departure in style for both men. Although he had worked for some years as a graphic artist, Warren was best known for both experimental work and fluid semi-abstract landscapes. Flugelman had an established reputation as a sculptor.
Flugelman’s portrait of Warren was not hung. Guy Warren’s portrait, Flugelman with Wingman won the prize. With this year’s prize, Warren therefore has the rare distinction of both winning the prize and being the subject of a winning painting.
More works by women, but a male winner
Our public institutions are keenly aware of gender equity in 2021. Art Gallery of NSW director Michael Brand was at pains to tell the assembled throng of journalists, photographers, film crew, artists and actors (including Rachel Griffiths in prime position to film both the crowd and the podium for her forthcoming documentary) that more works by women than men had been hung this year.
Jude Rae and Pat Hoffie were highly commended by judges. But the tradition of giving the big prize to a portrait of a man, by a man, prevailed.
And it’s not a bad painting. The artist-subject is shown sitting on a chair, with his arms awkwardly placed, staring into the distance. He looks somewhat frail. Because of the echoes of history, it will be both a popular choice and a reminder that, at its core, the Archibald is a prize for social history, not art.
Artistic peers and stars
The other prizes announced at the same time reflect both old traditions and the new.
It was not a surprise that Georgia Spain, whose Getting down or falling up was awarded the Sulman Prize. Guest judge Elisabeth Cummings, was one of her favourite artists, the winner told the crowd. Indeed, there are strong echoes of Cummings’ painterly approach in Spain’s work.
The Sulman, unlike the other prizes, is judged by a different artist each year. Those considering entering the prize should always look at the judge’s art before entering their own.
In recent years the Wynne Prize has been dominated by work by Aboriginal artists from either central or northern Australia, and this year is no exception. Yolŋu artist Nyapanyapa Yunupiŋu’s Garak Night Sky, is muted in tone, but stunningly beautiful.
The story of the Seven Sisters is repeated in Tjungkara Ken’s painting, which was awarded the Roberts Family Aboriginal and Torres Strait Islander Prize this year. Just as European artists can paint infinite variations on the theme of the Nativity, so the Seven Sisters remain an ever fertile subject for Indigenous artists.
The colour of water
Noel McKenna’s sweet little South Coast headland (2), Ottoman rose was awarded the Trustees Watercolour Prize, a subset of the Wynne Prize.
Leah Bullen’s Arid garden, Wollongong was awarded the Pring Prize for a watercolour by a woman. In times past so few women entered (or were hung) in the Wynne that this prize was sometimes not awarded. This year the competition was stronger.
Now that the judges have spoken, it is time for the people to have their say. For the last 33 years the gallery has awarded the ANZ People’s Choice award, with votes cast by visitors to the exhibition. Occasionally, but rarely, the people agree with the judges.
All finalists in the Archibald, Wynne and Sulman Prizes 2021 will be exhibited at the Art Gallery of NSW from 5 June to 26 September 2021, then tour regionally.
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