Robertson NSW, 16-17.03.13

be happy: stop stressing about the Archibald Prize

Stop stressing about the Archibald Prize!

                                                                      hugo (detail) image: heraldsun.com.au

Another year of Archibald Prize anticipation has come and gone in the last seven days after now-sophomore winner Del Kathryn Barton took the title with 'hugo' a suitably large-sized Archibald entry executed in watercolour, gouache and acrylic (image above) of Australian actor Hugo Weaving. In the hours following the winner's announcement at the Art Gallery of NSW (AGNSW) late last week, l noticed ripples of protest firstly on social media sites and then later televised with attention being drawn to Victorian artist Jeffrey Kelson's 'one man' demonstration on the front steps of the gallery. ABC's coverage of Kelson's opinions drew attention to the prize's exclusive and un-representational performance as a showcase for common artists attempting to be hung on the balance of their talent rather than their art world-standing and own notoriety and of their subjects (often the same thing). Otherwise on the social media front, blunter inquiries (from a generally younger audience) were stirring as to why the precious money and title needed to be handed to a name of already existing high-stature.        

I think some significant factors about the modern-day Archibald Prize are being overlooked, which i'd like to point out for those artists feeling sore over rejection yet again. To it's credit, in it's singularly promenant position, the Archibald Prize is forced to be a premium showcase (for l dare say) those currently hot and upcoming in the local art world, as well as being a platform to pay respect to celebrated senior Australian artists (Olsen, Storrier in recent years). The fact is for many Australians who are only going to visit AGNSW once or few more times a year, due to it's exciting and common controversies, stellar career-pumping and lucrative giveaways, good chance is they're going to see the Archibald Prize, and what they see in that hour or more of visitation needs to itself portray who and what is making up the current Australian art world. Otherwise what other high-profile showcase does the industry have? 

For better or worse, it is imperative that the exhibition succeeds as an overblown showcase to indicate the annual direction and new stars of an otherwise largely shadowed community in the mind of the common Australian. I'm sure the AGNSW trustees would love room for you and your precious talents, but there's little space. In truth, the reality of the show is actually very different to the sensitive considered delicacy of your work that you're so driven to have exhibited. Quietly and respectively tottering through the exhibition halls during high season, you'll overhear all the sickening giveaways; 'my five year old son could have painted that' in response to a vision too minimal or expressionistic, next an admirable 'that's a real portrait' from the burly characteristically-Australian father nodding to the technical class of an entry suitable during the winning-streak of William Dargie, and lastly my very favourite and crowning ironic jewel; 'what an amazing painting, it looks just like a photograph!'. 

Pondering the space overlooked by great undeniable stares and enormous heads (squint and it commonly looks like Easter Island on a misty day) what l think is imperative for unsuccessful Archibald entrants to remember is that they're not necessarily dealing with a talent contest so much as a highly condensed and yes agreeably tall and exclusive temporary show for the public. Fundamentally if you're work is not needed in order to complete the composition of an Australian art world snapshot as it stands in the year of that running, then (as l'm sure you know deep down) you have a minuscule chance of being selected so don't bother and quit complaining. Naturally the trustees allow newcomers into the wolfden on an almost yearly basis in the crucial display that anyone can be exhibited, but with perhaps only one slot available versus eight hundred entries, it's going to be important for many not to become bitter about rejection.    

Firstly for those wishing to be exhibited, try your luck first sweeping under the wing of a gallery of some stature and follow the advice given. Based on your success as an artist, if your gallery or those surrounding your practice that sit in a comfortable cultural position suggest you enter a prize, perhaps even the Archibald prize then that's a good reason to enter, and l would say only in such similar scenarios should you enter. If there hasn't been much whispering in your studio this year, save your $50 (or current Archibald entry fee) and pour it back into your practice or should you feel so inclined, add it to your savings for a good night out after an opening in Paddington or Woollahra, and get those contacts going to assist your ambitions :)

Advertised in bus shelters across the Sydney CBD, the tagline for the Archibald Prize states 'The Face That Stops The Nation' . While it is obvious the AGNSW trustees do relish a little in the hype and sadistic curating enjoyment of handing the prize (sometimes repeatedly) to artists not exactly in dire need of it's rewards, if you have a major problem try other options than handing out flyers on the gallery steps. Immediately l would recommend entering in the Doug Moran prize, or if your mission extends beyond the easel, perhaps guide your efforts towards setting up other art prizes and help ease the exclusive pressures of what exists nationally as almost the only major Australian art prize gaining major attention.  

Jim Shirlaw.    

Australian landscape for sleep

 Terror acrylic and oil pastel on paper 72 x 40cm (2012)

The painting above marks the final work in what has been a study this year into the Australian landscape following the Alice Springs excursion in July 2011. All former works in this series can be viewed several posts ago. I've been confident with this medium combination of oil pastel drawn across a typically hot acrylic ground for the last six years; often it provides success in a sparing amount, contained in more or less the quantity of a sketch. The expectation with these works is usually that the reddish-golden background should be demonstrative of the Australian sun and subsequent reflection in the landscape. In the case of 'Terror' l also sense it provides a menacing quality and hopefully resonates with the infamous stories and fears of the murders and abductions synonymous with the Australian red center. I don't think l would (haven't previously) been interested in using this formula to capture the landscape and light conditions of environments elsewhere (Europe recently)

A new drawing series is now developing with a focus on sleep.
Enjoy the images to come.     

Jim S

New paintings, sketches and illustrations by Jim Shirlaw 2012

Coloured Wreckage 2012, acrylic and mixed media on paper 55 x 46 (cm) 

   

General Population Study 2012 acrylic and mixed media on paper 64 x 46.5 (cm) 

 

Study for Torn Trailer 2012 acrylic and mixed media on paper 70 x 45.5 (cm)

  

 

  #46 Reprise 2012 ink and pen on paper 29.7 x 21cm

 

 Sex Poem #46 2012 ink and pen on paper 29.7 x 21cm

Winter Page 2012 acrylic on paper 74.5 x 56 (cm)

 

 

Winter Portrayal 2012 acrylic on paper 66 x 47.5 (cm)

   

No Light Left 2012 acrylic on paper 57 x 42 (cm) 

Study for Birdsville Terrain 2012 acrylic and mixed media on paper 69 x 47 (cm)

Aggression Beach 2012 acrylic and mixed media on paper 80 x 50 (cm)

 

Cloud Shadow 2012 acrylic and mixed media on paper 70 x 40 (cm)

  December Territory 2012, acrylic and mixed media on paper 69 x 45 (cm)

Above are mainly a range of recently completed studies and illustrations made in the studio thus far in 2012. As mentioned in previous blog posts (readpalmforest.blogspot.com) the pastel works were largely sourced from an expedition to the Australian Northern Territory last year. This environment provided a brilliant resource to further practice with the palette i've devised for these types of studies; largely hot and earthly colours against a warm ground. There's still another two of these studies unpublished here, will provide in an upcoming post. The works here that appear starkly different ie monochromatic were mainly created around another trip to America and Europe over a portion of this last winter (our Summer) the two works with ink and pen on paper definitely profited from being in an environment where it was conducive to stay indoors for long periods of time; some strong romantic inspiration was reason to create them as illustrations to poems l was writing then at the same time; check out some of the earlier posts this year from the readpalm blog inserted above. Enjoy and please feel free to leave some feedback here if you like. More output well on it's way.  

Jim Shirlaw

Three new landscapes by Jim Shirlaw (click to enlarge)

17.01.12
acrylic on paper
66 x 47.5 cm

29.12.11
acrylic on paper
69.5 x 43 cm

07.12.11 ('in that doorway' -g. reaper)
acrylic on paper
75 x 55 cm

Since being back home from overseas (new home/new studio) i've endeavored with my new found time to properly kick off some new directions with painting that i've been plotting for the last twelve months. These works tie in with the Interiors/Exteriors focus for the next little while, that whilst in a completely different style to their bright red acrylic/pastel cousins tie into the same movement at the moment to explore an abundance about nature and then a restrained, governed man-made environment with the Interiors.

In these early works the focus clashes between the man-made world (suited for Interiors) and the more expansive landscape gestures, the monochromatic use applies to the urban setting. Whilst first putting these ideas and divided aesthetics into play these works serve as initial studies borrowing from both sides of the Interiors/Exteriors investigation. As early work these paintings are pleasing enough.

Much much more to come,


- Jim S