National Photographic Portrait Prize 2020
National Portrait Gallery. From 6 March until 10 May 2020.
(If the NPG closes because of the COVID-19 virus restrictions, all the finalists can be seen online at https://www.portrait.gov.au/nppp-images.php?advanced=yes&year=&category=finalists&custom=)
Reviewed by Brian Rope
The National Photographic Portrait Prize exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia's amateur and professional photographers and the unique nature of their subjects.
What constitutes a portrait is a question that has been discussed often; with diverse views being expressed. For me, these words come reasonably close “A portrait is an artwork that has been created about a person or persons which tells us something about them.” That doesn’t mean a portrait has to look like or clearly show the person’s face. For me, revealing information about the person is the key element.
48 entries were shortlisted for 2020. There are two works that are collaborations between two artists. Two artists each achieved two shortlisted works. And five of the works are by Canberrans:
Mike Bowers is Photographer-at-Large for Guardian Australia and also host of Talking Pictures on ABC TV. His image, Prime Minister, taken during a parliamentary vote, shows the PM sitting alone and looking uncertain, whilst other MPs stand in the background.
Prime Minister © Mike Bowers
Brothers, by Steven Lloyd, was captured when two brothers re-united at a family gathering. Lloyd has succeeded in showing the joyous emotions of the occasion, as well as revealing the physical likenesses shared by Nik and Rouli.
Brothers © Steven Lloyd
Brenda L Croft presents us with Matilda, a strong portrait of Canberran and Ngambri/ Ngunnawal Elder, Aunty Matilda House. It is best viewed from a distance. Incidentally, fully one third of the shortlisted works are portraits of people with indigenous heritage, not all having high public profiles.
Matilda (Ngambri-Ngunnawal) © Brenda L Croft
Jarrah, by Charles Tambiah, was a standout for me. It is about a mate and reveals numerous things about him; his chosen clothing, vehicle and dog immediately establish an Aussie context for us. The inclusion of a footy adds to our knowledge.
Jarrah © Charles Tambiah
Amongst the works by non-Canberrans, I particularly enjoyed Willie ‘Bomba’ King, by Jason McNamara. As with Tambiah’s work, this quickly reveals much about the person portrayed, whilst also inviting us to learn more.
Willie ‘Bomba’ King © Jason McNamara
Dr Christian Thompson’s Writing on the Wall is an elaborate and stunning self-portrait referencing the collective anxiety posed by climate change. Its vivid colours immediately attract attention.
Writing on the Wall © Dr Christian Thompson AO
1967, by Dave Laslett, invites us to consider what, if anything, has changed since the historic 1967 Referendum when we voted overwhelmingly to include Aboriginals in the Census.
1967 © Dave Laslett
One of the NPPP 2020 judges, Nici Cumpston, has described the task. With Aboriginal heritage herself, Cumpston has said it was refreshing to see so many images of and by Aboriginal people among this year’s finalists. “Importantly, the NPPP is a democratic view of our society at this particular time in history, and the final exhibition tours nationally, which is a great gift for the nation.” Perhaps that is a partial answer to Laslett’s question.
There are other images of great interest for a variety of reasons, such as their storytelling, dramatic effects, background choices, and great subjects. It is most interesting to compare Hugh Stewart’s Eileen Kramer is a dancer (which was highly commended) with the painting Elizabeth – winner of the Darling Portrait Prize - on display in the adjoining gallery space.
Eileen Kramer is a dancer © Hugh Stewart
Another fine work, The Mahi-Mahi by Ron Palmer, was announced as the prize winner, despite a certain virus derailing the planned gala announcement event.
The Mahi-Mahi © Ron Palmer