The Len Fox Painting Award is a biennial acquisitive painting prize and is awarded to a living Australian artist to commemorate the life and work of Emanuel Phillips Fox (1865–1915), the uncle of Len Fox, partner of benefactor Mona Fox. The award is funded through a bequest from Mona Fox, with $50,000 awarded to the winner.
In his 1991 book ‘National Life and Landscapes: Australian Painting 1900-1940’, Ian Burn wrote about Albert Namatjira’s watercolour paintings that “the landscape itself is not the subject focused upon but instead reads as something one journeys through”. Earlier in his 1989 work ‘Homage to Albert (South through the Ranges, Heavitree Gap 1952)’, Burn presented a broader, shorter version of this observation, “A LANDSCAPE IS NOT SOMETHING YOU LOOK AT BUT SOMETHING YOU LOOK THROUGH”. Appearing as if a quote from Namatjira, Burn’s sentence appears in capitals on paper beneath a reproduction of Namatjira’s work on a transparent sheet above. When looking, the effect is twofold; the viewer literally ‘looks through’ the transparent landscape to ‘look at’ the text below. But the text also interrupts the viewer’s ability to ‘look through’ the ‘original’ painting, which is what Burn proposes is the key aspect of Namatjira’s work. The work therefore utilises the landscape but instead of presenting it, obstructs it and simulates the idea of looking at it. The viewer is not invited to navigate the terrain in the picture plane, but instead reminded that they are in an interior space, probably an art gallery, looking at an object. ‘Homage to Albert’ becomes a succinct visual representation of Burn’s conclusion that “(i)n twentieth-century Australia, the idea of the landscape has become more important than the landscape itself. It serves to declare an idea of place, constantly redefining difference in a changing world.
Look At/Look Through is an exhibition of works by 13 artists that explore the relationship between people and the landscape in various ways. In some works, figures, with their backs to us yet almost as surrogates for us, survey the landscape in front of them. In others, the viewer becomes the absent figure, with the work inviting them into another place beyond the gallery, inhabiting the point of view of the person observing the landscape. In some works, visual strategies such as blurring, overlaying text or painterly gestures deny the illusion of real space, instead reorienting attention to the picture plane.
Adriane Strampp is a finalist in the Fisher’s Ghost Art Award with Dust Storm 2019.
The Fisher’s Ghost Art Award is an annual art prize inviting artists to submit works in a variety of artistic categories and mediums. Now in its 58th year, with a total of $36,000 in prize money to be won the Open section is acquisitive to the Campbelltown City Council collection and is valued at $25,000.
Established in 1947, the Mosman Art Prize is Australia’s oldest and most prestigious local government art award, and worth $50,000. It was founded by the artist, architect and arts advocate, Alderman Allan Gamble, at a time when only a small handful of art prizes were in existence in Australia and the community had very little support and few opportunities to exhibit their work.
As an acquisitive art award for painting, the winning artworks collected form a splendid collection of modern and contemporary Australian art, reflecting all the developments in Australian art practice since 1947.
The 2020 Mosman Art Prize judge is Alexie Glass-Kantor, Executive Director of Artspace, Sydney.
The Muswellbrook Art Prize began in 1958 as the Festival of the Valley Art Prize with the winning painting Death of Voss by Tom Gleghorn becoming the inaugural work in what has grown to become an excellent collection of modern and contemporary Australian painting, works on paper and ceramics from the Post War period of the 20th Century and now the first two decades of the 21st Century. The Muswellbrook Shire Art Collection was created as a direct result of this ongoing acquisitive art competition.
Adriane Strampp is a finalist in the Bayside Acquisitive Art Prize. Established in 2015, this prize is a celebration of contemporary Australian painting. The finalist exhibition brings together a broad range of artists, both established and lesser known, whose varied approaches to the painted medium conveys the breadth and diversity of painting in Australia today.
The annual prize is an important opportunity for Bayside City Council to add exceptional works of art to its collection and to promote art and artists as a valuable part of the Bayside community. The three categories of the prize are judged by a panel of industry experts.
This year’s judges are Jane Devery, Curator, Contemporary Art, National Gallery of Victoria, and Anthony Fitzpatrick, Curator, TarraWarra Museum of Art, who will join Joanna Bosse, Curator, Bayside Gallery on the 2019 judging panel.
Brighton Town Hall
Corner Wilson and Carpenter Streets
Brighton VIC 3186
Gallery open from Wednesday to Friday, 11am–5pm, Saturday and Sunday, 1pm–5pm
Adriane Strampp is a finalist in The John Leslie Art Prize, one of Australia’s most prestigious and valuable prizes for contemporary landscape painting. With a first prize of $20,000 (non-acquisitive) the Prize consistently attracts the highest calibre of artists working in Australia. An additional prize of $1,000 will be given to the best Gippsland work. The Prize is made possible through the generous ongoing support of the Gallery’s Patron, John Leslie OBE.