Placeholder Content Image

Archibald Packing Room Prize winner announced

<div class="theconversation-article-body"> <p>More than 50 years ago, when I was a junior curatorial assistant at the Art Gallery of NSW, I had the daunting experience of hanging the annual Archibald, Wynne and Sulman prizes.</p> <p>At the time the professional staff held the exhibitions in such disregard, they complained about the news media’s interest in this mediocrity while ignoring more worthy events.</p> <p>Attitudes changed in the 1980s with the <a href="https://www.abc.net.au/news/2019-03-18/former-director-of-sydney-agnsw-edmund-capons-dies/10911456">late director Edmund Capon</a>, who recognised popularity was an asset – not a disadvantage.</p> <p>Capon raised the prize money with sponsorships and started charging the public to see the winners. His strategy proved so successful that the Archibald, Wynne and Sulman exhibitions are now a significant source of revenue for the gallery.</p> <p>This year, the highly experienced Beatrice Gralton, Senior Curator of Contemporary Australian Art, has curated the exhibitions with support from a crew of more than 40 colleagues.</p> <h2>Packing Room Prize goes to Abdul Abdullah</h2> <p>In the 1970s, the media was refused access to the exhibitions until just before the winner was announced. Now it is actively courted with a public viewing of the works that survive the rigorous culling process.</p> <p>This takes place a week before the final judging, when the Packing Room Prize is announced. The changing status of this prize is also evidenced by changing personnel. Those who did the physical work of packing and loading artworks in the past were not expected to know much about art – and often gave the prize to paintings that would otherwise not be hung.</p> <p>In 2025, the specialist installation crew that handles the portraits in the packing room are most likely to be professional artists themselves – a reminder that most artists need another gig to stay afloat.</p> <p>This year’s Packing Room Prize winner is Abdul Abdullah’s portrait of fellow artist Jason Phu, <a href="https://www.artgallery.nsw.gov.au/media-office/packing-room-25/6ed&amp;utm_source=email%20marketing%20software&amp;utm_term=no%20mountain%20high%20enough">No mountain high enough</a>. There is a glorious irony in this, as Abdullah has long been a critic of the self-important art establishment.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=716&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=716&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=716&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=899&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=899&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=899&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Winner Packing Room Prize 2025, Abdul Abdullah ‘No mountain high enough’, oil on linen, 162.4 x 136.7cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span></figcaption></figure> <p>His work is a riff on the heroic paintings of 19th century landscapes, except for the flock of twittering birds that surround the head of the solitary rider, a bit like a halo.</p> <p>His subject, fellow artist Phu, has to be seen as a serious contender for the main prize, which will be announced on May 9. Phu’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2025/30814/">portrait</a> of actor Hugo Weaving – older hugo from the future fighting hugo from right now in a swamp and all the frogs and insects and fish and flowers now look on – has both the humour and energy that has long characterised his work.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=723&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=723&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=723&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=908&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=908&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=908&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Archibald Prize 2025 finalist, Jason Phu ‘older hugo from the future fighting hugo from right now in a swamp and all the frogs and insects and fish and flowers now look on’, synthetic polymer paint on canvas, 183.2 x 152.5cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span></figcaption></figure> <p>But there are many serious contenders for this year’s prize. Kurdish refugee Mostafa Azimitabar first exhibited in the Archibald in 2022, with a <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2022/30409/">self-portrait painted in coffee, with a toothbrush</a>. Art became his refuge during the many years he spent incarcerated as an asylum seeker.</p> <p>He still uses a toothbrush, but has used paint for his wonderfully fierce painting of a taut Grace Tame, appropriately named <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2025/30774/">The definition of hope</a>.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=871&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=871&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=871&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=1095&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=1095&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=1095&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Archibald Prize 2025 finalist, Mostafa Azimitabar ‘The definition of hope’, oil on linen, 198.5 x 137.3cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span></figcaption></figure> <p>Then there’s Kaylene Whiskey’s delightful self-portrait <a href="https://www.Artgallery.Nsw.Gov.Au/prizes/archibald/2025/30823/">From comic to canvas</a>, which manages to include images of her heroines, Dolly Parton and Tina Turner.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=418&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=418&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=418&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=525&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=525&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=525&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Archibald Prize 2025 finalist, Kaylene Whiskey ‘From comic to canvas’, synthetic polymer paint and book pages on plywood, 79.8 x 114.3cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter, Kaylene Whiskey.</span></figcaption></figure> <p>Not all works are so strident, however. Lucila Zentner’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2025/30826/">Wendy in the gallery</a>, is a subdued portrait of fellow artist Wendy Sharpe, placing her in the context of her art, almost as a decoration.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=726&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=726&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=726&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=912&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=912&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=912&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Archibald Prize 2025 finalist, Lucila Zentner ‘Wendy in the gallery’, oil on canvas, 60.3 x 50.5cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span></figcaption></figure> <h2>A suite of diverse storytelling</h2> <p>As is spelt out in <a href="https://www.artgallery.nsw.gov.au/art/prizes/archibald/enter/">J.F. Archibald’s will</a>, the judges of the Archibald Prize must be the trustees of the gallery, and no one else may interfere in their decision.</p> <p>However, for decades after <a href="https://www.smh.com.au/culture/art-and-design/from-the-archives-1944-the-archibald-prize-court-hearing-begins-20191016-p531b6.html">a spectacular court case</a> resulting from the 1943 Archibald, the trustees were so nervous of litigation that the final judging was administered by the NSW electoral office. In a court case in 1944, plaintiffs claimed the trustees’ 1943 decision was a breach of trust as the winning painting wasn’t a portrait. And one trustee claimed he had accidentally voted for the winner, thinking he was voting against it.</p> <p>Today, all decisions are made in-house. Court cases have been fought over whether entries were paintings (or not), painted from life (or not), selected by the trustees (or not). In 1990 <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1988/17795/">Sidney Nolan</a> had to withdraw his entry after it was pointed out he could not be described as a “resident in Australasia for 12 months preceding the date of entry”.</p> <p>But once the entry conditions are met, the curator has a free hand. This year, Gralton has hung all three exhibitions on the premise they are “about stories and storytelling”.</p> <p>There is the joyous extravagance of Meagan Pelham’s <a href="https://www.Artgallery.Nsw.Gov.Au/prizes/archibald/2025/30813/">Magic Nikki and Charlie fancy pants party … Djaaaaaaaay</a>, the stark analysis of Chris O'Doherty’s <a href="https://www.Artgallery.Nsw.Gov.Au/prizes/archibald/2025/30810/">Self-portrait with nose tube</a>, and the wildly painterly approach of Loribelle Spirovski’s <a href="https://www.Artgallery.Nsw.Gov.Au/prizes/archibald/2025/30819/">Finger painting of William Barton</a>.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=808&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=808&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=808&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=1015&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=1015&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=1015&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Archibald Prize 2025 finalist, Loribelle Spirovski ‘Finger painting of William Barton’, oil on canvas, 182.6 x 137cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</span></figcaption></figure> <p>In the Sulman prize exhibition – awarded for best subject painting, genre painting or mural project – the once academic modernist Mitch Cairns has gone full conceptual with his stark <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2025/30883/">Narrow cast (studio mural)</a>. It looks like something straight out of the 1970s Art &amp; Language movement.</p> <p>But my money is on Thom Roberts’ <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2025/30901/">Mrs Picture Book and the three bears</a>, a painting as a book, in three canvases.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=685&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=685&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=685&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=861&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=861&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=861&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Sulman Prize 2025 finalist, Thom Roberts ‘Mrs Picture Book and the three bears’, triptych: synthetic polymer paint on canvas, 120 x 106.5 x 13cm © the artist, image © Art Gallery of New South Wales, Diana Panuccio.</span></figcaption></figure> <p>The Wynne prize is for both Australian landscapes and sculptures. This year there are many three-dimensional works, ranging from the elaborate <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2025/30829/">Billy Bain</a> to the almost agonised restraint of <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2025/30872/">Heather B. Swann</a>.</p> <p>Lucy Culliton’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2025/30842/">Cliff Hole, Bottom Bullock</a>, hangs alongside Betty Muffler’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2025/30858/">Ngangkaṟi Ngura – healing Country</a> – both paintings of Country.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=488&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=488&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=488&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=614&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=614&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=614&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Wynne Prize 2025 finalist, Betty Muffler ‘Ngangkaṟi Ngura – healing Country’, synthetic polymer paint on linen, 197.3 x 243.5cm © the artist, image © Art Gallery of New South Wales, Diana Panuccio.</span></figcaption></figure> <p>Then there is Mehwish Iqbal’s beautiful, delicate <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2025/30849/">Zameen muqaddas (sacred earth)</a>, a pen and ink contrast of fine botanical drawing and delicate wash, all on handmade paper.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=731&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=731&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=731&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=918&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=918&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=918&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Wynne Prize 2025 finalist, Mehwish Iqbal ‘Zameen muqaddas (sacred earth)’, watercolour and ink on handmade paper, 18 parts: 30 x 30cm each; 152 x 120cm overall © the artist, image © Art Gallery of New South Wales, Diana Panuccio.</span></figcaption></figure> <p>While artist Elizabeth Pulie has already judged the Sulman prize, the judging for the Archibald and Wynne will be finalised early morning on May 9. This year’s result is anyone’s guess.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/253747/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><em>By <a href="https://theconversation.com/profiles/joanna-mendelssohn-8133">Joanna Mendelssohn</a>, Honorary Senior Fellow, School of Culture and Communication. Editor in Chief, Design and Art of Australia Online, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a></em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/archibald-packing-room-prize-goes-to-abdul-abdullah-for-jason-phu-portrait-among-broader-set-of-bold-and-deeply-personal-works-253747">original article</a>.</em></p> </div>

Art

Placeholder Content Image

Jackie O blown away by breathtaking Archibald portrait

<p>Radio icon Jackie 'O' Henderson has received a dazzling honour that places her in the pantheon of celebrated Australian figures: a stunningly lifelike portrait of the KIIS FM star has been named a finalist in the prestigious 2025 Archibald Prize.</p> <p>Painted by the immensely gifted artist <a href="https://kellymareeartist.com/" target="_blank" rel="noopener">Kelly Maree</a>, the portrait captures Henderson, 50, in a dreamlike pose, adorned in a delicate blue tulle gown rich with embellishments. The piece has already been hailed as a masterstroke of emotional depth and technical brilliance.</p> <p>Upon learning of the news, Henderson expressed her profound gratitude, calling the experience "one of the great highlights of my life." Sharing the artwork on social media, she wrote, "To say I’m honoured doesn’t even come close… I’m still in awe."</p> <p>In a heartfelt message, Henderson recalled how the collaboration came to be. She was in New York when Maree reached out – an encounter she described as “serendipitous”. The artist, who painted actor Josh Heuston for last year’s competition, felt an immediate artistic connection with the broadcasting star. “Turns out we were drawn to each other,” Henderson said.</p> <p>Maree, equally moved by the recognition, shared her creative vision behind the piece. “I wanted the portrait to feel whimsical, as if she were outside beneath the moonlight,” she explained. “I positioned her leaning forward and looking towards the viewer as if caught in a moment of thought.”</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/reel/DJGTXwDvAIO/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/DJGTXwDvAIO/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Jackie O (@jackieo_official)</a></p> </div> </blockquote> <p>The portrait’s lifelike rendering and poetic composition have quickly earned praise from art lovers and critics alike, with many tipping it as a strong contender for this year’s top prize.</p> <p>The Archibald Prize, Australia’s most esteemed portraiture award, carries a $100,000 prize and will announce its winner on May 9. Whether or not Maree’s portrait takes the top honour, it has already achieved something deeply meaningful – immortalising Jackie 'O' in a work of art as iconic as her career.</p> <p><em>Images: Instagram</em></p>

Art

Placeholder Content Image

Archibald prize finalists unveiled

<p dir="ltr"> The 2023 Archibald prize’s 57 finalists have been revealed by the Art Gallery of NSW. </p> <p dir="ltr">With portraits by an entire host of exceptionally talented artists, the award - as well as its $100,000 prize - will be presented to the best portrait of a person who is “distinguished in art, letters, science or politics” that has been painted by a resident of Australia.</p> <p dir="ltr">The 2023 competition also made history with its batch of finalists, as for the first time ever, more works by women were selected than works by men - 30 to 27. In total, the competition drew in an impressive 949 submissions. </p> <p dir="ltr">All three competitions - Archibald, Wynne, and Sulman - also saw a record number of entries and finalists by Aboriginal artists, at 101 entries and 38 finalist pieces. </p> <p dir="ltr">And while the overall winners won’t be announced until May 5, the Archibald Packing Room Prize 2023 winner has been revealed: a portrait of comedian Cal Wilson by Andrea Huelin.</p> <p dir="ltr">“I can’t tell you how happy I am to receive this,” the artist confessed after learning of her win. “It means such a lot to me as an artist from a regional centre to win.”</p> <p dir="ltr">The Packing Room Prize was selected by a team of three expert packers with 19 years of experience between them, and for the first time included two women - Monica Rudhar and Alexis Wildman - alongside Timothy Dale. </p> <p dir="ltr">The prize, which began in 1991 and is worth $3000, is referred to as ‘the kiss of death’ by artists when it comes to selecting the overall Archibald winner. </p> <p dir="ltr">“Andrea’s work jumped out at us as soon as it arrived,” they said of their selection. “Cal’s been such a mainstay on Australian television for two decades.”</p> <p dir="ltr">As Michael Brand - director of the Art Gallery of NSW - explained, the decision had been reached “equally” by the trio. </p> <p dir="ltr">Many other well-known faces were captured across the 57 finalists, with portraits of everyone from Cold Chisel’s Don Walker to Aboriginal activist Archie Roach, Silverchair’s Daniel Jones, NRL’s Latrell Mitchell, politicians Yvonne Weldon and Alex Greenwich, and actor Sam Neill. </p> <p dir="ltr">And for anyone who would like to admire the paintings in person, the finalists of all three competitions will be on display at the gallery from May 6 to September 3.</p> <p dir="ltr">Meanwhile, all 57 portraits are available to <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2023/">view on the Art Gallery of NSW’s website</a>.</p> <p dir="ltr"><em>Images: Art Gallery of NSW </em></p>

Art

Placeholder Content Image

Samuel Johnson portrait win Archibald Prize People’s Choice

<p dir="ltr">An emotional portrait of Samuel Johnson OAM has won the Archibald Prize 2022 ANZ People’s Choice award. </p> <p dir="ltr">The portrait, painted by Jeremy Eden, shows a solemn looking Johnson holding a black and white photograph of his sister Connie. </p> <p dir="ltr">“It’s an honour to have my painting chosen for this year’s ANZ People’s Choice award,” Jeremy said. </p> <p dir="ltr">“This painting has been one I have been thinking about and wanting to make for 10 years. Sam is a storyteller at heart, and it was really important to find a way to share my own narrative while still capturing Sam’s character and emotion in the portrait.”</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/Cgx4yY8MRz_/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/Cgx4yY8MRz_/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Art Gallery NSW (@artgalleryofnsw)</a></p> </div> </blockquote> <p dir="ltr">“It is inspiring to see what Sam and the team at Love Your Sister have accomplished, having raised so much money for cancer research.”</p> <p dir="ltr">“I’ve followed Sam’s journey with the charity for many years and it’s a privilege to be able to contribute in my own way. It is amazing to be a finalist in the Archibald Prize but knowing the painting has resonated with so many people makes the experience even more meaningful.”</p> <p dir="ltr">Jeremy is also selling prints of his award-winning artwork, with 50% of the proceeds going to Sam’s charity ‘Love Your Sister’.</p> <p dir="ltr"><em>Image credits: Instagram </em></p>

Art

Placeholder Content Image

Blak Douglas becomes second ever Indigenous Archibald Prize winner

<p dir="ltr">Western Sydney artist Blak Douglas has won the 2022 Archibald Prize, taking home $100,000 along with the coveted title. </p> <p dir="ltr">The self-taught 52-year-old artist has become the second Indigenous artist to win the prize in its 101 years for his portrait of Wiradjuri artist Karla Dickens.</p> <p dir="ltr">The 2022 competition was Douglas' fifth time as an Archibald finalist, and accepting the prize at the Art Gallery of NSW ceremony, he said: "This painting represents 20 years of taking the risk of pursuing a dream [and] surrendering normalised employment. And I'm sure many of my artist colleagues can relate to that."</p> <p dir="ltr">His winning portrait depicts Karla Dickens, who he describes as a “legendary practitioner”, knee-deep in the muddy floodwaters of her hometown in Lismore, Bundjalung Country — holding a leaking pail of water in each hand, and looking grumpy.</p> <p dir="ltr">His painting reflects on the damage and after-effects of the devastating February and March floods in the Northern Rivers.</p> <p dir="ltr">"I've been up there [to Bundjalung Country] several times; it's a war zone," Douglas told <a href="https://www.abc.net.au/news/2022-05-13/archibald-prize-2022-winner-blak-douglas-karla-dickens/101060204">ABC News</a>.</p> <p dir="ltr">"And so to be able to further aid some of my dearest, closest friends up there, through this win — not only metaphorically, but also financially — it's a big plus."</p> <p dir="ltr">Speaking via live video link from her home during the ceremony, Karla Dickens said she was "over the moon", and thanked her friend for "acknowledging everybody up here on Bundjalung Country that has gone through so much".</p> <p dir="ltr">"I'm so proud of you, Adam. Such a killer painting," she added.</p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

Art

Placeholder Content Image

Exciting news for Anh Do

<p>Anh Do, acclaimed author, comedian, artist and host of <a href="/entertainment/tv/2017/07/anh-do-brush-with-fame-one-of-best-shows-on-tv/" target="_blank"><em><strong><span style="text-decoration: underline;">Anh’s Brush with Fame</span></strong></em></a>, can add yet another accolade to his already storied career. Yesterday, it was announced that the 40-year-old had won the Archibald People’s Choice prize for his portrait of Indigenous actor Jack Charles.</p> <p><img width="499" height="635" src="https://oversixtydev.blob.core.windows.net/media/43774/4503d03f00000578-4947174-his_muse_he_s_an_extraordinary_australian_with_a_great_face_full-a-2_1507109692499_499x635.jpg" alt="4503D03F00000578-4947174-His _muse _He _s _an _extraordinary _Australian _with _a _great _face _full -a -2_1507109692499" style="display: block; margin-left: auto; margin-right: auto;"/></p> <p>The incredible painting, which was the result of a sitting for his ABC show, won the hearts of the public, just like how Charles’ heartbreaking yet uplifting life story captured Do’s heart – and imagination.</p> <p>“Jack’s a special human being, to be through everything he has been through and to become a well-loved, well-respected mentor, I find him inspirational,” Do told AAP after learning of the win.</p> <p>The feeling is certainly mutual, with Charles describing the experience as a “hoot”. “I count him as one of the best extractors of information, from his engaging smile, wit, genuine interest and listening to the dribs and drabs of my story, my reason for living,” the 74-year-old actor said in a statement. “I’m extremely chuffed to be counted as one of Anh Do’s mates.”</p> <p>Do receives $3,500 cash as part of his reward, but the money means nothing compared to Charles’ reaction to the portrait. “I was happy with the painting when I finished and then I showed Jack, and more importantly he was happy, and now that people like it as well – icing on the cake.”</p> <p>Are you a fan of Anh Do? What do you think of the portrait? Share your thoughts with us in the comments below.</p>

Art

Placeholder Content Image

George Calombaris portrait wins Archibald Packing Room Prize

<p>While we’re probably more used to seeing his image on the television, MasterChef’s George Calombaris’ visage is also set to be extensively featured in high art.</p> <p>The 2016 Archibald Packing Room Prize has been won by Melbourne artist Betina Fauvel-Ogden, who painted a portrait of the TV personality in his white chef’s garb.</p> <p>And as you can see below, it’s quite spectacular.</p> <p><img width="500" height="575" src="https://oversixtydev.blob.core.windows.net/media/23963/george-in-text_500x575.jpg" alt="George In Text" style="display: block; margin-left: auto; margin-right: auto;"/></p> <p><em>Image credit: Art Gallery of NSW</em></p> <p>The Packing Room Prize was established in 1991 and is awarded by the staff at the Archibald event who vote on the winner after installing the pictures in the gallery.</p> <p>Calombaris was quite chuffed to be featured in the winning portrait, <a href="http://www.abc.net.au" target="_blank"><span style="text-decoration: underline;"><strong>telling ABC</strong></span></a>, “I'm just a cook and when Betina asked us, I was slightly reluctant but then we did it and I had three sessions and I have never stood there for one hour without moving in my life.</p> <p>“Creativity is so beautiful and it was just an absolute blessing to stand there and watch this incredible artist, [who] loves her craft so much, produce something like that.</p> <p>I just can't believe it, yesterday I'm piping caramelised chocolate mousse on a dessert and here we are standing in this incredible place.”</p> <p>Fauvel-Ogden had to work around Calombaris’ busy schedule for eight to 10 months to get the painting, telling the ABC, "I'm a great fan of MasterChef, [I've] always have been so I've been watching him a long time. And I was lucky enough to get him, so I was very happy, he was very generous. I probably ate breakfast, lunch and dinner in front of it [for six weeks].”</p> <p>"This one painting went as I saw it, which often doesn't happen, so I was pretty lucky, maybe a little bit of magic came into it."</p> <p>The oil on linen portrait is among the 51 Archibald finalists announced this week from a selection of over 830 entries. The finalists for the famous prize include portraits of Wendy Whitely, Barry Humphries, and Ken Done among many others.</p> <p>What do you think of the winning painting? Do you make time to get out to the Archibald every year? And what’s your favourite winning entry?</p> <p>Let us know in the comments below. </p> <p><em>Hero image credit: Twitter / Canberra Times</em></p> <p><strong>Related links:</strong></p> <p><span style="text-decoration: underline;"><em><a href="/entertainment/art/2016/07/10-incredible-cakes-inspired-by-art/"><strong>10 incredible cakes inspired by art</strong></a></em></span></p> <p><span style="text-decoration: underline;"><em><a href="/entertainment/art/2016/06/8-secret-messages-hidden-in-artworks/"><strong>8 secret messages hidden in artworks</strong></a></em></span></p> <p><span style="text-decoration: underline;"><em><a href="/entertainment/art/2016/06/female-and-male-models-used-for-mona-lisa/"><strong>Female and male models used for Mona Lisa</strong></a></em></span></p>

News

Our Partners