2) Linda Nochlin, Realism (Harmondsworth: Penguin books, 1971), 112.
3) ibid, 113.
4) Tim Bonyhady, ‘Introduction’, Heads of the people: A portrait of colonial Australia (Canberra: the NPG, 2000), 1.
5) ibid, p2.
6) It is worth noting that in the Archibald there have and continue to be portraits of family and friends of the artists, who may not in themselves be considered ‘distinguished’ in the prescribed fields - such as ‘My Jack’, by Jenny Sages, which was a 2011 entry, finalist, and portrait of her husband. However while this is the case, one could place them in the ‘distinguished’ category through close association with the ‘distinguished’ artist, or the selection committee intending to create controversy.
7) NPG collection policy, cited in: Chris Beer, “The national capital city, portraiture, and recognition in the Australian mythscape: The development of Canberra’s National Portrait Gallery,” National Identities 11, no. 2 (June 2009): 160.
8) (the title of the exhibition)
9) Chris Beer, “The national capital city, portraiture, and recognition in the Australian mythscape: The development of Canberra’s National Portrait Gallery,” National Identities 11, no. 2 (June 2009): 161.
10) John Berger et al, Ways of seeing (London: the British Broadcasting Corporation, 1972), 29.
11) A number of artists, such as Gerhard Richter, have established careers founded on exploring the relationship between painting and photography.
12) Robert Storr, interviewed in Alice Neel, by Andrew Neel, DVD (32:06 - 32:43), (Art House and Seethink films, 2006).
13) Ibid.
14) Ross Woodrow, “Caricature finally triumphs at the archibald prize,” Art Monthly Australia 172, (August 2004): 13-15.
15) Charlotte Mullins, Painting People: Figure Painting Today, (London: Thames & Hudson LTD, 2006), 19-20.
16) ibid,17
17) Craig Judd, ‘Bacon’s dog: Dani Marti’s portrait of Peter Fay’, Art & Australia 48, no. 3 (Autumn 2011): 426.
18) Daniel Palmer, ‘The difficulty of being oneself: David Rosetzky’s moving image portraits’, (Art & Australia, 48:3, Autumn 2011), 488.
19) ibid.
20) “The notion of the self-portrait in animation derives from painting, much as autobiography relates to literature. Self-portrayal refers to the image of authors; autobiography to the tale of their lives. Animated self-portraits imply the iconic appearance of authors in their own works, even when no personal concerns are mentioned in the film” (Maria Lorenzon Hernández, “A film of one’s own: The animated self-portraits of young contemporary female animators”, Animation 5, no. 1 (2010): 89)
21) This deduction is made from my own online research over the last few months.
