national photography prize mama education resource

National Photography Prize MAMA Education Resource

National Photography Prize: MAMA Education Resource 2

Contents

General: the National Photography Prize

The History of the National Photography Prize

The John and Margaret Baker Memorial Fellowship

Albury Wodonga Regional Art Foundation

A chronology of events

Syllabus connections: the National Photography Prize

Conceptual framework Years 7 – 12

Framing the National Photography Prize Years 7 – 12

Photography: general strategies Years K - 6

Definitions: the National Photography Prize

Artists: the National Photography Prize

Further Reading

About the Education Resource

This education resource has been developed by the Murray Art Museum Albury in alignment with

the NSW Visual Arts curriculum. The aim of this education resource is for students and their

teachers to develop a further understanding of the National Photography Prize, its history and the

significance of this prize to the local area.

Further Reading • Boag, J. and Mirams, J. (2009). The History Of The National Photography Prize. Albury: City of

Albury.

• Hemsley, J. and Acimovic, B. (2015). MAMA Here, MAMA Now. Albury: Murray Art Museum Albury.

ISBN 987-0-9944175-1-0

Cover Image: Jacqui STOCKDALE (B.1968), The Landowners, 2006. Pigment print on paper. Purchased from the

National Photographic Exhibition 2007. Image courtesy of the MAMA Collection.


Curriculum Links Stage 6

Preliminary course

P1: explores the conventions of practice in artmaking •

P2: explores the roles and relationships between the concepts of artist, artwork, world and

audience •

P3: identifies the frames as the basis of understanding expressive representation through

the making of art •

P4: investigates subject matter and forms as representations in artmaking •

P5: investigates ways of developing coherence and layers of meaning in the making of art •

P6: explores a range of material techniques in ways that support artistic intentions •

P7: explores the conventions of practice in art criticism and art history

P8: explores the roles and relationships between concepts of artist, artwork, world and

audience through critical and historical investigations of art •

P9: identifies the frames as the basis of exploring different orientations to critical and

historical investigations of art

P10: explores ways in which significant art histories, critical narratives and other

documentary accounts of the visual arts can be constructed

HSC course H1: initiates and organises artmaking practice that is sustained, reflective and adapted to

suit particular conditions H2: applies their understanding of the relationships among the artist, artwork, world and

audience through the making of a body of work •

H3: demonstrates an understanding of the frames when working independently in the

making of art H4: selects and develops subject matter and forms in particular ways as representations in

artmaking •

H5: demonstrates conceptual strength in the production of a body of work that exhibits

coherence and may be interpreted in a range of ways H6: demonstrates technical accomplishment, refinement and sensitivity appropriate to the

artistic intentions within a body of work H7: applies their understanding of practice in art criticism and art history • H8: applies their understanding of the relationships among the artist, artwork, world and

audience •

H9: demonstrates an understanding of how the frames provide for different orientations to

critical and historical investigations of art •

H10: constructs a body of significant art histories, critical narratives and other documentary

accounts of representation in the visual arts


General: the National Photography Prize

The History of the National Photography Prize

The Murray Art Museum Albury (MAMA) has established itself as a centre for excellence and

innovation in photography. The first National Photography Purchase Award was held in 1983 and

Gael Newton and Helen Ennis jointly selected the work for purchase. Amongst the first works

purchased were prints by Max Dupain, Mark Strizic, Richard Woldendorp and Philip Quirk.

A biennial event since 1983, the National Photography Prize provides artists with an avenue to

exhibit their work and the opportunity to enter into an ever-growing collection of contemporary

Australian photography. In 1989 the Albury photographic firm Foto Supplies sponsored part of the

award and in 1991 AGFA Film came on board as a joint sponsor with Foto Supplies. AGFA continued

to support the Award until 1997 but changes in the company’s corporate structure has meant the

withdrawal of their sponsorship. Since 1999 the MAMA Art Foundation (Albury Wodonga Regional

Art Foundation) has sponsored the Award, recognising the value of the collection and the enhanced

reputation of the Art Museum and its standing as a leading supporter of photographic practice in

Australia.

Historically for each award a prominent figure in the photographic world has been asked to chair a

jury which selects the works for exhibition and for purchase. Each year the range of imagery and

media has expanded and each exhibition has brought forth different approaches to the medium from

both established and newly emerging practitioners.

To celebrate the growing interest in photography and MAMA’s opening, the gallery now offers a new

major acquisitive cash prize of $50,000. Within this prize pool is the $3,000 John & Margaret Baker

Memorial Fellowship for an emerging artist. With funds of $47,000 being available for acquisitions for

the MAMA collection from the selected finalists exhibition.

2007 - 2008 Prize’s saw the introduction of a focus theme for the exhibition. Constructed Realms:

photography as theatre. The theme sought to highlight work that explored photography as construct

and the creation of fictitious images to tell a story or express an idea, as opposed to objective

reportage, documentary or freeze-framed ‘real’ images or the candid moment.


The John and Margaret Baker Memorial Fellowship

Through the initiative of the Baker Family, AlburyCity and the MAMA Art Foundation (Albury Wodonga Regional Art Foundation), a memorial to the late John and Margaret Baker has been put in place. John and Margaret Baker and four friends were tragically killed in an aeroplane accident in 1998. Margaret Baker assisted by her husband John was an expert and imaginative photographer and with the assistance of business colleagues of Baker Motors, the John and Margaret Baker Memorial Fellowship is awarded in conjunction with each National Photography Prize. This Fellowship provides encouragement and financial assistance to an emerging photographer chosen from the National Photography Prize exhibition. Previous winners include Glenn Sloggett, Maylei Hunt, Melissa McVeigh and Emily Portman. The MAMA Art Foundation manages this Fellowship and MAMA looks forward to hosting this tribute for many years to come.

MAMA Art Foundation

MAMA Art Foundation (formerly Albury Regional Art Foundation) is a not-for-profit organisation established in 1989 to support MAMA in the acquisition of art and maintenance of the collection. MAMA Art Foundation's objective is to enhance the ownership of the art and photographic collections and to participate in the education and understanding of the arts in the region. Income from the Foundation's capital fund goes towards acquisitions and the conservation of major works of art, major exhibitions, publications and research projects and equipment for MAMA. A significant portion of the MAMA collection has been funded or attracted by the MAMA Art Foundation, with full or partial acquisition of over 150 works.


A chronology of events

1983 start of National Photographic Prize acquisition of Still Life, Kate BREAKEY acquisition of Magnolia, Max DUPAIN acquisition of Outcrop with Sheep, Aerial, Richard WOLDENDORP

1985 acquisition of The Three Gums and Down on his Luck, Anne ZAHALKA acquisition of Blinman 1983, Michael, KLUVANEK acquisition of Sweet Talking Party Men, Bill MCCANN

1987 acquisition of Untitled Image #4, Film Noir, Rose FARRELL and George PARKIN acquisition of After Image with History, Jim MARWOOD acquisition of Linesman on the Volga, Rose FARRELL and George PARKIN acquisition of Kate, Karen DONNELLY acquisition of Letters to Alfred, Denise FERRIS acquisition of Marne River Series, Kate BREAKEY acquisition of Bride, Jennifer HYATT

1989 acquisition of Elsa “Phar Lap” Davis, Luzio GROSSI acquisition of Relics IV, Ingo KLEINERT acquisition of Untitled, George SCHWARZ acquisition of Foreign People, Kim MARWOOD

1991 acquisition of Anton & Louise, Nanet PAGSANJAN acquisition of Untitled, Janina GREEN acquisition of Druidic Ascension, John GRECH acquisition of Metro Cite, Allan CHAWNER acquisition of Two Black Birds, Charles RADNAY

1994 acquisition of Hand of Fate – 3, Juliana SWATKO acquisition of Judy, Tjanara and Jody, Brenda CROFT acquisition of Untitled, (Paul and Anita Keating), John VOSS

1997 acquisition of Massy and The Cross Lanarre, Victoria FERNANDEZ acquisition of Grandmother’s Shoes, Deborah PAAUWE acquisition of Lesley, Carolyn LEWENS acquisition of Two Forms of Love, Marcus BUNYAN

1999 Foundation commenced sponsoring the National Photographic Prize acquisition of Brownwork #9, Rosemary LAING acquisition of Untitled (from the Room series), Catherine LAUDENBACH acquisition of Wreath and Cloud, Susan PURDY

2003 acquisition of Snow drops, Deborah PAAUWE acquisition of Shugaku-in Imperial Villa Kyoto 2003, Christopher KOLLER

acquisition of Mary, Cherine FAHD 2005 acquisition of Oh Captain, My Captain (Dead Albatross), Todd MCMILLAN acquisition of 7am 1st May 2002, Janina GREEN 2007 introduction of a theme to the National Photographic Prize

Anne ZAHALKA winner National Photographic Prize, Dead Whale, Grove Creek acquisition of The Landowners, Jacqui STOCKDALE

2010 Prize theme of Modern Narratives- Photography as a storyteller Cherine FAHD winner National Photographic Prize, series Hiding acquisition of Untitled (Synthetics 4), Sam SHMITH acquisition of This is Everything, Todd ANDERSON-KUNERT


Syllabus connections: the National Photography Prize

Conceptual framework Years 7 – 12

The conceptual framework provides a model for understanding the complex and intentional functional

relationships that exist between the agencies in the artworld. The four agencies in the conceptual

framework exist in the artworld as a network of relationships between the artist, the artwork, the world

and the audience.

Image: Bill MCCANN (b.1952), Sweet Talking Party Men, 1983. c-type photograph. Purchased from the National

Photographic Exhibition 1985. Image courtesy of the MAMA Collection

Rather than take a photograph, an artist may sometimes choose to build an image. This process might involve constructing a set or hiring actors, or it may involve the use of collage or Photoshop. Using the conceptual framework, study Bill McCann’s photograph. Using these key words answer the following question. Politics, National Press Club, Freedom of speech, Power of voice. Give an account of how the artist has responded to the world in the artwork Sweet Talking Party Man.


Framing the National Photography Prize Years 7 – 12

The frames (structural, subjective, cultural, postmodern) provide an interpretive tool or lens for

understanding the layering of meaning, significance, value and belief in and about the visual arts.

Image: Jacqui STOCKDALE (B.1968), The Landowners, 2006. pigment print on paper. Purchased from the National

Photographic Exhibition 2007. Image courtesy of the MAMA Collection.

The narrative photograph is one that has a past and a future. We ask ourselves, ‘What has

happened?’ and ‘What will happen?’ there is a story behind the work, and the viewer is asked to

make sense of the image based on the signs and symbols it contains. The artist plants clues for us to

follow. Sometimes we may require knowledge of literature, pop culture or religion; other times the

story may be a more universal one of love, loss or betrayal.


Using the cultural frame analyse The Landowners. Does Jacqui Stockdale attempt to reflect the attitudes of a time and place? How is this done?

Beliefs about race, gender and social class can shape a society. These elements can be distilled in

an artwork, giving insight into the cultural values of the artist’s world. How are these conveyed in the

artwork?


Photography: general strategies Years K-6

Image: Rosemary LAING (B.1959), Brownwork #9, 1997. c-type photograph. Purchased from the National Photographic

Exhibition 1999. Image courtesy of the MAMA Collection.

Rosemary Laing is a photomedia-based artist. She is an adventurous photographer and likes to work

in the same way that movie directors do to create a story within her photographs. Brownwork #9

comes from the Brownwork series which were shot at an airport and explore our relationship with

machines.

Imagine you are the person in this image. Where are you? What are you doing? Write a short story

about your adventure.

national photography prize mama education resource

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