Essay PrizesThe postgraduate programs in Art History and Curatorial and Museum Studies host a range of prizes that reward outstanding work by our students. We would like to sincerely thank the generous sponsors of these prizes. The winners of these prizes are listed below:
Museums Australia (SA) for the most outstanding Curatorial and Museum Studies student. The prize is a one year Membership of Museums Australia and a $50 voucher for books from the Art Gallery bookshop.
2011: Clare Gilham
2010:Tai Spruyt
Thames and Hudson essay prize for the best essay in European art:
The prize is Thames and Hudson Art History books to the value of $400
2011 Caitlin Eyre: ‘Analyse 4-6 modern paintings in terms of the artists’ representation of the new spaces of the metropolis’.
2010: Margot Osborne, ‘Analyse 4-6 nineteenth century paintings in terms of the artist’s representation of the new space of the metropolis with reference to the depiction of relevant social, gender, political and economic dimensions’.
2009: Eleanor Scicchitano, 'In seventeenth-century Dutch painting contemporary society was being painted as it existed without alterations or biases. To what extent do you agree with this statement in regards to the work of the Delft painter Johannes Vermeer'
2008: David Turner, ‘Compare and contrast Rubens’ Sampson and Delilah with Rembrandt’s painting of the same subject in terms of style and iconography. How do these paintings differ from the biblical text upon which they are based?’
2007: Kendra Backstrom, ‘Compare and contrast Rubens’ Sampson and Delilah with Rembrandt’s painting of the same subject in terms of style and iconography. How do these paintings differ from the biblical text upon which they are based?’
2006: Susie Fogarty, ‘How does Rubens Garden of Love and Fragonard’ s The swing differ in style and iconography?’
2005: Anne Hawkins, ‘Compare and contrast Rubens’ Sampson and Delilah with Rembrandt’s painting of the same subject in terms of style and iconography. How do these paintings differ from the biblical text upon which they are based?’
2004: Denise Driver, ‘In European art the image of the ship at sea has served as a metaphor for many things: however in the late eighteenth century the image of the shipwreck (and the corollary of the castaway individual) became pertinent as a motif of crisis. What historical, political and sociological determinants made this motif relevant in both England and France from the late eighteenth century?’
Ashgate - Lund Humphries essay prize in Modern /Contemporary Art
The prize is for Ashgate - Lund Humphries Art books to the value of $400
2011: Andrea Taylor, ‘Critically analyse three modern female photographers who explore the representation of modern women through self-portraiture’.
2010: Maddison Barford, ‘Critically analyse the work of Louise Bourgeois’.
2009: Maggie Watson, ‘Critically analyse the work of Vanessa Bell’.
Trish & Richard Ryan Modern Art Essay Prize
The prize is a book voucher for $150 at the Art Gallery’s bookshop
2005: David Black, ‘Critically analyse the art of Jackson Pollock’.
Peribo Prize in Japanese art
The prize of Peribo books to the value of $200
2011: Jeanette Wallace, ‘Discuss the importance of Japanese literary heritage such as The Tale of Genji or the Tales of Heike in reading Japanese art with particular reference to Japanese screens or woodblock prints’.
Peribo Prize in Indian art
The prize of Peribo books to the value of $200
2011: Lalith Pieris, ‘A sandstone carving of a meditating Buddha is not primarily a work of art; neither is a bronze image of the Hindu god Shiva pacing out the stages of creation to destruction. Seen in an exhibition, Indian sculpture is inevitably isolated from its original context-the sacred shrines and temples where men can communicate with the divine’.
If in India the beauty of images is not intended for the aesthetic enjoyment of the secular beholder; it is their contribution to their magical force as ‘instruments’ or ‘tools’ (yantra). What implications does this have for the exhibiting and viewing of works of ‘art’ in the Indian context in the Art Gallery of South Australia?
Peribo Asian Art Essay Prize
The prize is Peribo art books to the value of $400
2010: Elana Freak, ‘Sacred Objects: changing contexts, the negotiation of pusaka from colonial to post-colonial institutional display: a case study of the Indonesian National Museum’ (Southeast Asian Art).
2009: Russell Kelty, ‘The Kasuga Shrine Mandala: Scared Geography’ (Japanese Art)
Bookwise Asian Art Essay Prize
The prize is Bookwise art books to the value of $300
2008: Syke Bennett
Michael Abbott essay prize in Southeast Asian art
The prize is a book voucher for $150 at the Art Gallery’s bookshop
2005: Tessa Qureshi, ‘Discuss critically a contemporary artist [Kate Beynon] whose work explores cross cultural issues’.
2004: Alison Fowler, ‘Analyse the significance of the textile trade in the history of Southeast Asian art with reference to Indonesia’
AJA Roy Terril essay prize in Japanese art
The prize is $100 voucher for Japanese art books
2004: Sera Waters, ‘Do you agree with Kishida Ryusei that modernity and Japanese art were opposed to the Japanese aesthetic because ‘modern beauty is a busy beauty, a beauty for a quick glance. It is a beauty which strikes the eye and is not one for aesthetic observation’.
2003: Tony Gibb, ‘Aspects and uses of humour in Japanese art’.
Macmillan Australian Art and Colonial Australian Art Essay Prize
The prize is Macmillan Art books to the value of $500
2011: Skye Bennett, ‘Margaret Preston, with much foresight boldly asserted the necessity of a new Australian-Asian art’. Discuss the notion of an Australian-Asian art nexus with reference to key Australian artists.
2010: Russell Kelty, ‘Critically analyse nineteenth century images of the corroboree’.
2009: Susan Woodburn, ‘ Comment on Nicholas Thomas’s claim that ‘while some artists have engaged with the settler Indigenous relations in all its problematic complexity, the images that have been most celebrated either relegate Indigenous people to a picturesque folkloric status, or more commonly fail to represent them at all’.
2008: Carol Gilchrist, ‘ Comment on Nicholas Thomas’s claim that ‘while some artists have engaged with the settler Indigenous relations in all its problematic complexity, the images that have been most celebrated either relegate Indigenous people to a picturesque folkloric status, or more commonly fail to represent them at all’.
Diana Ramsay AO Australian Art Essay Prize
The prize is a book voucher for $150 at the Art Gallery’s bookshop
2007: Caitlin Sinclair, ‘How does Australian artist John Wolseley break down the conceptual and physical barrier between the artist and his subject and the artist and nature?’
JB Books Essay Prize for Indigenous Art
The prize is for Art books to the value of $300
2011: Pam Strain, ‘What is Eric Michaels major contention in ‘Bad Aboriginal Art?’ Discuss with close reference to six Indigenous artworks’.
2010: Debra Hassen, ‘The landscapes of Albert Namatjira’.
Marshall Arts Essay Prize in Australian Art / Australian Indigenous Art
The prize is a book voucher for $150 at the Art Gallery’s bookshop
2007: Roger Bannister, ‘Discuss the aesthetics of Aboriginal rock art in relation to the Yam figure style of the Arnheim Land Plateau’.
2006: Charlotte Smith, ‘Analyse the influence of the Ballet Russes’s visits to Adelaide on South Australian art’.
Catherine Downey-Armstrong & Tom Spender Indigenous Art Essay Prize
The prize is a $150 book voucher for the Art Gallery’s bookshop
2005: Warren Veljanovski, ‘What is Eric Michaels’ major contention in his essay “ Bad Aboriginal art?”. Discuss with close reference to at least six Indigenous artworks’.
Christopher Menz Essay prize in Decorative Arts and Design
The prize is a book voucher for $150 at the Art Gallery’s bookshop
2006: James Cooper, ‘ Do you agree that Christopher Dresser was one of the most exceptional designers of his time?’
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