Director's Statement

The National Sculpture Prize is the first prize to be awarded by the National Gallery of Australia. We considered this carefully before agreeing that it was important and timely to support sculpture in Australia and to draw the attention of a wider audience to this vital art form. The National Sculpture Prize and Exhibition is also an important part of the National Gallery's ongoing commitment to contemporary Australian art and artists.

Historically, sculpture in Australia has not received the recognition and support that it deserves. There are limited opportunities for sculptors to exhibit their works, and sculptors often incur considerable expense in the making and display of their works. Sculpture was chosen to be the focus for this prize in recognition of what is currently a particularly rich and stimulating field, and the exhibition of works by finalists is an exciting opportunity to view the diversity of sculptural practice in Australia today.

The National Sculpture Prize is awarded to the most outstanding work in the exhibition. We recognise all the artists who have entered for the Prize, those shortlisted, and particularly the winner. We are delighted that the finalists are artists of varying ages, are from all Australian states and territories and have to date received different levels of acclaim.

With such a diverse and extensive field of entries, the choices of the panel of judges will, we hope, lead to critique and a serious discussion of contemporary sculpture. This also fulfils an essential function of the event. We congratulate the artist whose work is chosen by the judges as the winner, and we commend all of the finalists for the exceptional quality of their works and their dedication to their art.

The National Sculpture Prize and Exhibition is an exemplary partnership between the National Gallery of Australia and Macquarie Bank. We are warmly appreciative of the Bank for its vision and generosity. This partnership is indicative of the new relationships that are being developed between business and the arts. We are pleased that the Gallery will continue its relationship with Macquarie Bank in the presentation of this Prize in future years.

I would also like to acknowledge International Art Services for their support of the National Sculpture Prize and Exhibition in 2001, for offering a generous discount to the exhibiting artists for the transportation of their works.

A great deal of the success of any prize is due to the tireless efforts of the judges and, on behalf of the National Gallery and Macquarie Bank, I would like to express my appreciation to my fellow judges for the expertise, enthusiasm and commitment which they have brought to their task.

We have a fabulous staff at the National Gallery of Australia. This Prize has drawn on the cooperation and expertise of staff across many departments of the Gallery and I thank all involved for their efforts in realising a project of this scale and complexity. I wish to especially thank Elena Taylor, assisted by Beatrice Gralton for their wonderful work in curating the exhibition. Kirtsy Morrison has excelled again with a terrific design for the catalogue.

Most importantly, it is the ongoing participation of artists from around Australia which will ensure the future of the National Sculpture Prize and Exhibition. We were overwhelmed and delighted by the number and the quality of entries received for the inaugural award. We would like to give special thanks to all of the artists who entered in 2001, and encourage them to participate in future Prizes.

Brian Kennedy

Director, National Gallery of Australia

click images to enlarge
Nautilus, BARTLETT, Geoffrey, 2001
'esque - thoughts brought forth by our fingers, BAWDEN, Lionel, 2000 - 2001
Wall unit (origin of the world), BURCHILL, Janet, McCAMLEY, Jennifer, 2001, Courtesy of Yuill/Crowley, Sydney
Natalie and Benjamin are playing cubby, BURFORD, Kristian, 2001
Face value, CALVERT, Matt, 2000, Courtesy of Diane Tanzer Gallery, Melbourne
The birdman - flight of fancy, COLE, Peter, 2001, Courtesy of Ray Hughes Gallery, Sydney
The man who drinks milk outside the Art Gallery, CONNOR, Kevin, 2000
Head VI, CONNOR, Kevin, 2000
Head IV, CONNOR, Kevin, 2000
Victoria Street woman, CONNOR, Kevin, 2000
Clip, DI MAURO, Sebastian, 2001
Tea party in the Mayoral garden, DOWNES, Ruth, 2000 - 2001
Twisted, FISHER, Fred, 2000
Triple twist, FISHER, Fred, 2001
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Prosthetic resort II, GOODWIN, Richard, 2001, Courtesy of Boutwell Draper Gallery, Sydney; Christine Abrahams Gallery, Melbourne
Glass slipper (Ugly Blister), HORN, Tim, 2001
Julietta, IVIMEY, Linde, 2000
Dysmas, IVIMEY, Linde, 2001
Climacus, IVIMEY, Linde, 2000
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Parallel horizons, JENSZ, David, 2001, Courtesy of Michael Carr Art Dealer, Sydney
Trace, OLIVER, Bronwyn, 2001, Courtesy of Christine Abrahams Gallery, Melbourne
Pillow, PIGGOTT, Rosslynd, 2000, Courtesy of Sutton Gallery, Melbourne
Spine (Column), PURHONEN, Ari, 2001
Ramp, ROBERTS, Neil, 2001, Courtesy of Helen Maxwell Gallery, Canberra
Vertical channel, ROBSON, Sarah, 2000, Courtesy of Gitte Weise Gallery, Sydney
Herd (All 16 hands), SWANN, Heather, 2001, Courtesy of Bett Gallery, Hobart
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My dogs, YARINKURA, Lena, 2001, Courtesy of Maningrida Arts & Culture, NT
Forbidden fruit, KOPIETZ, Gunther, 2000, Courtesy of BMG Art, Adelaide
Bedroom suite, KOPIETZ, Gunther, 2000, Courtesy of BMG Art, Adelaide
Love, KOUWENHOVEN, Pamela, 2000
The wash, KOUWENHOVEN, Pamela, 2000
Shrine to memory, KOUWENHOVEN, Pamela, 2000
The way we eat, LIU, Xiao Xian, 2001
Teamwork 2, MARCUS, Donna, 2001, Courtesy of Diane Tanzer Gallery, Melbourne
Games, LIU, Xiao Xian, 2000 - 2001
Human Human - Lotus Cloisonné Figure 1, AH XIAN, 2000 - 2001
Chromeskin, DRAKE-Brockman Geoffrey, KUHAUPT, Richie, 2001
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Human Human - Lotus Cloisonné Figure 1, AH XIAN, 2000 - 2001