Jane Guthleben

Jane Guthelben was featured in the Sydney Morning Herald article 'How does it feel to be painted for the Archibald Prize? Terrifying' by Helen Pitt.

You can read the article here.

The alternative Archibald and Wynne Prize selection

5th June – 26 September 2021

The Salon des Refusés was initiated by the S.H. Ervin Gallery in 1992 in response to the large number of works entered into the Archibald Prize which were not selected for display in the official exhibition. The Archibald Prize is one of Australia’s most high profile and respected awards which attracts hundreds of entries each year and the S.H. Ervin Gallery’s ‘alternative’ selection has become a much anticipated feature of the Sydney scene.

Each year our panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales, to select an exhibition from the many hundreds of works entered in both prizes but not chosen for the official award exhibition.

The Salon des Refusés exhibition at the S.H. Ervin Gallery has established an excellent reputation that rivals the selections in the ‘official’ exhibition, with works selected for quality, diversity, humour and experimentation, and which examine contemporary art practices, different approaches to portraiture and responses to the landscape.

JANE GUTHLEBEN Greetings from Bibbenluke (Lucy Culliton, artist)

ART GALLERY OF NEW SOUTH WALES

Jane Guthleben’s subject is author and journalist Annabel Crabb, who is also known for her cookbooks and TV shows about cooking, Australian politics and history. The pair met some years ago when Annabel bought one of Guthleben’s paintings.

‘I admire Annabel because she energetically juggles full-time work and excellent cooking and has written about the pressures of modern domesticity in The wife drought,’ says Guthleben. ‘The painting aims to portray the public persona of Annabel as a baker, while celebrating the domesticity she writes and podcasts about.

‘I’ve painted her as an ornament on a small pedestal, wearing an apron and holding a wooden spoon – part of a series of ornament-portraits where the subject is transformed into a shelf ornament in a mundane pose. The work is deliberately small in scale to be the opposite of monumental, and pastel colours play upon the stereotype of woman as homemaker, which Annabel somehow manages to transcend.’

A former journalist herself, Guthleben was born in 1966 in Bairnsdale, Victoria. This is her first time in the Archibald Prize.

Jane Guthleben was the recipient of the international NG Art Creative Residency which is a two week placement at the 15th century Provincial homestead in Eygalières, Provence, Southern France in November 2019.

Directed and founded by Nicky Ginsberg, the NG Art Creative Residency is a prize that aims to provide creatives an opportunity to embark on imaginative endeavours and immerse themselves in an environment of reflection and creative freedom in the studio and en plein air.

Jane's new body of work from Eygalières will be exhibited in her upcoming show, Grandiflora at Edwina Corlette Gallery 17 March - 9 April 2020.

READ MORE HERE

As an acquisitive art award for painting, the winning artworks in the Mosman Art prize form a splendid collection of modern and contemporary Australian art, reflecting all the developments in Australian art practice since 1947. Artists who have won the Mosman Art Prize include Margaret Olley, Guy Warren, Grace Cossington Smith, Weaver Hawkins, Nancy Borlase, Lloyd Rees, Elisabeth Cummings, Adam Cullen, Michael Zavros and Natasha Walsh.

In 2019 Jane Guthleben is a finalist with her work 'North Shore arrangement with superb fruit doves'. She says of the painting:

This work is based on the 17 century Dutch still life floral works by Rachel Ruysch, which have inspired my large floral compositions. For this work I have researched indigenous flora and birds from the Mosman Municipal area that are under pressure from urban encroachment and weeds.

READ MORE HERE

Jane Guthleben is a finalist in 2019 with her work The scratching post (self, artist).

The Award was established by the will of the late Florence Kate Geach in memory of her sister, Portia Geach. The non-acquisitive prize is awarded by the Trustee for the entry which is of the highest artistic merit, ‘…for the best portrait painted from life of some man or woman distinguished in Art, Letters, or the Sciences by any female artist resident in Australia during the twelve months preceding the close date for entries.’

The 2019 exhibition will run from August 2 to September 15, 2019 at Sydney's S.H. Ervin Gallery.

READ MORE HERE

The alternative Archibald and Wynne Prize selection

11 May – 28 July 2019

The Salon des Refusés was initiated by the S.H. Ervin Gallery in 1992 in response to the large number of works entered into the Archibald Prize which were not selected for display in the official exhibition. The Archibald Prize is one of Australia’s most high profile and respected awards which attracts hundreds of entries each year and the S.H. Ervin Gallery’s ‘alternative’ selection has become a much anticipated feature of the Sydney scene.

Each year our panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales, to select an exhibition from the many hundreds of works entered in both prizes but not chosen for the official award exhibition. Of the 978 entries to the Archibald Prize the AGNSW Trustees selected 52 works, and from 734 entries to the Wynne Prize the Trustees selected 29 works.

From the remaining submission our selectors have chosen 30 works from the Archibald Prize entries and 23 works from the Wynne Prize entries for this alternative exhibition. The 2019 selectors were Brian Langer, director, Cowra Regional Art Gallery and Jane Watters, director, S.H. Ervin Gallery

The Salon des Refusés exhibition at the S.H. Ervin Gallery has established an excellent reputation that rivals the selections in the ‘official’ exhibition, with works selected for quality, diversity, humour and experimentation, and which examine contemporary art practices, different approaches to portraiture and responses to the landscape.