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'This essay explores the changing face of the Archibald Prize. Looking back over winning entries for the Archibald Prize since its inception in 1921, it is clear that for decades white Australian men of privilege were the main focus of attention. While depictions of women were relatively unusual, it is clear that successful white men in societal positions of power and authority were expected sitters. Except for William Dargie’s 1956 portrait of the Arrernte artist Albert Namatjira, winning portraits of Aboriginal sitters were absent during the twentieth century. Nevertheless, portraits of Aboriginal people by Aboriginal and non-Aboriginal artists have increased in number and the stylistic approach taken by the artist, regardless of their cultural background. This essay is written from the perspective of an Indigenous Australian. In the art historical tradition, it privileges the works of art as primary sources.' (Publication abstract)
