Chartwell Trust Art Writing Prize
The Chartwell Trust Student Art Writing Prize gives students the opportunity to engage with an exhibition at the Adam Art Gallery (past or present) or a work from the Victoria University of Wellington Art Collection. Entry must take the form of a review or an essay, of no more than 1500 words.
Carrying a value of $500, the Student Art Writing Prize is sponsored by The Chartwell Trust, a collection of contemporary art from New Zealand and Australia that has been held on long term loan at the Auckland Art Gallery, Toi o Tamaki, Auckland, New Zealand, since 1997.
The Adam Art Gallery is delighted to announce Nalin Samountry and Hadleigh Tiddy as joint winners of the Chartwell Trust Student Art Writing Prize 2013.
The judges – poet and PhD candidate Therese Lloyd and Senior Lecturer in Art History Peter Brunt – could not decide between these entries. Both, they believed, brilliantly met the challenge of the competition’s brief.
The award was presented at an opening at Adam Art Gallery on October 11, where Therese Lloyd commented on behalf of the judges:
Nalin’s review is incredibly confident and presents a fascinating reading of the Alÿs film. We were really impressed by the insightfulness and sophistication of her ideas and her condensed and powerful writing style. We were also really impressed with the level of detail she goes into demonstrating that she’d spent quite a bit of time engaging with the work. She doesn’t shy away from the complex political nature of the work, or the politics of representation at play in the film, or the viewer’s position watching it. She manages to present a review that had both Peter and myself revisiting our own thoughts and responses to the film, which is exactly what a good review should do.
Hadleigh’s essay seamlessly interweaves his own story as a student at Vic forced to endure the massive upheaval of the rebuild of the quad into what is now the Hub, with the University’s recent acquisition of three photographic works by Jae Hoon Lee.His discussion is a brave exploration about what the works mean to him personally, but also what these works might mean in the context of the Hub where they are now displayed. We were really impressed by how in only 1500 words Hadleigh was able to use these three works to project outwards in a sociological and philosophical discussion about the meaning of education and art now, while still keeping its central focus.