A learning resource for teachers of primary and secondary Visual Arts.
Look through this year’s finalists:
Working in small groups, choose a winner – you need to all agree on the same one so get ready to justify your choice!
What was your judging criteria in choosing a winner?
Share your ideas with other groups.
We are always looking at photos of people. Photos describe the world to us. Photos invent idealised bodies. Photos reveal trauma, despair and horror. Photos mark achievements and milestones. Can we breach the surface? Can we really look at a person in a photograph and feel something almost authentic?
Dr Christopher Chapman (NPPP2018 judge), ‘Coming into being.’
Want to read more?
Find the essay here.
The composition of Stephanie Simcox’s portrait of Joey is reminiscent of this famous painting of 'Ophelia' by Sir John Everett Millais.
However, the mood and context of the two portraits is very different.
Compare and contrast these two portraits.
Look at the different layers and the elements that are in or out of focus.
David Rosetzky's artist statement:
This portrait of champion Australian ballroom dancer Lyu Masuda is from my ongoing series of analogue, black and white, double-exposure photographs taken with a 35mm film camera. Working with this technique enables me to combine one image with another in a way that I cannot completely anticipate. It is precisely the random nature of this process that holds particular interest for me – with its inherent misalignments and compositions created through chance. I have worked with portraiture for many years, and have recently made a number of photographs that incorporate images of flowers with individuals from the LGBTQI community.
Reflecting on this statement;
What does the photographer mean by the random nature of this process?
How would you approach making a double-exposed photograph?
This exhibit was written by Emily Casey, Program Coordinator at the National Portrait Gallery.
This exhibit was edited and produced by Alana Sivell, Digital Learning Coordinator at the National Portrait Gallery.
Thanks to the NPPP 2018 finalists for allowing us to include their works.