First Nations Artists from across Australia

$15,000 Acquisitional Prize

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EXHIBITION DATES:

KALGOORLIE: GOLDFIELDS ART CENTRE
29 JUNE - 2 AUGUST 2024

ESPERANCE: THE CANNERY ARTS CENTRE
17 JULY - 1 AUGUST 2024

*** ENTRY DEADLINE EXTENDED TO MIDNIGHT WEDNESDAY 29 MAY 2024 ***

ABOUT WALKANU

Walkanu is a Tjupan word meaning ‘to mark’ or ‘to paint’. This language with roots in the Northwest Goldfields, from Barwidgee Station to Leinster and beyond, has only six fluent speakers left. Our prize echoes the enduring strokes of a culture rich in history and artistry.

The Walkanu Arts Prize was proudly created to celebrate NAIDOC Week, honouring the rich history, culture, and achievements of Aboriginal and Torres Strait Islander peoples.

At the heart of Walkanu is our commitment to showcase the incredible talent and artistic diversity within First Nations communities across Australia. This year’s theme is: Keeping the Fire burning! Blak, loud and proud.

VISION

The Walkanu Art Prize will support a thriving First Nations art scene in Australia, where artists are recognised, and their cultural heritage is celebrated. The event will empower Aboriginal and Torres Strait Islander artists, promote cultural understanding, and contribute to the economic development of the First Nations communities.

Mission

Celebrating NAIDOC Week

Exhibiting the Walkanu Art Prize during NAIDOC Week 2024, provides added significance in the wake of the 2023 referendum outcome.

This alignment creates a powerful platform for First Nation artists to express resilience, identity, and cultural richness, resonating strongly with both the NAIDOC theme and the broader aspirations of Indigenous communities in Western Australia.

Mission

Promotion of Indigenous Art

The Walkanu Art Prize’s focus on promoting First Nations art across four categories not only showcases diverse artistic talents but also serves as a vehicle for cultural preservation and transmission.

Mission

Economic Development

The Walkanu Prize is a critical initiative for Aboriginal and Torres Strait Islander economic development. By facilitating artwork sales and alleviating financial barriers such as shipping costs, the prize will directly contribute to empowering First Nations artists.

This support is crucial for amplifying their presence in the visual arts industry and enhancing their economic opportunities.

Mission

Access to New Markets

The Walkanu Prize’s timing and location — during NAIDOC and school holidays, in Kalgoorlie and Esperance — maximizes audience reach, especially with international and interstate tourists, thereby expanding the market for First Nations art.

This strategic alignment helps to broaden the impact of this art beyond local communities, aligning with other objectives of economic development and cultural promotion.

CATEGORIES

Two-Dimensional Art

$5,000
Image

Sculptural (3D) Art

$5,000
Image

Photography

$2,500
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Digital Art

$2,500
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CATEGORIES & JUDGING

Prize Categories

DEFINITION

Two-dimensional art, including drawings, sketches, and paintings; all mediums accepted.

MAXIMUM SIZE

10cm deep x 50cm wide x 50cm high (including any matting and framing)

WEIGHT LIMIT

Not exceeding 5kg

PRESENTATION

Must be ready to hang. Can be a single piece, diptych, or triptych; for multiple pieces, provide a hanging diagram and note that collectively your pieces must not exceed the maximum size.

Shortlisting

Maximum number of shortlisted items in this category is 75

PRIZE

This prize is acquisitional. Entries must be equal or lesser in value to $5,000 (the prize money).

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Photography in Non-Photographic Categories

  • Photographs can be used only as part of a digital artwork (i.e. in a collage).
  • Montages of numerous photographic images that have been digitally altered and presents as a unique work rather than a single frame must be entered under the digital art category.
  • A piece of work that, in essence, is a single frame photograph (even if digitally enhanced or modified) must be entered under the photography category.

OUR JUDGES

Zali Morgan

Noongar artist and curator Zali Morgan from Boorloo, Perth, brings critical insight into colonial narratives through her work “Australia by the Book,” using steel plate etching and chin collé to…

Noongar artist and curator Zali Morgan from Boorloo, Perth, brings critical insight into colonial narratives through her work “Australia by the Book,” using steel plate etching and chin collé to cast light on the First Nations’ overshadowed histories. As a Guest Curator at John Curtin Gallery, she leads the “N’yet’tin-ngal Wagur – Yeye Wongie” exhibition, showcasing Noongar artists’ reactions to the Carrolup collection, while also contributing as Assistant Curator at AGWA and steering projects like 2023 NAIDOC’s “For Our Elders.” With a Bachelor of Creative Arts from Curtin University and a Certificate IV in Visual Art, alongside her experience at Wesfarmers Arts, Zali’s blend of artistic talent and curatorial acumen makes her a pivotal figure in championing a richer, more inclusive narrative of Australia’s heritage

Richard Read

Richard Read is Emeritus Professor and Senior Honorary Research Fellow at the University of Western Australia, Perth. He wrote the first book on the psychoanalytic art critic Adrian Stokes and…

Richard Read is Emeritus Professor and Senior Honorary Research Fellow at the University of Western Australia, Perth. He wrote the first book on the psychoanalytic art critic Adrian Stokes and published extensively on the relationship between literature and the visual arts, and complex images in global contexts. Recent books include Colonization, Wilderness and Other Spaces co-edited with Kenneth Haltman (Terra Foundation for American Art, 2020; Yale E-Portal 2022) and Sensory Perception, History and Geology: the Afterlife of Molyneux’s Question in Nineteenth-century Landscape Painting and Cultural Thought (Cambridge University Press, 2023). He is currently working on a book concerning The Reversed Painting in Western Art and papers on ‘The Impact of Colonialism on Western Art-Craft Distinctions.’

Marcia Leonard

Marcia Leonard is a dedicated Artistic Program Manager with a rich background in art curation, art direction, and education. Holding a Bachelor of Visual Arts from the University of New…

Marcia Leonard is a dedicated Artistic Program Manager with a rich background in art curation, art direction, and education. Holding a Bachelor of Visual Arts from the University of New South Wales, a Graduate Diploma in Visual Arts from the Victorian College of the Arts, Melbourne University, and a Diploma of Education Art Specialist from Monash University, her academic achievements lay a solid foundation for her professional expertise. Marcia’s role at the Cannery Arts Centre sees her deeply involved in curating exhibitions, developing arts programming, and managing fundraising events, highlighting her commitment to fostering community engagement through diverse artistic expressions. She also serves as a regional curator mentor for the John Curtin Gallery Open Borders Regional Triennial, where she contributes to contemporary art discourse. Furthermore, Marcia has a notable history as a Visual Arts, Multimedia, and Design Teacher at Esperance Anglican Community School, demonstrating her ability to deliver curriculum-related activities across various art disciplines. Her involvement in the Artful Leadership for Community Building Program and her position on the GalleriesWest board underscore her dedication to advancing the art community. Fluent in English and Greek, Marcia’s global perspective enriches her professional and creative endeavors.

Brett Lewis

Brett Lewis, is a representative from the GABC Board. In addition to this role, Brett is the Chairperson of the Tjiwarl Aboriginal Corporation, Director at Bundarra Contracting and Director of…

Brett Lewis, is a representative from the GABC Board. In addition to this role, Brett is the Chairperson of the Tjiwarl Aboriginal Corporation, Director at Bundarra Contracting and Director of the Ngumbu Aboriginal Corporation. Brett is deeply invested in Aboriginal advocacy and economic development.

JUDGING PROCESS

Fairness, Transparency, and Diversity Statement

The Walkanu Arts Prize stands firmly on the principles of fairness, transparency, and respect. We recognize and celebrate the diversity of artistic expression that flows from the rich cultural tapestry of First Nations artists. Every piece submitted is assured equal consideration, and every artist’s voice is valued, providing a platform where the vibrancy and variety of Indigenous art can be showcased and appreciated in its truest forms.

Ethical Judging Process Statement

The integrity of the Walkanu Arts Prize is upheld through our stringent ethical judging process. Our conflict of interest policy ensures that judges with personal or professional connections to participants recuse themselves, guaranteeing an impartial evaluation. Rigorous measures, including blind reviews and a balanced panel, are in place to prevent bias, ensuring each artwork is assessed solely on its merit against the established criteria.

Judging Criteria

To ensure a fair and comprehensive evaluation of each artwork submitted for the Walkanu Arts Prize, the following criteria and weightings will be used by our panel of judges. Each artwork will be assessed on its merits across these dimensions:

INTERPRETATION OF THE THEME

10%
To ensure a fair and comprehensive evaluation of each artwork submitted for the Walkanu Arts Prize, the following criteria and weightings will be used by our panel of judges. Each artwork will be assessed on its merits across these dimensions:

ABILITY TO TELL A STORY

30%
This criterion assesses the artwork’s capacity to convey a narrative or message. Judges will consider the clarity, depth, and emotional impact of the story being told through the visual medium.

QUALITY OF COMPOSITION

20%
Judges will evaluate the arrangement of elements within the artwork, including its use of space, colour, and form. A strong composition demonstrates the artist’s ability to guide the viewer’s attention and harmonize aspects of the piece.

CREATIVITY AND ORIGINALITY

10%
Originality of concept and creativity in execution will be key considerations. This criterion rewards innovative approaches and the artist’s ability to present familiar subjects in unexpected ways.

TECHNICAL SKILL DEMONSTRATED

30%
The level of craftsmanship and mastery of artistic techniques will be evaluated. This includes the precision of lines, the application of mediums, and the overall execution quality, showcasing the artist’s proficiency.

ENTRY

Have I read the competition guidelines and does my artwork meet the requirements of entry?

KEY DATES:

Submissions close: 26 May 2024 29 May 2024
Shortlisted artists contacted: 03 June 2024
Kalgoorlie Exhibition: 29 June - 02 August 2024
Esperance Exhibition: 17 July - 01 August 2024

MEDIA & CONTACTS

Contact information for media enquiries

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Goldfields Aboriginal Business Chamber
Almetra Bethlehem
Email: gm@gab.org.au
Office: 08 9093 2214
Mobile: 0488 386 391
97 Hannan Street
Kalgoorlie, WA 6430

FAQs