Supreme Winner - Craigs Investment Partners Prize - $10,000
Runner-up - Craig Myles NZ Sotheby's Prize - $2,000
Best Landscape Artist - Peak Accomodation Prize - $2,000
Best Work Under $1,000 - $1,000
People's Choice Prize - Nanny Goat - $1,000
The Round Corner - Yeverly McCarthy Prize - $500
Professor Federico Freschi
BAFA (Wits), BA Hons (UCT), PhD (Wits)
Federico was appointed Professor and Head of College of the College of Art, Design & Architecture at the Otago Polytechnic in October 2019. Before that, he was the Executive Dean of the Faculty of Art, Design and Architecture at the University of Johannesburg, South Africa. He began his academic career as a lecturer in History of Art and Design at what was then the Cape Technikon (now the Cape Peninsula University of Technology). He taught subsequently at the Universities of Cape Town, Stellenbosch and the Witwatersrand. In his PhD thesis, Federico considered the political iconography of South African public buildings in the 1930s in relation to the political tensions between nationalism and imperialism at the time. As an ongoing research project, the scope of this work has subsequently expanded to encompass post-Second World War as well as post-apartheid public architecture and the extent to which the decorative programmes of public buildings are implicated in the construction of imaginaries of national belonging. A secondary line of research has been into the construction of the canon of modern South African art, and more recently, how the art market is implicated in this. He has published widely on these and other subjects and is frequently invited to speak in national and international forums. He holds a C1 rating from the South African National Research Foundation. He has taken occasional breaks from academia to work briefly as a researcher and consultant in human resources, and more recently as Executive Manager and Senior Curator of the Goodman Gallery, Cape Town. In 2016, Professor Freschi was the South African curator (with Patrice Deparpe of the Musée Matisse in Le Cateau-Cambrésis, France) of the exhibition ‘Henri Matisse: Rhythm and Meaning’, at the Standard Bank Gallery, Johannesburg. This was the first exhibition devoted to Matisse on the African continent. He has active relationships with several professional bodies and has served on various boards. Amongst others, he is a former Vice-President on the board of Comité International d’Histoire de l’Art (CIHA); formerly held the position of President of SAVAH (South African Visual Arts Historians; was a member of the editorial boards of De Arte (University of South Africa Press) and is on the advisory committee of Forum Kunst und Markt (Technische Universität Berlin), and a member of the Committee on Design of the College Art Association (CAA) in the United States. His most recent publication (with Brenda Schmahmann and Lize van Robbroeck) is the edited volume Troubling Images: Visual Culture & the Politics of Afrikaner Nationalism(Wits University Press, 2020).
Robyn Notman is the Head Curator of Pictures at the Hocken Collections, Uare Taoka o Hākena. Her recent curatorial projects include Colin McCahon:A Constant Flow of Light(15 August 2020- 6 March 2021), Imogen Taylor: Sapphic Fragments(1 February 2020- 13 June 2020) and A Garden of Earthly Delights (11 May- 11 August 2019), curated in conjunction with artist and former Frances Hodgkins Fellow Heather Straka. Prior to taking up her Hocken role, Robyn was the Public Programmes and Collection Manager at the Dunedin Public Art Gallery from 2006 until 2017. During that time she managed a busy and varied exhibition programme of in-house curated exhibitions, artists projects of new work and New Zealand and internationally touring exhibitions. She also curated exhibitions, notably (with curator Aaron Kreisler) Beloved: works from the Dunedin Public Art Gallery(12 December 2009- October 2011), presented to celebrate the Gallery’s 125th anniversary. She wrote the introductory essay and individual entries about artworks in the accompanying hardback, an award-winning publication designed by Karina McLeod. Robyn was also responsible for collection care and development and a favourite acquisition she is proud to have played a role in securing for the Dunedin Public Art Gallery’s collection is Frances Hodgkins The Farmers Daughter (Portrait of Annie Coggan), 1929-1930. At the Hocken, she is currently responsible for caring for over 18,000 historic, modern and contemporary artworks and she shares responsibility with the curator of photographs Anna Petersen, for the over 1 million photographs in the photography component of the Pictures collection. Robyn is a graduate of the University of Otago and Massey University. Her highest qualification is an MLitt (with distinction) awarded in 2000. For her thesis, she wrote a life of philanthropist and mountaineer Dora de Beer, who along with her sister Mary and brother Esmond, and their cousin Charles Brasch, are among the most generous and insightful benefactors to cultural institutions in Dunedin, including the Hocken Library, Dunedin Public Art Gallery, Otago Museum and the University of Otago.