A Brief History of The Australian Women's Weekly Art Prize, 1955-1959

Abstract

On 6 April 1955 The Australian Women’s Weekly announced that it was establishing ‘the richest art prize in the Commonwealth and one of the biggest portrait prizes in the world’. Less than four years later though, the magazine unexpectedly discontinued its lucrative venture. This brief history means that The Weekly’s art prize has largely disappeared from Australian art historical accounts, however it was an early example of providing female-focused opportunities for the participation and representation of women artists, at a time when such opportunities were limited. This article presents a history of the magazine’s prize as an endeavour that self-consciously differentiated itself from similar art prizes of the time, in order to position The Weekly as an active supporter of contemporary artists. By analysing the context around the prize’s establishment, its structure, breakdown of participating artists, and the circumstances surrounding its cancellation, The Weekly’s prize is revealed as a fascinating historical precursor to contemporary gendered relations between women artists and cultural institutions. Its untimely demise can be seen as a lost opportunity, and it offers lessons about ongoing strategic support for women artists in institutional contexts, as well as the complex relations between state institutions and private patrons.