2021 Olive Cotton Award for photographic portraiture

The Olive Cotton Award is generously funded by the family of Olive Cotton, one of Australia’s leading 20th Century photographers, showing new portraits by professional and emerging artists.

© D-Mo. Vice Versa, 2021. Digital print on Hahnemuhle photo rag. Acquired as the Winner of the Olive Cotton Award, 2021.
© D-Mo. Vice Versa, 2021. Digital print on Hahnemuhle photo rag.
Acquired as the Winner of the Olive Cotton Award, 2021.

The Olive Cotton Award, recognising excellence in photographic portraiture, is held biennially, with a major prize of $20,000. The 2021 Award will be the twelfth Award since the prize's inception in 2005.

The Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc. sponsor Director’s Choice awards to the value of $4,000. All awards are acquisitive, making the Olive Cotton Award an important collecting stream for the Tweed Regional Gallery’s collection of Australian portraits.

© Gerwyn Davies. Float, 2021. Archival inkjet print. Acquired as the Director’s Choice of the Olive Cotton Award, 2021.
© Gerwyn Davies. Float, 2021. Archival inkjet print.
Acquired as the Director’s Choice of the Olive Cotton Award, 2021.

The 2021 Award judge was artist Michael Cook. Cook is one of Australia’s most significant photomedia artists. A Brisbane-based artist of Bidjara heritage, Cook has worked in photography for over 30 years.

A $250 People’s Choice Award will run throughout the exhibition allowing the public to vote for their favourite image. Voting closes Sunday 19 September 5 pm.

© Shea Kirk. Hairstory, 2020, pigment print. Highly Commended Olive Cotton Award, 2021.
© Shea Kirk. Hairstory, 2020, pigment print. Highly Commended Olive Cotton Award, 2021.

About the award

The Olive Cotton Award was launched in 2005, and is funded by Olive Cotton’s family and dedicated to her memory as one of Australia’s leading twentieth century photographers. The Award has grown and gained national recognition attracting entries from well-known and emerging photographers across Australia. The award boasts a major acquisitive biennial prize of $20,000, selected by the Award judge.

© Craig Tuffin. THE SUPERS #2, 2020, archival pigment print. Highly Commended Olive Cotton Award, 2021.
© Craig Tuffin. THE SUPERS #2, 2020, archival pigment print. Highly Commended Olive Cotton Award, 2021.
© Rusty Crawshaw. The Dengs, 2021, pigment print. Highly Commended Olive Cotton Award, 2021.
© Rusty Crawshaw. The Dengs, 2021, pigment print. Highly Commended Olive Cotton Award, 2021.

About Olive Cotton

Olive Cotton (1911-2003) discovered the art of photography in childhood and stayed committed to it all her life. Her mother was a talented painter who died young; her father, a geologist, had learnt the elements of photography for his journey to the Antarctic in 1907 and later taught it to his children.

Having graduated with an Arts degree, Olive Cotton worked successfully as a photographer at the Dupain studios in Sydney until the end of World War II, then moved with her new husband Ross McInerney, to the bush near Koorawatha, NSW. For 20 years she had no access to darkroom facilities, but kept taking photographs.

© Gerrit Fokkema. Merv In The Long Grass, Dubbo, 2020, archival inkjet print. Highly Commended Olive Cotton Award, 2021.
© Gerrit Fokkema. Merv In The Long Grass, Dubbo, 2020, archival inkjet print.
Highly Commended Olive Cotton Award, 2021.

In 1964 Cotton opened a small studio in Cowra and took local portraits, weddings and commissions. After a 40 year absence from the city art scene she re-emerged in 1985 with her first solo show at the Australian Centre for Photography in Sydney, she then concentrated on rediscovering and printing her life's work. A major exhibition of Cotton's works was shown at the Art Gallery of NSW in 2000.

© Judith Martinez Estrada. Absent/Present, 2020, archival pigment ink on Hahnemühle photo rag. Highly Commended Olive Cotton Award, 2021.
© Judith Martinez Estrada. Absent/Present, 2020, archival pigment ink on Hahnemühle photo rag. Highly Commended Olive Cotton Award, 2021.

Upcoming Events Submit an Event

February

Brisbane: Until 13 July 2025. Amateur Brisbane photographer Alfred Henrie Elliott (1870-1954) extraordinary images lay dormant for decades until they were discovered only recently. This exhibition is curated by seven Brisbane photographers.

Perth: Until 18 May 2025. Henry Roy – Impossible Island draws on 40-years of recollections and observations as it brings together 113 photos taken from 1983 to 2023.

Sydney: Until 31 Dec 2025. PIX, Australia’s first pictorial news weekly, is brought to life in this exhibition, showcasing its archived images and stories for the very first time.

Sydney: Until 30 June. The photographs in Max Dupain: Student Life were taken at the University of Sydney in the early 1950s, a period of rapid change marked by the politics of the Cold War.

Melbourne: Until 26 April 2025. The exhibition features 52 works from the National Portrait Gallery’s collection of dance legends and reflects the freedom and joy of dance and its power to connect.

Sydney: Until 27 April 2025. Ocean Photographer of the Year exhibition. Featuring 118 extraordinary images, this exhibition explores the awe-inspiring beauty and fragility of our oceans.

Melbourne: Until 15 March. In ‘Inside/Outside (U.S.A)’ James Bryans (re)captures iconic American landmarks frequently depicted in film and television, revealing the strangeness, unfamiliarity and complexity of familiar land.

Canberra: 27 Feb until 20 July 2025. The National Library has invited renowned Australian photojournalist Mike Bowers to select some of his favourite images from the Fairfax Photo Archive.

March

Melbourne: 1 March – 25 May 2025. Featuring the work of approximately 60 artists, The Basement brings to light rare vintage prints from the 1960s – 1980s, from students and teachers of the College’s Diploma of Art & Design (Photography).

Canberra: 6 March – 5 April 2025. Counter-sites is an exhibition program bringing together the work of seven artists whose lens-based practices dismantle, dissect and destabilise the complex relationship between photography and place.