Flemington’s links to the Archibald Prize

Just as the Melbourne Cup captures the nation’s imagination each November, the Archibald Prize sparks conversation, admiration – and often, lively debate – each winter. Both are enduring parts of Australian culture: annual traditions that reflect Australia’s evolving identity. At first glance, horse racing and portraiture may seem worlds apart, but both celebrate character, legacy, and the stories behind the people who shape them.

Flemington’s connection to the Archibald Prize stretches back decades. The racecourse is home to one of Australia’s most significant public artworks – The History of Racing, a seven-panel mural by renowned artist Harold Freedman OAM. Victoria’s official State Artist from 1972 to 1983, Freedman was best known for his large-scale depictions of Victorian history. A 1947 Archibald finalist with both a self-portrait and a portrait of Frank Ellis, which is now held in the State Library Victoria collection, Freedman’s work at Flemington is a reminder that the racecourse is not just a sporting venue, but a place of cultural storytelling.

A second link to the Archibald can be found in the Chairman’s Club, where Riders’ Enclosure (1989) by Garry Shead is currently on display. Shead, who won the Archibald in 1993 with his portrait of Tom Thompson, is celebrated for his interpretations of the Australian landscape. With Riders’ Enclosure, he captures the ceremony of racing. His work is represented in the National Gallery of Australia, all state galleries, many regional galleries and numerous private and corporate collections, both nationally and internationally.

This year, a new piece with links to racing joins the conversation. Artist Johnny Hillier submitted a portrait for the 2025 edition of the competition of his long-time friend, champion jockey Damien Oliver. Titled He Ain’t Heavy, He’s My Brother, the striking piece depicts Oliver in the familiar yellow and blue silks that he wore in 2002 when he rode Media Puzzle to an emotional Melbourne Cup victory, just days after the death of his brother Jason. The powerful portrait is more than just a strong artwork – it’s a tribute to resilience, loss, and a 30-year friendship between the artist and his muse.

As the Archibald Prize continues to evolve – this year marking a historic shift with more works by women than men across all categories – it remains a reflection of contemporary Australia. The Melbourne Cup, too, continues to grow in meaning, embracing stories of people, history and culture. Just as the Archibald tells the story of Australia through faces, so too does racing though the people and horses who help shape it.

Both, in their own way, stop a nation.