The prize winners were announced digitally on 24 November 2020.
This year’s competition was judged by
Dr Nicholas Cullinan, Chair (Director, National Portrait Gallery, London)
Congratulations to the prize-winning artists and all those selected for exhibition. Each year the Taylor Wessing Photographic Portrait Prize displays the very best in contemporary portrait photography and despite the unprecedented circumstances, this year is no exception. Once again, this year’s entries demonstrate an extraordinary range of themes and styles in what has been a challenging year for portrait photography. I hope that many more visitors from across the world will have the opportunity to enjoy the exhibition online.
Edward Enninful (Editor-in-chief of British Vogue)
I am delighted to have joined this year’s judging panel for the Taylor Wessing Photographic Portrait Prize 2020. It is a great opportunity to support new and emerging photographic talent and to engage with such a diverse range of imagery and sitters, reflecting the world and times that we live in.’
Magda Keaney (Senior Curator, Photographs, National Portrait Gallery)
The Taylor Wessing Photographic Portrait Prize is always a much anticipated event for us who work at the Gallery and despite circumstances this year, indeed because of the situation 2020 has presented, it has been an invigorating and uplifting experience. For the first time ever judges did not meet physically and the prize was selected from screen based images rather than prints. These challenges did nothing to diminish a deep engagement with each new entry as it was considered, particularly as the long list got shorter and we moved toward the final exhibition. Though not in the same room there was much consensus as well as a great deal of debate - a sure sign that this is another stellar year for the prize.
Penny Martin (Editor-in-chief, The Gentlewoman)
The experience of selecting portraiture with absolutely no idea of who it was by – the Taylor Wessing prize is judged anonymously – was enormously freeing for me. Working as a magazine editor, I usually have to consider all sorts of personal and corporate politics surrounding the creation of imagery; to be able to think solely about the quality of the pictures and what they say about this bizarre moment we are experiencing was a dream.
Mark Neville (Photographer)
I was most interested by a breadth of submissions which were not reliant on news or current world events for their impact, but which nevertheless embraced those themes tangentially.