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A Week on the Cooks River

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A Week on the Cooks River A WEEK ON THE COOKS RIVER Clare Britton, MA Studio Arts Sydney College of the Arts, The University of Sydney A thesis submitted in partial fulfilment of requirements for the degree of DOCTOR OF PHILOSOPHY 29 February 2020 i This is to certify that to the best of my knowledge; the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Signature Name: Clare Britton i TABLE OF CONTENTS Acknowledgment of Country…………………………………………..…....Page iv Acknowledgments……………………………………………………..…....Page v List of Illustrations……………………………………………………….. ..Page vii Abstract………………………………………………………………….....Page xi Introduction: Yagoona………………………………………………..…….Page 3 The argument …………………………………………...…....Page 8 Approach to research ………………………………..……….Page 9 Content of the thesis …………………………………..…......Page 14 Structure of the thesis…………………………………...……Page 19 Chapter One……………………………………………………..…………Page 27 Situated research: walking, observations and conversation…....Page 29 Contemporary Performance………………………………….Page 42 Process……………………………………………………….Page 44 The studio space……………………………………………...Page 47 Group critique process ………………………………………Page 49 Watermill Residency………………………………………….Page 53 Chapter Two ………………………………………………………………Page 63 A week on the Cooks River Derive # 1………….….…….......Page 64 A week on the Cooks River drawing experiment Derive #2….Page 69 A River on the other side of the world Derive #3……………Page 72 River Dreams Derive #4..………………….………...……….Page 81 Two Rivers and a Well…………….………………………….Page 84 ii Chapter Three…………………………………………………………..…..Page 97 Early publications …………………………………...…..….Page 99 Contemporary publications ……………….…………...…...Page 107 Pemulwuy and rock art……………………………………..Page 119 Chapter Four…………………………………………………..……….…...Page 131 Sydney psychogeography……………………….……...……Page 134 Walking, conversation and deliberate attention…………..….Page 144 Revisiting A Week on the Concord and Merrimac Rivers....……...Page 155 Conclusions: Botany Bay………………………………………………........Page 159 Research experience: opportunities and challenges….....…....Page 160 How the research questions were addressed………………. Page 164 Key discoveries…………………………………….……….Page 165 Contribution of this thesis…………………………...……...Page 170 Looking ahead………………………………………..…….Page 171 Bibliography……………………………………………………………… .Page 173 Appendix…………………………………………………………………...Page 181 Catalogue of Work Presented for Examination……………………………..Page 186 iii ACKNOWLEDGEMENT OF COUNTRY This research is conducted on Gadigal land with respect. The Cooks River moves through the land of the Wangal, Cadigal and Gameygal people.1 This research acknowledges Traditional Owners and pays respect to Elders past, present and future. 1 Paul Irish, Aboriginal History Along the Cooks River (Sydney: Cooks River Alliance, 2017), 11. iv ACKNOWLEDGMENTS Thanks to my wonderful supervisors. Julie Rrap, for her life-affirming joy, wit, intelligence and experience. Ann Elias, for thoughtful guidance, mentorship and expertise and Mikala Dwyer whose generosity and ability to see the potential in this research, gave me the confidence to do it. I am grateful to Sydney College of the Arts (SCA) for accepting my proposal, granting me a scholarship, workshop and studio space. The Sidney Myer Foundation’s fellowship enabled this study and professional development. Many thanks to the foundation and to Robyn Backen, Mikala Dwyer and Lisa Havilah for supporting the fellowship application. The SCA Librarians, especially Celia Brown and Pru Sawyer, have assisted this research at every turn. Mikhaela Rodwell, Isobel Markus-Dunworth, Karin Findes, Michael Doolan, Canbora Bayraktar, Jarda Prochazka, Jonathon Blake, Jack McGrath, and Liam Garstang are all SCA staff members who have provided support for this project that I am grateful for. Ian Tyrell was generous with his time and expertise on the Cooks River. There are a lot of people who have supported me and this project over the last four years. Therese Keogh’s inspiring practice and our many swims, conversations and laughs have shaped this research, as has Kenzee Patterson’s integrity and humour. Alexandra Crosby, Aunty Rhonda Dixon-Grovenor, Jenn Hamilton, Biljana Novakovic, and Astrida Neimanis have walked, talked and rowed with me and I have benefited immensely from their knowledge, camaraderie and mentorship. Thanks also to Maggie Brink, Bryden Williams, Laura Grace, the Composting Feminisms reading group, Kim Williams, Lucas Ihlein, Brogan Bunt, Diego Bonetto, all at Frontyard Projects, Ella Cutler, the Rizzeria. Barbara Campbell, Audrey Newton, Jeffery and Relyta Neilson, Bianca Hester, Jade Markham, Hallie Shellam, Mirabelle Wouters, Carolyn Craig, Saskia Shut, Victoria Spence, Alex Davies, Denis Beaubois, Malcolm Whittaker, Laura Ceasar, Annemaree Dalziel, Djon Mundine, Daniele Hromek, Anna Tregloan, Erin Milne, Michaela Coventry, Neil Hardy, Kath Renwick, Catarina Fraga Matos, Sue Burton, The Cooks River Alliance, the Cooks River Changemakers especially Bridget Cleaver, Farah Abdi, the Mullets and the Moonsters, Selina Springett, the Hayes-Richardsons, the McEastons, Katie and Dave, Carlie Henderson and Josh Morris, Maryan Waddick, the SCA Graduate Forum. Thanks to my colleagues at UTS, especially Lin Wei, George Catsi and Donna Sgro. v I am thankful for the time and space I shared with artist Nerine Martini, my studio mate for two years. I also appreciate my friends who made me stop thinking about the river occasionally, particularly the Newtown Swans AFL 9s team and Platon Theodoris and the bike troupe. I want to acknowledge the artists who created My Darling Patricia’s process and body of work, especially Halcyon Macleod, Sam Routledge, Katrina Gill, Chris Ryan, Marguerite Pepper and Bridget Dolan. Thanks to the artists whose work I have collaborated on during this study especially Kristina Chan, James Brown, Victoria Hunt, Tania Bowers, Christian Thompson, Aura Go, Tomoe Kawabata Maddie Flynn, Eugene Ughetti, Phil Smartzis, Matthias Shack Arnott, Natalie Rose, Alice Osborne, Sally Lewry, Rosie Dennis and the Home Country team, Roslyn Oades, Fausto Brusamolino, Julie-Anne Long and Martin Del Amo. Therese Keogh, Saskia Shut, Kenzee Patterson, Diego Bonetto, Nicole Dennis, Dave Wilkes, Luca Skandle, Catarina Fraga Matos, Alexandra Crosby, Mary Britton, Julia Gaffney, Biljana Novakovic, Matthew Prest and Elaine Prest all read work in progress for me and gave me thoughtful feedback. Rebecca Conroy expertly proofread and copy-edited this thesis and also captained Yurt Empire (2012-4), a project that this research is steeped in. Kirsten Searle carefully proofread and copy-edited the introduction of this thesis. Thanks to my parents Mike and Katy Britton and all my family, including Elaine and Mick Prest and the Britton, Gaffney, Prest, Knafelc and Prest-Carmody’s for their love and support. Love and thanks most of all to artist Matthew Prest for being hilarious, a deep and independent thinker and for being my husband and our son Les for suggesting that we row to school and all the rest. You two are the best. vi LIST OF ILLUSTRATIONS Figure 1. Research image. Risograph print of photograph from Cooks River Environment Survey and Landscape Design: Report of the Cooks River Project. Sydney: Amber Press, 1976. Page 1 Figure 2. Posts in the Paddock, 2009, Photo Michelle Blakeney. Page 11 Figure 3. Research image. Sydney College of the Arts Workshop, 2017. Page 24 Figure 4. Research image. Sydney Cockle Shell from junction of Cooks River and Wolli Creek, 2019. Page No 25. Figure 5. Research image. Rowing to school, 2015. Photo Matt Prest. Page 29 Figure 6. Hamish Fulton, Pilgrims Way 1971. Gelatin silver print on paper, dry transfer print on board Image: 150 × 225 mm support: 570 × 625 mm. The Tate, London https://www.tate.org.uk/art/artworks/fulton-the-pilgrims-way-t07995 Page No 37 Figure 7. Francis Alys, The Green Line. Jerusalem 2004, Video.17:41min. Website of Francis Alys. http://francisalys.com/the-green-line/ Page No 38 Figure 8. Richard Long, A Line Made by Walking, 1967. Silver print on paper and graphite on board Image: 375 × 324 mm. Framed: 623 × 826 × 26 mm. The Tate. London https://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-p07149 Page No 39 Figure 9. Sara Morawetz, Étalon. 2018. Barcelona. https://www.etalon-walk.com/Page No. 40 Figure 10. Tom Polo, All I Know. 2014. Series of six billboards on the train line, between Minto and Ingleburn Stations. Each sign, 250 x 500 cm. https://www.tompolo.com.au/all-i-know Page No 41 Figure 11. Research image. Drawing experiment, Sydney College of the Arts Foyer. Photo Matt Prest. Page 46 Figure 12. Last Sydney College of the Arts studio crit with Julie Rrap, 2019. Photo Michael Waite. Page 49 Figure 13. Installation view of Cooks River 1, 2016. Photo Ian Hobbs. Page 52 vii Figure 14. Research image. Watermill Residency, Donald Judd room, 2016. Page 54 Figure 15. Figure. Bas Jan Ader. In Search of the Miraculous, 1975. In Radical Seafaring Andrea Grover, ed. The Parrish Museum (Water Mill: Prestel Publishing, 2016). Page 56 Figure 16. Research image. Cooks horizon, 2019 Page 57 Figure 16. Research image. Dawn, 2019. Photo Matt Prest. Page 59 Figure 17. Clare Britton A Week on the Cooks River, Silver Castings dimensions variable., 2019. Page 61 Figure 19. Research image, A Week on the Concord River on Wolli
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