DOCSLIB.ORG

Heritage Newsletter Jan-Feb 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Heritage Newsletter Jan-Feb 2009 HERITHERITHERITAGEAGEAGE NEWSLETTER OF THE BLUE MOUNTAINS ASSOCIATION OF CULTURAL HERITAGE ORGANISATIONS SEPTEMBER-OCTOBER 2009 ISSUE No. 5 Norman Lindsay and the ‘Magic Pudding’ . The Magic Pudding characters, Bunyip Bluegum, Bill Barnacle, the Magic Pudding and Sam Sawnoff Albert’s ability to be thoroughly rude as well as escaping ARTICLE BY HELEN GLAD at the drop of a basin has made him a hero for many a young boy. Norman Lindsay is the author of one of Australia’s best-loved stories, ‘The Magic Adventure is as important as food in The Magic Pudding Pudding’, however his talent was not limited to with the Puddin’ owners wandering the long bush tracks of writing for children. His early career started at Australia - either seeking or fleeing from Puddin Thieves. the Bulletin where he was principal cartoonist; There are archetypal characters, reminiscent of Lawson he also wrote novels and produced a torrent of who inhabit a bush landscape of crackling gum leaves pen drawings, etchings, watercolours and oil and bright skies. Perhaps we now think of these as paintings. Lindsay’s story is told by his grand stereotypes of the Australian male character, but then they daughter, Helen Glad, who was a constant were the norm and the bush somehow seemed a lot visitor at ‘Springwood’, the house her closer to the city. grandparents established in the Blue Mountains. And let us not forget that the Pudding began its long steaming life at a time of the worst devastation the world Norman Lindsay wrote his classic Australian children’s had known. story The Magic Pudding in 1918. Since then generations of Australian children have been reading the adventures of Millions of young men were dying in the mud and filth of a Albert, Bunyip Bluegum, Sam Sawnoff, Bill Barnacle and war very distant from the sun and blue sky of home. the Puddin’ thieves. Heroes were genuinely forged in that conflict, and mateship was not an abstract emotion but often a means Lindsay had a wager that children were more interested in of survival. reading about food than fairies - and it is a bet that Lindsay clearly won. Albert, the gravy-voiced Pudding, has The origin of the Magic Pudding can be traced to the extraordinary talent of never ending as well as Lindsay’s childhood. transforming into all sorts of delicious sweet and savoury treats. Continued page 4 HERITAGE 1 September- October 2009 From the president’s pen...... GETTYSBURG ADDRESS ETHIC NEEDED FOR AUSTRALIA’S CULTURAL HERITAGE When Abraham Lincoln delivered operate on shoestring budgets. BMACHO has embarked on a his Gettysburg Address which Heritage buildings crumble into strategy for ensuring a better encapsulated the words dust, priceless artefacts have no understanding of the treatment of “government of the people, by the suitable accommodation, volumes cultural heritage by government at people, for the people”, he did so of archive material disintegrate or all levels and within the community on a battlefield. fall victim to mites or mould. at large. Funding for our maritime and While no one wants to emulate industrial heritage is a disgrace. One of the ways of grabbing the the battlefields of the American attention of decision-makers is by Civil War, which brought rise to Be it the unique village of Hartley, face to face dialogue. But Lincoln’s address, there is a need the little-known farm relic of unrepresented opinion has little for Australians to go on to a war ‘Browntown’, the etchings of effect on politicians. footing with government at all Norman Lindsay or the surveyor’s levels when it comes to our notes and maps of the surveyor To ensure the best impression on cultural heritage. George William Evans which made politicians such as the shadow feasible the route taken by William minister who will address a public For too long successive Cox who constructed the great meeting organised by BMACHO on governments in this country have western road from Emu Plains to September 25, the largest possible ignored the Lincoln ethic of those Bathurst two centuries ago, all are attendance will help to make at immortal words and instead have part of our cultural heritage and least the alternative government in pandered to ideology and lobby deserve to attract better funding for this state realise that people are groups which serve only their own conservation, restoration, housing concerned about heritage issues. narrow needs often based on and management. BMACHO will create other making a “big buck”. opportunities to express community Although bodies such as the RAHS concern to politicians of all The heritage sector has in the and National Trust have been persuasions. past achieved some success by keeping heritage prominently before its quiet and thoughtful approach, our politicians, government needs Those interested in our heritage are but far more could perhaps have to understand the importance of our urged to encourage others to attend been accomplished had the cultural heritage and take advice the meeting at Wentworth Falls, for causes been more widely from the heritage sector if we fail to make government better articulated, bringing on board the understand the heritage sector’s community at large. The clarion call has come with the concerns then the war will be lost. A NSW government announcement society which ignores its heritage With some 14 declared world earlier this year giving the minister does so at peril to future heritage sites in Australia, intent for planning unfettered power in generations. has been declared, without real relation to heritage properties. In so John Leary, OAM - president, funding. doing it has weakened the influence Blue Mountains Association of of heritage organisations. Research facilities and museums Cultural Heritage Organisations KEEPING INFORMATION ON ACTIVITIES BEFORE MEMBERS BMACHO’s committee is concerned It is now proposed that secretary appointed BMACHO representative that ordinary society members are Barrie Reynolds will e-mail a brief to report on BMACHO activities. not being made aware of report of the committee’s monthly information regularly passed down meeting to each society. The report Meantime, the committee has to organisations. will outline what work has been decided to have a mid-year general completed or is in train. meeting to give the opportunity for BMACHO’s secretary regularly BMACHO committee members to communicates information, on It is requested that this brief report hear a progress report and for decisions and objectives discussed be transmitted to individual society members to raise any matters of at committee meetings, the members through newsletters and/ concern. newsletter HERITAGE is published or placing it on notice boards. every two months, individual The next mid-year meeting will be members of the executive regularly The committee is also urging on Saturday, November 21 at a communicate with contact persons individual societies to include in venue and time to be advised. for all association members and their AGM agendas, space for their visit affiliated societies. HERITAGE 2 September - October 2009 SHADOW MINISTER TO DISCUSS HERITAGE ISSUES WITH BMACHO The NSW coalition spokesman for Climate Change and Environmental heritage, the Hon Catherine Sustainability and is the Coalition’s Cusack, MLC, B Ec has accepted spokesperson for Heritage BMACHO’s invitation to discuss heritage issues at a meeting later The meeting will to be held at the this month. Grand View Hotel, Wentworth Falls commencing at 10am on Friday, Representatives from BMACHO September 25, 2009. affiliated organisation have been invited to participate in the meeting Morning tea will be served from and others interested in heritage will 9.45am and a light buffet lunch be welcome to attend. (sandwiches, coffee etc) will be available at the conclusion of the BMACHO has embarked on a meeting expected to be at 12 noon. program to better inform the community and government about To cover the cost of the meeting the need for more adequate room, morning tea and luncheon, a government funding for the charge of $18 per person for preservation and conservation of members of societies affiliated with our cultural heritage. Minister for Climate Change and BMACHO or $25 for non-members Environmental Sustainability, and will be charged. As part of this strategy, meetings Liberal spokesperson for Heritage, are to be held with leading The Hon. Catherine Cusack, B Ec, Bookings are essential and politicians from all political parties. MLC. cheques payable to BMACHO The objective of these meetings is should be mailed to Prof. Barrie to discuss with each political party Speaking in opposition to the Reynolds at 40 Hume Avenue, their heritage policies and hopefully Heritage Amendment Bill 2009, the Wentworth Falls 2781. have some input into future policies. shadow minister, said: “the bill is part of a long war against our For further information contact John At the first of these meetings the state’s heritage. “The independence Leary at guest speaker will be NSW Shadow of the State Heritage Council under [email protected] or a Coalition is offering the people of Barrie Reynolds at The making of NSW a renaissance in heritage [email protected] protection. our nation National Trust Heritage Festival “Our policy will establish important RAHS GRANT 2010’s theme will be ‘The making structural separation between the of our nation’, recognising Lachlan Heritage Council and the Minister FOR BMACHO Macquarie’s swearing in as the 5th for Planning.” The Royal Australian Historical governor of NSW 200 years ago. Society has advised BMACHO it Catherine Cusack joined the has been successful in a bid for a National Trust in 1982 and has Historical societies and community grant towards the cost of been active in heritage campaigns groups can register free of charge, producing the Journal of Blue over many years, including the their own events and take Mountains History.
Load more

Recommended publications
  • Political in the Visual Arts Catriona Moore and Catherine Speck
    CHAPTER 5 How the personal became (and remains) political in the visual arts Catriona Moore and Catherine Speck Second-wave feminism ushered in major changes in the visual arts around the idea that the personal is political. It introduced radically new content, materials and forms of art practice that are now characterised as central to postmodern and contemporary art. Moreover, longstanding feminist exercises in ‘personal-political’ consciousness-raising spearheaded the current use of art as a testing ground for various social interventions and participatory collaborations known as ‘social practice’ both in and outside of the art gallery.1 Times change, however, and contemporary feminism understands the ‘personal’ and the ‘political’ a little differently today. The fragmentation of women’s liberation, debates around essentialism within feminist art and academic circles, and institutional changes within the art world have prompted different processes and expressions of personal-political consciousness-raising than those that were so central to the early elaboration of feminist aesthetics. Moreover, the exploration and analysis of women’s shared personal experiences now also identify differences among women—cultural, racial, ethnic and class differences—in order to 1 On-Curating.org journal editor Michael Birchall cites examples such as EVA International (2012), the 7th Berlin Biennial and Documenta 13 that reflect overt and covert political ideas. Birchall outlined this feminist connection at the Curating Feminism symposium, A Contemporary Art and Feminism event co-hosted by Sydney College of the Arts, School of Letters, Arts and Media, and The Power Institute, University of Sydney, 23–26 October 2014. 85 EVERYDAY REVOLUTIONS serve more inclusive, intersectional cultural and political alliances.
    [Show full text]
  • Australian and International Posters
    Collectors’ List No. 163, 2013 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Australian and Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] International Posters Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY Australian Travel Established 1977 1. Home To Ballarat. “The City Beau ti ful”, 103a Anzac Parade, Kensington (Sydney) NSW c1926. Colour lithograph, 101.5 x 63.4cm. Repaired tears and creases to upper por tion and margins. Post: PO Box 93, Kensington NSW 2033, Australia Linen-backed. $3,900 Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Text includes “28th Jan to 4th Feb 1927. J.C. Kelsall, Email: [email protected] • Web: joseflebovicgallery.com Secretary. Ballarat Litho. & Co. Print.” MC545. Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 163, 2013 Australian & International Posters On exhibition from Saturday, 27 April to Saturday, 8 June. All items will be illustrated on our website from 11 May. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $1.04¢; UK £0.68p © Licence by VISCOPY AUSTRALIA 2013 LRN 5523 Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Takeaki Totsuka 2. Adelaide Calling, c1930s. Colour litho ­ graph, 101.7 x 63.8cm. Minor dis colour ation, repaired tears, creases and missing portions. Our next list, Australian and Linen-backed. $5,500 International Photography, Text includes “Holiday attractions all the year round.
    [Show full text]
  • See You at the Barricades
    See you at the barricades 1 ‘Well then, see you at the barricades’. nostalgic depictions of protest movements. My grandfather said this to me in the parking These include Marco Fusinato’s gutsy yet silent An introduction lot of his local shopping mall. I’m not sure images of rioters and Raquel Ormella’s banner where he came across the phrase, but he has declaring, ‘I’m worried I’m not political enough’. used it all my life. For him the saying is a way The exhibition concludes with Sharon Hayes’s not only to identify himself as an ‘old lefty’, but multi-screen installation overflowing with also to invite amity through shared resistance. balloons and raucous chants, which brings I have borrowed his catchphrase as the together many of these themes. These works title of this exhibition, which studies the complex traverse the emotional terrain of protest, entanglements of art and protest after the revealing the complexity of art’s relationship ‘year of the barricades’, 1968. Recently many to political change. contemporary artists and curators have used the materials common to protest, from banners --------- See you and sandwich boards to demonstration re-enactments, repositioning protest within the In May 1968, Paris erupted in demonstrations. white rooms of contemporary art spaces and Photos from the time show thousands of major museums. This raises several questions: students and workers in the streets, waving at the where do the boundaries between protest and flags and clambering over upturned cars. art lie? Is there a difference between protest art Elsewhere, the Vietnam War raged, Soviet and art that uses protest’s symbols? If so, do Union-led troops invaded Czechoslovakia to barricades the latter simply manifest nostalgia, neutralising crush the Prague Spring reforms, and Martin the impact of such symbols by aestheticising Luther King was assassinated.
    [Show full text]
  • Australian & International
    Australian & International Posters Collectors’ List No. 182, 2016 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW P: (02) 9663 4848 E: [email protected] W: joseflebovicgallery.com 1. “Not Dead Yet!” or “The Counterfeit [Gold Rush]” Theatre JOSEF LEBOVIC GALLERY Royal, Glasgow, 1866. Letterpress theatre playbill, 75.4 x 25.2cm. Established 1977 Trimmed left margin, repaired minor tears and old folds, slight offset. Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) Linen­backed. $1,100 This playbill, dated Friday, 8th June, 1866, initially covers two plays, Faust & Address: 103a Anzac Parade, Kensington (Sydney), NSW Marguerite! and Quite a Romance!, before mentioning a play on the Gold Rush in Postal: PO Box 93, Kensington NSW 2033, Australia Bendigo, Australia. The play was adapted from the novel Not dead yet by the English author John Cordy Jeaffreson (1831-1901), and was published in 1864. Three Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 scenes in the second act are set on the Bendigo gold diggings in the year 1862. Email: [email protected] • Website: joseflebovicgallery.com The playbill text includes “In rehearsal, and will shortly be produced, a three act drama by [actor] David Fisher with sensational effects and new scenery, Open: Monday to Saturday from 1-6pm by chance or by appointment. founded on actual occurrences, as narrated in the novel by J.C. Jeffreson [sic], which furnishes portions of the story of this play, called Not dead yet! or The Counterfeit: a tale of the times both in England and Australia.
    [Show full text]
  • Your Graduation
    Your Graduation Faculty of the Arts, Social Sciences and Humanities Congratulations to all of our graduates. You are and always will be the university’s proudest achievement. Professor Paul Wellings CBE UOW Vice-Chancellor You are fearless. You are determined. Celebrating graduates of 2020 You are ready. iv Congratulations to the class of 2020. 2020 was a challenging year. It has been your Our vision is to inspire a better future. Our ambition strength and determination which has helped you is to empower you – our students, and now alumni You are fearless. overcome these challenges – to get to where you – for the future, to create a better world and to are today – and you should be extremely proud of make a difference in our communities. As our your achievements. graduates, you are the future, and I am confident that you will make a positive impact. You are the heart and soul of this University, the reason we are continually striving for excellence Even though we cannot celebrate together, in learning and teaching, and in our research we hope you take the time to reflect on your endeavours. You are our greatest ambassadors, a experiences at UOW, what you have achieved, and shining example of the hard work, and excellence what the future may hold. I encourage you to set that underpins every graduate who has completed your sights high. determined. their studies at the University of Wollongong. We can’t wait to see what you will do. — Ms Christine McLoughlin ready. UOW Chancellor Your UOW UOW was founded on the donations of local people with a vision of a brighter future for our region.
    [Show full text]
  • Assessment Task Year Level 10 Learning Area Humanities and Social Sciences Subject History Title of Task Australian Civil Rights Movement
    Tanya de Haas | 18362002 | Curriculum and Instruction in Lower Secondary HASS | Samantha Owens | Assessment Two Assessment task Year level 10 Learning area Humanities and Social Sciences Subject History Title of task Australian Civil Rights Movement Description of task Students investigate the influence of the US civil rights movement on Australian activists for Indigenous rights and freedoms. Students then individually develop an inquiry research project on one individual from the Australian civil rights movement using an Individual Research Notebook. From this research students will create a visual artwork about this individual representing the individual, their method of activism and their significance in the fight for Indigenous rights and freedoms. This is followed by a personal reflection. Type of assessment Formative and Summative Purpose of • To assess students’ ability to generate research questions for historical inquiry. assessment • To assess students’ knowledge at the end of the learning cycle. • To assess students’ nonverbal communication skills through visual representations in the artwork. • To assess students’ development of perspective, significance and empathy. Assessment strategy Research skills, visual artwork, written reflection Evidence to be Individual research notebook, artwork and personal reflection collected Suggested time 3 weeks (12 x 1 hour sessions) • Introductory lesson following Universal Declaration of Human Rights. • One lesson for in-class source analysis. • Two lessons for modified JIGSAW activity.
    [Show full text]
  • May 12 Newsletter Sun 29 Apr.Indd
    Vol 23, No.2 — May 2012 NEWSLETTER To keep women’s words. women’s works, alive and powerful —Ursula LeGuin LARISSA BEHRENDT: LUNCHEON SPEAKER 2012 lways mindful of Ursula Le Guin’s stirring aphorism, She finished Law in 1992, already writing on law reform Awe are delighted Professor Larissa Behrendt – novelist, issues. On scholarship at Harvard Law School from 1993, she activist, academic – will address Jessie Street National Women’s completed a masters and then a doctorate on how Aboriginal Library Annual Luncheon on 17 September, her topic: Strong ideas of sovereignty and British law differ, work published in Women; Strong Communities: Empowering Indigenous Women to 2003 as Achieving Social Justice (Aboriginal Dispute Resolution Overcome Disadvantage. Professor Behrendt had appeared in 1995). Since 1998 she has believes that to overcome disadvantage been a member of the Australian Institute of in Aboriginal communities it is vital to Aboriginal and Torres Strait Island Studies empower Aboriginal women and that this is and on the AIATSIS Research Advisory not just a feminist ideal: research backs this Council, and from 2000, Professor of Law up. She will discuss findings from recent at the University of Technology Sydney and research in New South Wales Indigenous Director of UTS’ Jumbunna Indigenous communities which points to the central House of Learning. She is a Board member of role Indigenous women play in addressing the Museum of Contemporary Art, Bangarra disadvantage and social problems. Dance Theatre Chair, a (federal) Land and Her own upbringing seems to support Environment Court Land Commissioner, this approach too. Her Aboriginal grand- and NSW Serious Offenders Review Board mother Lavinia Boney in western NSW Alternate Chair.
    [Show full text]
  • Everyday Revolutions: Remaking Gender, Sexuality and Culture In
    Everyday Revolutions Remaking Gender, Sexuality and Culture in 1970s Australia Everyday Revolutions Remaking Gender, Sexuality and Culture in 1970s Australia Edited by Michelle Arrow and Angela Woollacott Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (print): 9781760462963 ISBN (online): 9781760462970 WorldCat (print): 1113935722 WorldCat (online): 1113935780 DOI: 10.22459/ER.2019 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design and layout by ANU Press This edition © 2019 ANU Press Contents Contributors . vii 1 . Revolutionising the everyday: The transformative impact of the sexual and feminist movements on Australian society and culture . 1 Michelle Arrow and Angela Woollacott Everyday gender revolutions: Workplaces, schools and households 2 . Of girls and spanners: Feminist politics, women’s bodies and the male trades . 23 Georgine Clarsen 3 . The discovery of sexism in schools: Everyday revolutions in the classroom . 37 Julie McLeod 4 . Making the political personal: Gender and sustainable lifestyles in 1970s Australia . 63 Carroll Pursell Feminism in art and culture 5 . How the personal became (and remains) political in the visual arts . 85 Catriona Moore and Catherine Speck 6 . Subversive stitches: Needlework as activism in Australian feminist art of the 1970s . .. 103 Elizabeth Emery 7 . Women into print: Feminist presses in Australia . 121 Trish Luker 8 . ‘Unmistakably a book by a feminist’: Helen Garner’s Monkey Grip and its feminist contexts .
    [Show full text]
  • MUSE Issue 10, March 2015
    issue no. 10 MAR 2015 ART . CULTURE . ANTIQUITIES . NATURAL HISTORY SYDNEY CONTENTS UNIVERSITY MUSEUMS O1 POSTER GIRLS 19 OUT OF AFRICA Comprising the Macleay Museum, Nicholson Museum 05 FRIEZE FRAME 22 TAKING FLIGHT and University Art Gallery IN THE PICTURE ON SITE IN CYPRUS Open Monday to Friday, 10am to 07 24 4.30pm and the first Saturday of 08 PHOTO OPPORTUNITY 27 A GREAT EXCHANGE every month 12 to 4pm Closed on public holidays. 10 SEEING DOUBLE 28 POTS OF GOLD General admission is free. Become a fan on Facebook and 12 THE GRAND TOURISTS 29 DONOR HONOUR ROLL 2014 follow us on Twitter. 14 A RICH TAPESTRY 30 OUT AND ABOUT Sydney University Museums Administration 16 GILLESPIE’S TRAVELS 32 WHAT’S ON T +61 2 9351 2274 F +61 2 9351 2881 E [email protected] Education and Public Programs To book a school excursion, an adult education tour or a University heritage tour T +61 2 9351 8746 E [email protected] MACLEAY MUSEUM WOMEN ARTISTS Macleay Building, Gosper Lane PAINT HISTORICAL PICTURE (off Science Road) T +61 2 9036 5253 F +61 2 9351 5646 A WORD FROM THE DIRECTOR E [email protected] Our museums received more than NICHOLSON MUSEUM 105,000 visitors in 2014 – a record. In the southern entrance to the Quadrangle The year is off to a good start with large T +61 2 9351 2812 crowds viewing our new Lego Pompeii F +61 2 9351 7305 E [email protected] in the Nicholson Museum.
    [Show full text]
  • Sydney University Museums
    THURSDAY 13 MAY – SUNDAY 18 JULY 2010 UNIVERSITY ART GALLERY THE UNIVERSITY OF SYDNEY KENT STATE: FOUR DECADES LATER University Art Gallery, University of Sydney Thursday 13 May – Sunday 18 July 2010 In May 1970 the artist Richard Hamilton set up a camera in front of TV for a week. He recalled: Every night I sat watching with a shutter-release in my hand. If something interesting happened I snapped it … In the middle of the week the shooting of students by National Guardsmen occurred at Kent State University. This tragic event produced the most powerful images that emerged from the camera, yet I felt a reluctance to use any of them. It was too terrible an incident in American history to submit to arty treatment. Yet there it was in my hand, by chance – I didn’t really choose the subject, it offered itself. It seemed right, too that art could help to keep the shame in our minds; the wide distribution of a large edition print might be the strongest indictment I could make. Kent State is the most onerous of all the prints I have made. Without anticipating the problems I chose to layer many transparent colours over each other to build the image from the overlaps and fringes ... The Kent State student depicted, Dean Kahler, was not killed. He suffered spinal injuries and is paralysed. Hamilton’s influential work Kent State was a massive undertaking, a silkscreen print edition of 5,000 from 13 stencils. Sydney architect and writer Donald Gazzard donated the work to the University of Sydney in 1970.
    [Show full text]
  • Jill Posters Will Be Prosecuted: Australia's Women-Only Print Collectives from the 1970S and 1980S
    Ms Louise Mayhew PhD candidate College of Fine Arts University of New South Wales PhD topic: Female art collectives and collaborations in Australia c.1970 – 2010. Jill Posters Will Be Prosecuted: Australia’s women-only print collectives from the 1970s and 1980s. The words of time were: revolution, liberation, demands, rights, organize, overthrow, smash, struggle, collective, solidarity, sexism, racism... (Kenyon 1995, 36). The legacy of Earthworks Poster Collective (1972–80), a highly influential and impressively productive screenprinting group, is recognised in such collectives as Lucifoil (1980–83), Megalo (1980–present) and Redback Graphix (1980–94). Cross- fertilisation and skills sharing greatly influenced the growth and development of poster collectives during this era. Many individuals passed through the University of Sydney’s Tin Sheds Art Workshop, home to Earthworks, and learnt printmaking. As they moved around Australia, visiting Indigenous communities, undertaking artist residencies and working at new universities, they took the skills and ideologies learnt with them. Earthworks is credited with establishing in poster collectives an identifiably collective ethos, realised through open access facilities, group decision making, equal rates of pay, and a commitment to voicing social, political and local community concerns.1 Additionally Earthworks functioned precariously within and outside the boundaries of the art world, higher education institutions and funding bodies. This unstable positioning was inherited by successive collectives, that operated between the realms of art and advertising, had an uneasy relationship with the term ‘artist’, and struggled to meet costs or funding demands. Although the connection with Earthworks is well established, alternative origins for the emergence of women-only poster collectives can be found in second-wave feminism.
    [Show full text]
  • Art As Ecological Communication Abstract Introduction
    View metadata,citationandsimilarpapersatcore.ac.uk the other Dhuwa, on two pieces of stretched stringy-bark.1 This now 11 famous ‘bark petition’ offered non-Indigenous people a rare opportunity to understand the creation and maintenance of the region, with its complex relations of Indigenous ownership, custodianship and obligation. Tragically, we ignored this opportunity to understand a comprehensive, deep knowledge of the environment that had kept it in a Not just a pretty picture: art as ecological productive balance for millennia. communication A decade later, equally traditional, picturesque views of Lake Pedder in Catriona Moore Tasmania’s south west were reproduced as campaign materials to save the lake from being flooded for hydro-electricity. They illustrated a pristine wilderness, by definition a veritable ‘terra nullius’ in danger of being irretrievably lost through unwanted state development. Abstract Indigenous art and the western landscape tradition form ongoing These visual ‘petitions’ were politically unsuccessful in the short term, influences on Australian eco-art. A majority of Australians now and differed on questions of ownership, habitation and wilderness. acknowledge that reconciliation and environmental sustainability are Nonetheless, Indigenous art and the western landscape tradition form related issues. At the same time, western conventions of the sublime and ongoing influences on Australian eco-art. Indigenous art has helped to the picturesque landscape have remained effective campaign materials. win hearts, minds and a fair share of battles for Native Title and While historical tensions between Indigenous stewardship and a environmental justice. A majority of Australians now acknowledge that culturally abject, sublime ‘wildness’ still sporadically reappear in the reconciliation and environmental sustainability are related issues.
    [Show full text]