Hazel Hawke List of Works

WITHOUT CLASSIFICATION:HAZEL HAWKE LIST OF WORKS

Painting Alison Alder, Redback Graphix c.1989. JCPML00425/243 Sally Robinson Getting A Fair Deal For Pensioners, 1989 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Plaque at Portrait of Hazel Hawke, 2000 silkscreen print Wentworth celebrating the One Billion Tree campaign, 1989. JCPML00425/245 acrylic on canvas 49 x 64cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke 169 x 138.5cm Courtesy Kerry Stokes Collection, Perth and school girl planting a tree, Queensland, 1989. JCPML00425/246 John Curtin Prime Ministerial Library. Records of Sally Robinson. John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke JCPML00558. Michael Callaghan, Redback Graphix launching Internatinal Literacy Year, 1989. JCPML00425/247 Courtesy Sally Robinson World Environment Day, 1992 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke offset print at launch of anti domestic violence Campaign, 1989. JCPML00425/248 Posters 42 x 65cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Michael Callaghan, Earthworks Poster Collective Courtesy Kerry Stokes Collection, Perth at the opening of Maia Place, 1986. JCPML00425/265 Mutate Now and Avoid the Rush, 1977 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke silkscreen print Michael Callaghan, Greg McLachlan, Redback Graphix at piano restorer’s, 1986. JCPML00425/267 58 x 76cm Warning Racism Is A Virus, 1997 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Courtesy Kerry Stokes Collection, Perth offset print at Aboriginal Women’s Business function, 1986. JCPML00425/269 29.7 x 59.4cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Michael Callaghan, Marie McMahon, Earthworks Poster Collective Courtesy Kerry Stokes Collection, Perth speaking at the National Press Club luncheon, 1984. JCPML00425/278 Some day Soon They Will Need….1977 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke silkscreen print Michael Callaghan, Greg McLachlan, Redback Graphix with the Lodge Gardener, 1984. JCPML00425/279 58 x 76cm You Are The Antidote, 1997 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Courtesy Kerry Stokes Collection offset print with the Lodge Gardener, 1984. JCPML00425/280 29.7 x 59.4cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Michael Callaghan, Earthworks Poster Collective Courtesy Kerry Stokes Collection, Perth at the piano with Bill Hawkey, 1984. JCPML00425/281 Smash Uranium Police States, 1978 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke silkscreen print Michael Callaghan, Greg McLachlan, Redback Graphix practising at the piano with Bill Hawkey, 1984. JCPML00425/282 51 x 76cm Immunise, 1997 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Courtesy Kerry Stokes Collection, Perth offset print and school children at World Wildlife Function, 1983. JCPML00425/284 29.7 x 59.4cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Bob and Michael Callaghan, Redback Graphix Courtesy Kerry Stokes Collection, Perth Hazel Hawke in the Tally Room, Election 1983. JCPML00425/286 If the Unemployed Are Dole Bludgers, What the Fuck Are The Idle Rich? 1979 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Bob and silkscreen print Michael Callaghan, Greg McLachlan, Redback Graphix Hazel Hawke in the Tally Room with George Negus, Election 1983. 51 x 76cm Racism Is A Virus Don’t Spread It! 1997 JCPML00425/287 Courtesy Kerry Stokes Collection offset print John Curtin Prime Ministerial Library. Records of Hazel Hawke. Bob and 29.7 x 59.4cm Hazel Hawke in the Tally Room with Kerry O’Brien, Election 1983. Michael Callaghan, Gregor Cullen Redback Graphix Courtesy Kerry Stokes Collection, Perth JCPML00425/288 Australian Vietnam Society Calendar, 1982 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke silkscreen print Colin Russell, Another Planet Posters with Downs Syndrome children, 1990. JCPML00425/316 40 x 49cm Shelter or the Streets: 2nd National Youth Housing Conference, 1987 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Courtesy Kerry Stokes Collection, Perth silkscreen print Hawke, 1990. JCPML00425/317 40.9 x 76cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Gregor Cullen, Redback Graphix Curtin University of Technology Art Collection with Lois and Ruby, Ernabella, 1991. JCPML00425/321 Right To Work March, 1982 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke silkscreen print Colin Russell, Another Planet Posters at Yeundemu, 1988. JCPML00425/324 51 x 76cm White Australia has a black history, nd John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Courtesy Kerry Stokes Collection, Perth silkscreen print dancing with Yeundemu women, 1988. JCPML00425/325 85 x 81cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Nick Southall & Friends, Redback Graphix Curtin University of Technology Art Collection launching Downs Syndrome Awareness Week, May 1990. JCPML00425/332 Get Ahead On The Dole, 1984 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke silkscreen print Dianna Wells, Another Planet Posters with Pat Edgar at “Lift Off” function, 1992. JCPML00425/334 51 x 76cm A place for living, home board scheme, 1987 John Curtin Prime Ministerial Library. Records of Hazel Hawke. PM Bob Courtesy Kerry Stokes Collection, Perth silkscreen print Hawke and Mrs Hazel Hawke at the Lodge, official photograph. JCPML00355/4 67 x 81cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. PM Bob Gregor Cullen, Sharon Pusell, Redback Graphix Curtin University of Technology Art Collection Hawke and Mrs Hazel Hawke in the garden at the Lodge, official photograph. Shelter or the Streets, 1984 n.d. JCPML00355/5 silkscreen print Carole Wilson, Another Planet Posters John Curtin Prime Ministerial Library. Records of Hazel Hawke. Mrs Hazel 51 x 76cm Stand your ground, 1988 Hawke, 31 March 1983, official photograph. JCPML00355/8 WITHOUT CLASSIFICATION:HAZEL HAWKE Courtesy Kerry Stokes Collection, Perth silkscreen print John Curtin Prime Ministerial Library. Records of Hazel Hawke. Mrs Hazel 44.8 x 79cm Hawke, series of two colour photographs, 19 September 1983. JCPML00355/10 Michael Callaghan, Redback Graphix Curtin University of Technology Art Collection John Curtin Prime Ministerial Library. Records of Hazel Hawke. Prime Beat The Grog # 1, 1986 Minister Bob Hawke and Mrs Hazel Hawke, series of four colour photographs, silkscreen print Julie Shiels, Another Planet Posters 1 February 1985. JCPML00355/11 63 x 93.5cm Shelter or the Street: 2nd National Youth Housing Conference,1988 Courtesy Kerry Stokes Collection, Perth silkscreen print 50.1 x 76cm Newspapers and Journals Alison Alder, Redback Graphix Curtin University of Technology Art Collection John Curtin Prime Ministerial Library. Records of Hazel Hawke. Compilation Work Related Childcare, 1986 of cuttings form Hawke family Scrapbooks, 1979 Ð1989, JCPML00428/8 Ð offset print Carole Porter, Redplanet Posters JCPML00428/18 42 x 59.4cm To Every Woman, Money, Power, Freedom, 1994 Courtesy Kerry Stokes Collection, Perth silkscreen print Sound 49.4 x 38.4cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. From Audio Alison Alder, Lawrence Finn, Redback Graphix Curtin University of Technology Art Collection Tape of Hazel Hawke Speech at the National Press Club Australia We Still Have Rights, 1989 Day, 26January 1984, JCPML00388/1 offset print Sue Anderson, Redletter Posters 40.5 x 59cm This is French Paper, 1987 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Courtesy Kerry Stokes Collection, Perth silkscreen print Compilation of Excerpts from the following audio tapes: 50 x 65cm Diana Warnock Interview with Hazel Hawke, 23 September 1985,JCPML00388/2 Leonie Lane, Redback Graphix Curtin University of Technology Art Collection Mary Nicholson Interview with Hazel Hawke, 29 January 1986, JCPML00388/3 Eat Good Food, 1987 Hazel Hawke Speech at the National Press Club 26 January 1984,JCPML00388/1 silkscreen print Mark Denton, Redletter Posters Jane Singleton Interview with Hazel Hawke 1988, JCPML00388/20 61.5 x 91.5cm Family day care, nd Courtesy Kerry Stokes Collection, Perth 76.5 x 51cm silkscreen print Video Michael Callaghan, Redback Graphix Curtin University of Technology Art Collection John Curtin Prime Ministerial Library. Records of Hazel Hawke. ‘Hazel: the Amnesty/25 Years Anniversary, 1987 Canberra years’. JCPML00737/1. Courtesy Network 10. silkscreen print Tanya McIntyre 76 x 102cm Courtesy Kerry Stokes Collection, Perth Workers packaged by sheltered workshops, nd 75.2 x 51cm Michael Callaghan, Paul Cockram Redback Graphix silkscreen print Condoman/Use Frenchies, 1987 Curtin University of Technology Art Collection silkscreen print ACKNOWLEDGEMENTS 51 x 76cm Bob Clutterbuck, Red Planet Graphics Courtesy Kerry Stokes Collection, Perth Affirmative action, c1980s colour screenprint Guest Curator Margaret Moore in association with the Alison Alder, Redback Graphix 76.2 x 51cm Tenants Demand A Fair Go! 1986 Collection of Art Gallery of Western Australia John Curtin Gallery and the John Curtin Prime silkscreen print 51 x 76cm Ministerial Library gratefully acknowledges all Courtesy Kerry Stokes Collection, Perth Bob Clutterbuck, Red Planet Graphics WITHOUT CLASSIFICATION: Stop the merchants of nuclear death, 1983 lenders to the exhibition, The Kerry Stokes Marie McMahon, Redback Graphix colour screenprint Collection, The Art Gallery of Western Australia and Empty Kids, 1987 76.2 x 51cm silkscreen print Collection of Art Gallery of Western Australia the support of Hazel Hawke, Prue Watson, Pat 51 x 76cm Barblett, John Stringer, Carol Porter, Olga Tsara, Courtesy Kerry Stokes Collection, Perth Photographs State Library of Victoria, Magenta, BullDog Michael Callaghan, Marie McMahon, Paul Cockram, Redback Graphix John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Graphics, Vasse Felix and all staff who have Women and Work, 1988 at the Piano, August 1986. JCPML00425/45 silkscreen print John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke contributed greatly to the realisation of this 102 x 152cm and daughter Rosslyn at Chinese School. 1984 JCPML00425/84 project. HAZEL HAWKE Courtesy Kerry Stokes Collection, Perth John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke with Paula Hyndes at opening of Kurrumburra Living for Independence Alison Alder, Redback Graphix Centre, 1985. JCPML00425/87 Don’t Be Too Polite, 1988 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel and offset print Bob Hawke visiting polling booths, Willis 11 July 1987, JCPML425/98 48 x 69.5cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Sharon Courtesy Kerry Stokes Collection, Perth Massey, Hazel Hawke and friends after the Mozart Concert, October 1990. JCPML00425/115 An Exhibition from the Hazel Hawke records and Australian Poster Art Marie McMahon, Redback Graphix John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Grog Kills Skills — Football Version, 1988 Hawke, Gary Sweet, 1994 Young Achiever of the Year David Chisholm and silkscreen print Simon Crean, 1994. JCPML00425/165 51 x 76cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Courtesy Kerry Stokes Collection, Perth with school children, n.d. JCPML00425/166 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Jan McKay, Redback Graphix on a school visit, n.d. JCPML00425/167 27 September - 10 November 2002, John Curtin Gallery How Do You Spell Gorbatrof? 1988 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke offset print greeting solo yachtswoman, Kay Cottee, Sydney 1988. JCPML00425/177 48 x 68cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Courtesy Kerry Stokes Collection, Perth at University of Newcastle, n.d. JCPML00425/179 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Michael Callaghan, Redback Graphix at University of Newcastle, n.d. JCPML00425/180 Jointly organised by The John Curtin Prime Ministerial Library and The John Curtin Gallery Amnesty/Death Penalty USA, 1988 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke silkscreen print at Disabled Children’s Facility, n.d. JCPML00425/195 76 x 102cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Courtesy Kerry Stokes Collection, Perth with ABC Young Performers winner, 1988. JCPML00425/202 Guest Curator, Margaret Moore. John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Steven Lees, Redback Graphix at launch of SBS Women’s Program, September 1988. JCPML00425/203 You Don’t Have To Be A Queenie, 1988 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke silkscreen print at AGM School for the blind, 1988. JCPML00425/204 51 x 76cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Courtesy Kerry Stokes Collection, Perth at launch of Australia Take a Bow, 1988. JCPML00425/205 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Marie McMahon, Redback Graphix Hawke, Women in Management Function, Melbourne, 1988. JCPML00425/206 Vote, 1988 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke , 1982. §ilkscreen print, 51 x 76cm. silkscreen print compering radio talk-back program, Melbourne, 1988. JCPML00425/207 60 x 91cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Courtesy Kerry Stokes Collection, Perth with Dame Joan Sutherland, Richard Bonning and Stuart Challender, 1988. JCPML00425/209 Alison Alder, Redback Graphix John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Undoing History, 1988 and Yeundemu women, 1988. JCPML00425/210 silkscreen print John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke 50 x 65cm at Yeundemu, 1988. JCPML00425/211 Courtesy Kerry Stokes Collection, Perth John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke

at Barunga, 1989. JCPML00425/216 Right To Work March Michael Callaghan, Redback Graphix John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Stop The Killing Times, 1988 at Barunga, 1989. JCPML00425/218 silkscreen print John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke 50 x 65cm at Peto Institute, Budapest, n.d. JCPML00425/231 Courtesy Kerry Stokes Collection, Perth John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke and Duncan Gifford. JCPML00425/232 Tracy Moffatt, Diane Moon, Design and Print Consultant, Alison Alder, John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Redback Graphix singing at the Lodge, n.d. JCPML00425/233 Manningrida, 1988 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel and offset print Bob Hawke with Press “scrum” on an airplane, n.d. JCPML00425/234 UPK/An Average Anangu Day, 1989 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel and silkscreen print Bob Hawke in Daintree Forest, 1989. JCPML00425/240 68 x 95cm John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel and Courtesy Kerry Stokes Collection, Perth Bob Hawke at Sharing Our Future function, 1989. JCPML00425/241 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke Courtesy Kerry Stokes Collection, Perth Gregor Cullen, Redback Graphix, John Curtin Prime Ministerial Library. Records of Hazel Hawke. John Curtin Prime Ministerial Library. Records of Hazel Hawke. Bob and Hazel Hawke in the Tally John Curtin Prime Ministerial Library. Records of Hazel Hawke.Hazel Hazel Hawke compering radio talk-back program 3LO, Melbourne, 1988, JCPML425/207 Room with George Negus, Election 1983, JCPML425/287 (detail) Hawke speaking at the National Press Club luncheon, 1984, JCPML425/278

ISBN: 1 74067 183 X “Without Classification Hazel Hawke” www.johncurtingallery.com WITHOUT CLASSIFICATION:HAZEL HAWKE WITHOUT CLASSIFICATION:HAZEL HAWKE

Introduction “No society functions properly unless everyone is able to Without Classification the launch of From Margin to Mainstream Conference Speech. Community Initiative and the Poster Collectives in Throughout the 1980s Hazel Hawke’s voice struck a chord live his or her life without constant fear, frustration Without Classification: Hazel Hawke provides graphic Interestingly in this speech Hazel Hawke quoted Charlotte Australia in the public ear. What she represented and the manner of or trauma.”8 convergences and divergences between enduring themes in Pekins Gilman who in 1923 had written; “Work is human. It On many occasions Hazel Hawke spoke of the community as a her delivery was respected and accepted by bipartisan Hazel Hawke’s presentations and the power and messages of is not feminine, though women began it. It is not ‘very nourishing thing’. She saw and valued the way groups Fair mindedness had been fundamental in Hawke’s upbringing audiences. This has been sustained beyond her Lodge years poster art. The point where the two intersect is not masculine though men have taken it. But because men have could tackle life’s day to day issues and make a and, if it had needed re-energising, this would have and by 1995 one broadcaster, Neil Mitchell, flippantly always in their content, though this is sometimes the kept women out of it for so long it has shared in the difference. Poster art in the 1970s and into the 1980s was occurred during her time with the Brotherhood of St though warmly, closed an interview with: case. It is in the way that with hindsight they each can disadvantage of excessive masculinity.” borne of similar imperatives and idealism. Members of Laurence followed by her formal studies in Welfare.9 be understood to have offered a public maturing within the cooperatives and collectives banded together, practically “You’re a very popular person. Why don’t we make you Furthermore, she was a product of her own life’s Australian context of freedom of speech and particularly Aboriginal Australia to share resources and conceptually to share ideologies. Governor General.”1 experiences as a wife and mother re-evaluating her worth on the position of women and Aboriginality. On Aboriginal Australia Hazel Hawke was arguably at her and existence against a backdrop of burgeoning feminism most impassioned and unrelenting. She did not mince words The poster as an art form in this period owed a debt to When Hazel Hawke entered the Lodge in 1983 she resisted in the 1970s. All of this had helped hone Hazel’s values The poster medium and the some times covert nature of its or beliefs with regard to the impoverished status of many the 1960s where “technological advances made mass “an engineered view”2 of the role. She claims to have had and opinions, which in turn helped her shape the position production afforded the artists greater freedoms in their in Aboriginal society and the impending conundrum of the communications more accessible. People now had the means few expectations and was open-minded about what would be of ‘Prime Ministerial Wife’. use of language, imagery and ideology. By their very Bicentennial in Australia. In the Press Club Australia Day to spread news, ideas and information that the commercial presented to her. From the beginning she did recognise it nature posters were designed and produced to startle. The speech: media would not broadcast or print”27 Throughout the 1970s as a job, however, and looked toward where she felt she The women’s movement had many guises in Australia in the predominant use of fluorescent colour or the red, black this created an environment for change. Community could make a difference and by implication where she felt 1970s. Though not a member Hazel Hawke welcomed the impact and yellow derived from the Aboriginal flag, was combined “Today we celebrate the coming of non-aborigines to newspapers, broadcasting stations, cartoons and posters 3 10 her attitudes and values could be most relevant . of the Women’s Electoral Lobby and the resources to be 24 with provocative and sometimes witty annotations or Australia — invaders is I suppose the stringent word” cooperatives flourished. The cooperative model for found in self initiated 'sisterhoods or boilerhood' as she cartoon style imagery. The posters in this exhibition have presses and print workshops emerged not only for resource It was widely regarded that Hawke embraced a significantly referred to them. For many in Australia the impact of Earlier she spoke at greater length: been selected in part for artistic inventiveness, reasons but also as a means to promote skills to others. Gregor Cullen, Sharon Pusell, Redback Graphix,Shelter or the Streets, 1984 heavy workload. Throughout her years in the Lodge she community networks proved critical not only for women but silkscreen print, 51 x 76cm. Courtesy Kerry Stokes Collection, Perth stridency of their commentary or for their relevance to It was predominantly art school graduates who gravitated undertook some 60 Patronages4. Her profile became so for varied groups trying to mobilise change or “Its tragic to see the ramifications of the overlay of our matters of public debate. to the presses. workshops in and across the states. The early established prevalent and so regarded, that she was asked regularly recognition. white law. This includes of course the way we have by journalists and broadcasters as to her own political legislated one of the most significant elements in their Earthworks Collective of Sydney greatly influenced a The rise of Hazel Hawke’s public voice and her “Co-operative presses became focal points for the exchange aspirations5. The parallel rise of political poster collectives in lives, the land in which they live away from their use. number of presses in Victoria and the Progressive Art relationship with the media of not only the printed matter but of technical, Australia in the 1970s played a critical role in And therefore threatened their material survival and their Movement of South Australia has been linked to the When Hazel Hawke joined Bob Hawke on the dais upon the organisational and social skills” Hawke’s speeches and writings reveal that she did not see 25 establishment of Canberra’s Megalo and ACME Print through illustrating the voices calling for change and election of the Australian Labor Party on the 5 March spiritual fulfilment” things as naturally polarised, or black or white. She the transfer of individuals. The collectives were not recognition. Posters provided a means that helped to 1983, there had been only minor indication that she would It was democratically conceived and intentionally non- recognised that no one solution or answer was usually And, confined only to major cities. Many regional centres such ignite and shape conscience and ideals. Some emanated from become a media savvy and influential advocate for critical hierarchical although Julia Church has reflected: sufficient. Understanding came from probing and as Wollongong and Warnambool proved productive and disaffected artists wanting to make visible their stand, issues facing Australia in the ensuing decade. Previously, progressive thinking. Cause, effect and panacea of social “I hope very much that by 1988 when we celebrate the 200th influential. In Fremantle Praxis seeded the Poster while clients for national campaigns or community it had been her shunning of the media that had been well “Our expectations were very high, assuming we all showed ills and issues were all considered accumulatively. Yet anniversary of white occupancy of Australia, we relative Workshop and hosted several political poster exhibitions advertising commissioned others. Hawke’s informed documented, which on occasion, given the absence of her an equal level of assertiveness, competence and honesty. while this may have defined her approach to life and newcomers will have developed a greater some of which were on a touring circuit of alternative art interest in the humanist and social themes of life, and public voice seemed to be confused with an inability to And sometimes our youth and inexperience caused us to understanding of the historical process which has 29 learning it did not preclude her from being prepared to her willingness or desire to make these central to her sacrifice individual sensitivities for what was seen to spaces. have a public voice. interfered with a viable, strong culture and therefore speak out, to share opinion and to take a position in a role in the Lodge meant that through her voice she can be be the greater need of the collective, the community or have a more sensitive and informed set of attitudes declarative manner. She was ever mindful to not directly seen to have had something in common with the bold and As Bob Hawke’s profile strengthened during the tumultuous the funding body.”28 Tangible Influences instead of a knee jerk emotional reaction to a dilemma in address government policy, though she was prepared to impassioned messages and imagery emblazoned on art posters years at the ACTU in the late 1970s, the decision as to The Earthworks Collective became increasingly more the too hard basket.”26 offer thoughts and ideas regarding certain matters of across the country. whether he would stand for the Federal Seat of Wills was The evolution of poster collectives was organic. There was political and specific in their agendas — Aboriginal land social justice with relation to women, Indigenous analysed in the media. Hazel Hawke was repeatedly referred cross fertilisation of artists and presses. A number of rights, gay and lesbian rights, the women’s movement, Australia, immigration, the environment and the broad In an exhibition tracing the history of poster art in to as intelligent and media-shy. She had herself written individuals moved between or helped establish different anti-nuclear stance, the environment and unemployment. spectrum of the disadvantaged. All of which were in some Australia Roger Butler wrote: to the Melbourne Age in 1977 seeking respect for the way on the government agenda in the 1980s. privacy of the families of politicians and public figures, “Artists (or art workers) active since the 1960s also have which in action, despite its plea does not suggest someone Much that she espoused was underlined by the principles the belief that art has a social purpose….Through their shy of media. of a sense of fair mindedness and equivalence in society posters they seek to communicate knowledge about , 1988. and the importance of having choice: contemporary society and its structure, and to suggest It was not surprising that when Bob Hawke did decide to ways in which it might be improved.”11 run for the Federal Seat of Wills in 1979 and the press “Let us look forward to a future where there is real equal ‘leap frogged’ him into the Prime Ministership, the focus opportunity for women, where women may realistically And former Collective Member and researcher Julia Church on Hazel was how she would publicly handle this role. The choose — and I emphasise choose, not ‘feel obliged’ — to observed:

question was asked of Bob before it was asked of Hazel. Undoing History participate together with men in all walks of life, “Community-based organisations have carried new ideas contributing talents for the benefit of all Australian across Australia, introducing concepts like disarmament, “Its clear that Hazel – how shall I put it? doesn’t have society.”6 human rights, aboriginal land rights, feminism and gay social pretensions. She derives her pleasures in very “Today we celebrate the coming of And, on another occasion: rights into the vernacular. Cooperative presses have acted normal sort of way. But if that position ever arose I’m sure she’d discharge whatever responsibilities went with “I have no doubts about our responsibility. The quality as a mouth-piece for these issues and they have been vital snon-Aborigines to Australia — it. And she’d do it in a very, very unostentatious way.”13 of our whole society is enhanced if all its parts are to the development of Australian literature and art, publishing the work of experimental writers and artists healthy and viable, so we could even choose to look at it At times journalists seemed bemused in their speculations: sinvaders is I suppose the in terms of self-interest that we work towards and when commercial printers and publishing houses refused to John Curtin Prime Ministerial 7 do so. The presses have championed the right of people to Library. Records of Hazel contribute to a better life for everyone.” “She wears earrings proclaiming “No Dams” counts feminist Hawke. Hazel Hawke on a school shape their world.” 12 sstringent word” visit, JCPML425/167 Silkscreen print, 50 x 65cm Courtesy Kerry Stokes Collection, Perth Alison Alder, Redback Graphix

“Let us look forward to a future where Earthworks Poster Collective reflected social concerns of a family woman or career woman, she answered to office is inappropriate due to varying lengths of terms and other the time and their posters are often inscribed with considerable applause ‘I don’t classify myself’.33 This is priorities. Patronages were causes or organisations for which Hazel Hawke agreed to act as Patron, some of which she maintained after there is real equal opportunity for women, slogans such as “Earthworks for the Good of the Community why one of the most profound effects Hazel Hawke had as a leaving the Lodge. and Another Social Reality by Earthworks Poster persona in the 1980s was that she led by example and For example: John Curtin Prime Ministerial Library. Records of Hazel where women may realistically choose — and Collective.” offered a seemingly successful model for women who had Hawke Diana Warnock interview with Hazel Hawke ABC radio, Perth 23 previously felt alienated or denied by the women’s September 1985, JCPML00388/2 I emphasise choose, not ‘feel obliged’ — to Roger Butler further outlines the imperative and immediacy movement. She was not an extremist but a person of 7 John Curtin Prime Ministerial Library. Records of Hazel Hawke. that often drove the production of posters underlining substantial open views while managing to maintain and Quoted in Bruce Montgomery ,‘Girls face long march to equality — Mrs participate together with men in all walks their social and political intent describing the Hawke, The Australian August 1985 JCPML00428/14 celebrate her status as a mother, wife, grandmother. 8 frequently underground nature of the activity: John Curtin Prime Ministerial Library. Records of Hazel Hawke Opening Speech National Conference of Aboriginal Women, 30th March of life, contributing talents for the On a personal level it could be suggested that the role 1984, Speech Vol JCPML00350/1 “Pasted up at night around Sydney, these posters helped 6 in the Lodge came to Hazel Hawke at an optimum time for 9 Hazel Hawke described this course of her life on numerous occasions 30 benefit of all Australian society.” politicise a generation.” her to be able to embrace it and bring to bear upon it an in speeches and in interviews. She spoke at some length about the energy and hitherto unrealised potential. There was a values of her parentage in a radio interview with Philip Adams, John The poster collective pervasion was a product of a period John Curtin Prime Ministerial Library. Records coincidental synergy with the spirit of the times. There Curtin Prime Ministerial Library. Records of Hazel Hawke. Reference of Hazel Hawke. Hazel Hawke speaking at the and mobilised by social and political circumstance. By the tape JCPML00388/28. See also Hazel Hawke, My Own Life Text Publishing National Press Club luncheon, 1984, JCPML425/278 was a bearing of the soul of Australia itself as it came Bi-Cententary in 1988 Julie Ewington in an essay for the Company Melbourne, 1992 pp105-107 and pp131-134 to terms with a hollow celebration and a maturing of its 10 significant Adelaide Festival exhibition Right Here, John Curtin Prime Ministerial Library. Records of Hazel Hawke. place on the world stage. Whilst being undeniably giving Geraldine Doogue Interview with Hazel Hawke ABC 10 July 1987, Right Now Australia 1988 was able to evaluate the in the role Hawke often acknowledged that she would not JCPML00388/10. In this interview Hazel Hawke describes how ‘she longed John Curtin Prime Ministerial Library. Records of Hazel Hawke. Hazel Hawke importance of the activity of collectives and poster art be so keen were it forever…she welcomed it as a phase to join WEL’ but lacked the confidence and recognised that her dancing with Yeundemu women, 1988, JCPML425/325 in the previous fifteen years: perceived associations with Bob Hawke at a time when he was not only. popular with WEL would have inhibited her involvement. This was also activists amongst her closest friends, meditates Ð and in Canberra.18 seeing this as the key to the improvement of one’s “Works in this exhibition contribute to the increasingly discussed in an interview with Cherry Ripe 2BL, 1987 John Curtin Prime Most revealing is the extent that issues discussed and Ministerial Library. Records of Hazel Hawke. JCPML00388/7 eats brown rice. On some subjects her views are more position of disadvantage. From this premise Hawke rich stocks of divergent imageries in contemporary which fuelled and were pictorialised by the poster makers 11 Roger Butler, The Streets as Art Galleries—Walls Sometimes Speak 14 A turning point: The National Press Club Address, Australian life, using both older and more recent cultural radical than those held by women half her age” frequently extrapolated to speeches on women, children, then, remain relevant today, though the dialogue of today Poster Art in Australia, National Gallery of Australia, Canberra 1994, Australia Day 1984 stocks in Australia, whether iconographic, emotional or Aborigines and migrants. is possibly more controlled, cautious and classified for p 6. With regard to any misconceptions about her ability versus In response to a brief, the 1984 National Press Club political. But there is a special history which brought 12 and by the media. Without Classification enables us to Julia Church, Pressing Issues Contemporary Posters from Local Co- her will in the public role, Hazel herself made telling speech is roaming in nature, moving between observations printmakers to their current degree of sophistication, operative Presses, State Library of Victoria, 1990 Women reflect upon this and to revisit the impact of Hazel Hawke remarks some five years later in 1987 in an interview with of life at the Lodge, revelations about her personal In 1983 at the launch of a Seminar on Children’s Week which, as it were, prepared them for the demands of this 13 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Liz as a significant voice of the 1980s and as a Hickson, ‘Bob Hawke at the Turning Point’ Woman’s Day 10 December ABC journalist Geraldine Doogue. negotiations of being a wife and mother, and her view of Hawke stated: Bicentennial year”.31 politics and society. Critically, she singled out three representative in the Lodge who refused to be ‘engineered 1979, p5 Hawke Family Scrapbooks JCPML00428/8 14 Common to many assessments of Hazel by that time Doogue issues on which she expanded; Welfare, Women, Aboriginal The scope and profile of poster art diminished as the or classified’. The extent of her impact is yet to be John Curtin Prime Ministerial Library. Records of Hazel Hawke, Sun “You will grow into added responsibility if your Herald Hawke family ScrapbookJCPML00428/8 began by commenting on Hazel’s ‘growth’ in the job. She 1980s progressed although some dedicated artists maintain fully measured and perhaps can only be in the context of Women. She outlined ‘the four powers’ of relationship, commitment and self-esteem are in tact. Self esteem is 15 responded, “I assiduously avoided being a public figure consideration of many residents of the Lodge and Ob Cit resources, information and decision-making as being important … there’s nothing more debilitating for children their preferred print medium in their practice. Campaigns 16 15 comparative times in Australian history. Perhaps this is John Curtin Prime Ministerial Library. Records of Hazel Hawke. Steve but I didn’t feel overawed.” crucial for positive and creative living, so defined by than a mother who folds up or who becomes a martyr in the and artist driven messages are still abundant in the free immeasurable, something that is implausible to quantify. Perkin Sydney Morning Herald 1984 Hawke Scrapbook of Cuttings Her occasional frosty handling of the media was respected. the Action and Resource Centre at the Brotherhood of St business of mothering.”21 post cards found in cafes across the country and sometimes JCPML00432 Empirically, there seems a pattern of individuals for “She answers the first two questions but then asks if the Laurence. Powers from which she considered ‘as a group on billboards. Others have claimed that a subliminal 17 John Curtin Prime Ministerial Library. Records of Hazel Hawke. Peter interview is about her or her husband. Her disdain shows women have in varying degrees been excluded’. In the Press Club Address she welcomed the Sex artistic influence has occurred in graphic design, film, certain times and Hazel Hawke coincided with a time of Bowers ‘Peacock:after the victory, as for sword Sydney Morning Herald, that timidity will not be tolerated”16 Her stoicism in the Discrimination Bill of 1984 while suggesting that in the videos and books as previous poster artists take up roles considerable social growth in Australia. Notably she was 29 September 1984 JCPML00428/13 cognisant of this and up to it. 18 John Curtin Prime Ministerial Library. Records of Hazel Hawke face of drug use within her own family and her choice to Welfare longer term it would be preferable if such legislation in art direction and production management. 19 Ibid confront it publicly through the media was widely praised. In the Press Club Address Hawke’s comments on welfare are weren’t necessary. With the benefit of hindsight it is possible to consider From almost diametrically opposite points in the social 20 John Curtin Prime Ministerial Library. Records of Hazel Hawke. in essence didactic, perhaps as a residue of her recent poster art as quite a raw and coarse form of political “Although the pressure must have been tremendous, Mrs “Of course there’s been much progress since grandma’s day, spectrum of Australia — Hazel Hawke in the Lodge and the Transcription of speech Vol…JCPMLJCPML00350/1. academic studies, but there is no question to the art, although this does not necessarily dilute its 21 Hazel Hawke made the disclosure with dignity and it seems to me though that real flexibility and choice Poster Collectives dotted around the country in makeshift John Curtin Prime Ministerial Library. Records of Hazel Hawke. conviction of her words: effectiveness, purpose or artistic worth and what it may Transcription of speech Vol…JCPML00350/1. composure, proving again, if proof were needed, that she will only come when the whole of society is comfortable or recycled premises — each mediated distinct rites of have spurned. It is also possible to reflect that Hazel 22 Ob Cit is one of the heroic survivors of our time.”17 passage in the freedom of speech and expansion of ideas “From the process of rehabilitation or learning to cope with the attitudinal change which is necessary, and until Hawke’s relationship with the media and her attitude to 23 for a generation of Australians. John Curtin Prime Ministerial Library. Records of Hazel Hawke. Jane with and improve one’s position of disadvantage, whether that occurs, some battles are won and some are lost, but Singleton Interview with Hazel Hawke Radio 2GB Newstalk 1988 As the decade progressed she became what would now be her role was similarly formative, beginning tentatively its physical or psychological or material, one must feel the war continues.”22 and flourishing in a way that the Labor Party itself JCPML00388/20 termed a media darling. Hawke was invited and accepted to 24 a participant and not that it is being done to one or for realised it exceeded expectations or understanding. A Margaret Moore Ob Cit guest host the popular commercial program, The Midday In 1988 on the day after the fourth anniversary of the Sex 25 one by others. This gives a positive feeling of some power different benchmark was set. Ibid Show, guest host the Michael Schulberger radio broadcast 26 and control in ones own life”19 Discrimination Act, Hawke in an interview with Jane Ibid in Melbourne and write her own column for the Sydney Singleton reiterated the sentiment of that day, “Can’t 27 Julia Church Ob Cit. Conclusion Endnotes Telegraph newspaper. Media engagements that would have In an earlier speech on The Spirit of Volunteerism20 the change attitudes with legislation but can give them a kick 1 29 ibid When asked in 1994 about what might be a successful life John Curtin Prime Ministerial Library. Records of Hazel Hawke. been unprecedented from residents of the Lodge. seeds of this had been evident. She spoke of the along”23 2 Neil Mitchell Interview with Hazel Hawke, ABC radio 19.9.95, For a comprehensive listing of exhibitions across Australia see Roger or how would a successful life be measured Hawke claimed confidence building virtue of volunteer work and its JCPML00388/26 Butler, The Streets as Art Galleries—Walls Sometimes Speak Poster Art that she ‘couldn’t make a statement about that considering However, the earliest and most critical turning point in contribution to self-esteem. In her own experience Hazel Hawke was never fearful of an opportunity to address 3 John Curtin Prime Ministerial Library. Records of Hazel Hawke. in Australia, National Gallery of Australia, Canberra 1994 pp101-102. 30 it too complex and then in her customary way scrolled 4 how she grasped the job and how she was received in it voluntary work with the Brotherhood had led her to paid the status of women. Although she was later to describe Interview, Reference Tape 1 of 3 September 1994. JCPML0388/31. Butler Ob Cit p 49 32 through apparent opposites— positives, sadness’s, 5 John Curtin Prime Ministerial Library. Records of Hazel Hawke. came with her formidable presentation to the National work and to higher study. it as ‘entering the lion’s den’ in 1985 she addressed in In an interview by the author with Hazel Hawke in Sydney October Press Club on the occasion of Australia Day 1984. It was Melbourne the Column Club on Women and Advertising. She difficulties, opportunities for growth. She claimed the 2001, Hawke described her attitude upon entering the Lodge and the Interview, Reference Tape 1 of 3 September 1994. JCPML0388/31. this occasion (another first for a wife of a Prime She returned to these ideas in numerous subsequent was present for the launch of Fair Exposure, the worst thing is to be stuck’32. Her sentiments that the most role of wife to the Prime Minister as being determined to making modest shift can bring change was reiterated. “Every post a winner”. See also her biography Hazel Hawke, My Own Life Minister) that made many take note and in which she set speeches. She advocated welfare as a global responsibility Government publication from the newly formed Office of the Text Publishing Company Melbourne, 1992 Ten years earlier after the delivery of her 1984 National the agenda for the issues that she was to address and linked it with the inestimable value of self-esteem, Status of Women and she spoke of women and employment at 6 It is recognised that this is but one means of calculating a repeatedly and unwaveringly during her term in the Lodge Press Club address when asked whether she saw herself as workload, and that comparisons on this score with other wives in the colourful solutions www.magenta.net.au