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How Local Art Made Australia's National Capital

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How Local Art Made Australia's National Capital HOW LOCAL ART MADE AUSTRALIA’S NATIONAL CAPITAL HOW LOCAL ART MADE AUSTRALIA’S NATIONAL CAPITAL ANNI DOYLE WAWRZYŃCZAK For my daughter Callie with love 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): 9781760463403 ISBN (online): 9781760463410 WorldCat (print): 1164067633 WorldCat (online): 1164067426 DOI: 10.22459/HLAMANC.2020 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 This publication was awarded a College of Arts and Social Sciences PhD Publication Prize in 2017. The prize contributes to the cost of professional copyediting. Cover design and layout by ANU Press. Cover photograph: Patricia Piccinini, Skywhale, 2013 by Martin Ollman. This edition © 2020 ANU Press CONTENTS Acknowledgements . ix List of illustrations . xi List of abbreviations and acronyms . xv Introduction . 1 1 . The national capital space and arts practice: 1913–1978 . 19 2 . The rapid growth of local arts and culture: 1978–1989 . 47 3 . Self-government and the arts . 89 4 . Bitumen River Gallery – evolution and early years . 105 5 . Transition: BRG to CCAS . 163 6 . Transformation: Transcending the local . 185 Conclusion . 245 References . 253 Index . 269 ACKNOWLEDGEMENTS Canberra’s arts community has extended much kindness and moral support to me over the last decade. During those years, I have had the privilege of working across visual arts, dance, theatre and music, and within community arts and the multicultural communities as a writer, curator, stage manager, mentor and facilitator. Thank you, to all of you – you are our city’s beating heart. Thanks, also, to Canberra Contemporary Art Space staff, Annika Harding, Sabrina Baker and Alexander Boynes, and particularly David Broker for support and friendship; my daughter Callie, my Canberra family and Anna Pafitis, Anne Chung, Helen Musa, Deborah Clark, Gordon Bull, Robyn Craig, Helene Halliday and Robert Wellington; Professor Helen Ennis, who steered me through the final year and a half of my PhD candidature from which this history arises – her own exceptional scholarship is inspiring; the ANU School of Art and Design community and the School of Art History and Art Theory, led by Professor Denise Ferris, for their support; and Raewyn Arthur, who was there from the beginning. My grateful thanks to all those who, in person, by phone and via email, shared their experiences and memories with me with such generosity of spirit. I acknowledge the incomparable Jan Wawrzyńczak whose moral, emotional and physical support afforded me the luxury of study, and whose life, spent as it was in the cultural service of the minoritised and dispossessed, continues to give me courage and inspiration. ix HOW LOCAL art MADE AUSTRALIA'S NatiONAL CAPital I pay my respects to the Ngunnawal people, on whose land we live and make our work, and to their elders, past and present. May your many thousand years of meeting and cultural sharing, with the Gundungurra to the north, the Ngarigo to the south, the Yuin on the coast, and the Wiradjuri inland, continue to enrich our arts and cultural communities. x LIST OF ILLUSTRATIONS Figure 1. Canberra School of Art building, circa 1980s ............8 Figure 2. Group exhibition, Bad girls: twenty witness 1000, 8 February – 16 March 2013. Installation photograph, detail ...........14 Figure 3. Opening of Canberra Mothercraft Society, 1927 .........23 Figure 4. One of many posters made at Megalo for Jobless Action. Artist unknown .....................................44 Figure 5. Memorial advertisement submitted by S Brown. 69 Figure 6. Bill posters appreciated, BRG opening exhibition poster, printed at Megalo, April 1981 .........................113 Figure 7. David Morrow, Well I’ve never heard of YOU either, screen print, postcard, BRG opening invitation for 4 April 1981 ....114 Figure 8. Alison Alder, Share the shitwork: even a man can do it, 1981, brown paper bag, screen print, 25 x 20 cm, Bill posters appreciated, BRG opening exhibition. 115 Figure 9. Collective members ‘doing it for themselves’, BRG Gallery ......................................119 Figure 10. Collective members ‘doing it for themselves’, BRG Gallery ......................................119 Figure 11. Alison Alder and Gaida Serilus, Trevor Nickolls, From Dreamtime to machinetime, exhibition poster, 1–17 May 1981 ..121 Figure 12. Alison Alder and Julia Church, True bird grit, book cover. .134 Figure 13. Women against rape march, poster, April 1982 .........141 Figure 14. Collective members in costume for Off the beach, 27 February – 17 March 1985, 23 February 1985 ..........145 xi HOW LOCAL art MADE AUSTRALIA'S NatiONAL CAPital Figure 15. Collective members in costume for Off the beach, 27 February – 17 March 1985, 23 February 1985 ..........145 Figure 16. Julia Church, Super Doreen, 1982, poster, 102 x 76 cm ..147 Figure 17. Catriona Holyoake, I won’t see you in paradise (slut), 1983, screen print, 100 x 80 cm ........................151 Figure 18. Post-atomic card!: Working art!, colour postcard ........154 Figure 19. BRG group exhibition, Salon coda: the making of history, 10 June – 5 July 1987, installation photograph, detail .......177 Figure 20. Exterior, BRG renamed CCAS Gallery 3 .............177 Figure 21. Arthur Wicks, Mobile observatory, wooden machine (working), main blades 4 m, total length 2 x 1.3 m, installed in gallery in Site specific city, CCAS group exhibition, 10 July – 2 August 1987 ...................................178 Figure 22. Artist and policeman, preparing tyre tower; tyre tower detritus installed in gallery in Site specific city, CCAS group exhibition, 10 July – 2 August 1987 .....................178 Figure 23. Dale Frank, Satellite of love, CCAS, 11 December 1994 – 29 January 1995, installation photograph ...............197 Figure 24. Left to right: Hawk McLean, Renald Navilly (formerly Navarro) and eX de Medici, ‘Inside out’, performance art season, 26 September – 24 October 1998, CCAS Gorman House ....................................205 Figure 25. Cristy Gilbert and Anna Simic, Edible art, ‘Inside out’, performance art season, 26 September – 24 October 1998, CCAS Gorman House. 205 Figure 26. Poster advertising ‘Up till now … a season of films by independent filmmaker Tony Ayres’, ‘Inside out’, curated by Jane Barney, 25 September – 3 October 1998, CCAS Gorman House ....................................206 Figure 27. Bronwyn Sandland and Paull McKee, Beautiful home: just what is it that makes today’s home so different, so appealing?, CCAS, 11 July – 8 August 1998, installation photograph ....207 Figure 28. Poster, The Foundry, printed at Megalo, artists unknown. .218 xii LIST OF ILLUstratiONS Figure 29. Nowhere utopia. BRG touring group exhibition at THAT Space, Brisbane, 3–14 March 1987, installation photograph. Far right: eX de Medici’s Pistol, 1985, gridded black-and-white laser-copied image, 1200 x 1600 cm, printed on Canon’s first prototype laser photocopier as a 16-piece gridded image .....223 Figure 30. eX de Medici, United colours, gridded colour laser-copied image, in Goethe-Institut’s international travelling exhibition, I am you: artists against violence, art for tolerance, CCAS, 12 October – 6 November 1994, installation photograph ....227 Figure 31. eX de Medici, 60 heads, exhibition detail, laminated inkjet prints, 59.4 x 84.1 cm, CCAS travelling exhibition, ACCA, Melbourne, 24 January – 2 March 1997, installation photograph .......................................230 Figure 32. eX de Medici, 60 heads, laminated inkjet prints, 59.4 x 84.1 cm, CCAS travelling exhibition, ACCA, Melbourne, 24 January – 2 March 1997, installation photograph ........230 Figure 33. Naii Ngarrambai Wanggirali Burrangiri Nangi Dyannai Ngurui (the lay of the land is how you know your country; when you look behind you, you can always see your tracks), installation photograph, detail ..................................236 Figure 34. Naii Ngarrambai Wanggirali Burrangiri Nangi Dyannai Ngurui (the lay of the land is how you know your country; when you look behind you, you can always see your tracks), artists: Neville O’Neill, Kalara Gilbert, Megan Elliot, Gail Harradine, Michael Kennedy, Gordon Hookey, Arnold Williams, Jim ‘Boza’ Williams, Johnno Johnson, Aunty Matilda House, Joan Wingfield; exterior CCAS, Gorman House, April 1995 ...237 Figure 35. Shane Breynard and Marta Penner, Canberra Brasilia, CCAS artist exchange and travelling exhibition at CCAS, 8 September – 20 October 2001, installation photograph ....241 Figure 36. Shane Breynard and Marta Penner, Canberra Brasilia, CCAS artist exchange and travelling exhibition at CCAS, 8 September – 20 October 2001, installation photograph of hammocks strung between apartments in the Currong apartments, Canberra ................................243 Figure 37. Patricia Piccinini, Skywhale, 2013 ..................246 xiii LIST OF ABBREVIATIONS AND ACRONYMS ABS Australian Bureau of Statistics ACA Arts Council of Australia ACG Arts Council Gallery ACP Australian Centre for Photography ACT Australian Capital Territory ADB ACT Arts Development Board AETT Australian Elizabethan Theatre Trust AGNSW Art Gallery of New South Wales aGOG australian Girls Own Gallery ANCA Australian National Capital Artists ANG Australian National Gallery ANU The Australian National University
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