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A Study of the Art Gallery of New South Wales and Australian

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A Study of the Art Gallery of New South Wales and Australian A Study of the Art Gallery of New South Wales and Australian Aboriginal Art: Aboriginal Perspectives and Representations in State Art Galleries Vanessa Russ Bachelor of Fine Art (Honours), College of Fine Arts, UNSW This thesis is presented for the degree of Doctor of Philosophy of the University of Western Australia School of Architecture, Landscape and Visual Arts May 2013 i Vanessa Russ: Dissertation Abstract This study of the Art Gallery of New South Wales explores the role that Australian Aboriginal art has had in one important state institution. It also provides the groundwork for furthering our understanding of how state art galleries manage their discourses of Australian and Aboriginal identities. The search by Aboriginal people, for belonging and trust in national representations, continues to challenge state art galleries. If as art historian Amelia Jones suggests the notion of art, art history and art institutions are inventions, then such inventions should make room for new art and new art theory (Jones 23). While state art galleries are currently working to generate new displays of Australian art that include Australian Aboriginal art, there remains no complete study of how any state art gallery has managed its Aboriginal collections. This study of the role of Australian Aboriginal art within the Art Gallery of New South Wales provides evidence of personal advocacy as the driving force behind its achievements. Here personal advocacy and by extension, cultural subjectivity, is the key to the creation of an art gallery. ii Vanessa Russ: Dissertation Table of Content 1. Abstract page ii 2. Table of Content page iii 3. Acknowledgement page v 4. List of Figures page vi - vii 5. Prologue page viii - x 6. Introduction page 1 - 17 7. Chapter One: Culture, Community and Place: The Home of the AGNSW page 18 - 54 8. Chapter Two: The Art Gallery of New South Wales: 1871 to 1940 page 55 - 106 9. Chapter Three: The AGNSW and the Creation of an Australian Aboriginal Art Collection: 1940 to 1971 page 107 - 160 10. Chapter Four: Australian Aboriginal Art and Curatorship in the AGNSW: 1973 to 1990 page 161 - 208 11. Chapter Five: The realignment of Australian Aboriginal art in the AGNSW: 1990 until today page 209 - 267 Part One: A Full-Time Curator and Expansion of Exhibition Space: Daphne Wallace page 217 - 234 Part Two: Exhibitions of Aboriginal Art and Mainstreaming: Hetti Perkins page 235 - 266 12. Conclusion page 268 - 274 13. Bibliography page 275 - 286 iii Vanessa Russ: Dissertation Declaration I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UWA or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UWA or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. Signed....................................... Date.......................................... iv Vanessa Russ: Dissertation Acknowledgements I would like to acknowledge the Cadigal people of the Eora Nation on whose land the Art Gallery of New South Wales currently stands. I would like to acknowledge and thank the support of Professor Ian McLean, my initial supervisor, and Associate Professor Darren Jorgensen, my main supervisor for this dissertation, as well as the Dean of Architecture, Landscape and Visual Arts, Professor Simon Anderson, and the Architecture, Landscape and Visual Arts team. Thanks to the Art Gallery of New South Wales and its dedicated team Cara Pinchbeck, Jonathan Jones and Amanda Peacock, Steven Miller, Deborah Edwards and Tony Bond for their generosity. Thanks must also go to Hetti Perkins, Bernice Murphy, Leon Paroissien, Allan Lloyd, Renee Free, Ken Watson, Annemarie Brody, Margo Neale, Djon Mundine, Carly Lane, Clotide Bullen, Daniel Thomas and Clarence Slockie, for sharing their knowledge and experience on things that are not written down in books. Thanks to my support network in no particular order - Arana, Melanie, Laurel, and all my family and friends. My gratitude must go to my Grandfather Bobbie. I thank the University of Western Australia for nominating me for the Tarling-Hetherington Scholarship in Fine Arts in 2010. I dedicate this paper to my Grandmother Laura Russ. v Vanessa Russ: Dissertation List of Figures 1.1. Postcommodity, Do You Remember When? 2009-12. Page 18 1.2. Warrun also known as Circular Quay Page 21 1.3. Woccanmagully also known as Farm Cove Page 21 1.4. Mud map of the Royal Doman and Botanic Gardens Page 23 1.5. Cadi Shelter, Botanic Gardens Page 33 1.6. Dubbagullee, Sydney Opera House Page 36 1.7. Woolloomooloo Bay and Sydney Heads from Domain Page 40 1.8. Lachlan Macquaries Wall, Botanic Gardens Page 40 1.9. Garden Palace, for Sydney International 1879 Page 49 1.10. Etching Fine Arts Annexe 1879 Page 49 1.11. Sydney Tropical Centre Page 50 1.12. Hyde Park towards the Botanic Gardens Page 51 2.1 Mechanics Institute, 280 Pitt Street Page 62 2.2 Etching of Academy nomination Page 65 2.3 Clark’s Assembly Rooms c 1875 Page 67 2.4 Conrad Martens, Apsley Falls, watercolour, 1874 Page 71 2.5 Ford Madox Brown, Chaucer at the court of Edward 111 Page 73 2.6 Photo of Royal Botanic Gardens map Page 81 2.7 British Collection, Fine Arts Annexe, AGNSW Page 83 2.8 Interior, Garden Palace, Sydney International 1879 Page 88 2.9 Ethnological collection in Garden Palace circa 1878-1882 Page 89 2.10 Spear Heads at the South Australian Museum Page 90 vi Vanessa Russ: Dissertation 2.11 Garden Palace after fire 22 September 1882 Page 91 2.12 Art Barn and Facade AGNSW circa 1895 Page 93 2.13 Interior AGNSW circa 1905 Page 94 2.14 Basement Court circa 1900 AGNSW Page 99 3.1 Installing Pukumani, AGNSW, circa 1958 Page 141 3.2 Board Room, AGNSW circa 1970s Page 152 3.3 19th Century Australian Art Court Page 154 3.4 Extensions added to building AGNSW, circa 1972 Page 155 3.5 Central Court, AGNSW, circa 1972 Page 156 4.1 Installation photograph of Tribal Gallery 1973, AGNSW Page 166 5.1 Eastern end of the AGNSW Page 222 5.2 Eastern corner of the AGNSW Page 223 5.3 Interior Yiribana Gallery, AGNSW Page 225 5.4 Installation view, Bennett scale model, 2008, AGNSW Page 255 5.5 Pukumani installation 2009, AGNSW Page 257 5.6 2012 exhibition Pukumani in Australian Gallery, AGNSW Page 257 5.7 Promotional image for Art + Soul, 2010, AGNSW Page 259 vii Vanessa Russ: Dissertation Prologue The idea of doing a study on the Art Gallery of New South Wales and its relationship to Aboriginal art came from several events. As an undergraduate at the College of Fine Arts, University of New South Wales in 2008, I enrolled in a unit on Australian Art run by Joanna Mendelssohn who did most of the teaching at the AGNSW. This gave me an opportunity, through meeting Co-ordinator of Public Programs for Aboriginal art and curator Jonathan Jones, to work as an Aboriginal teacher/lecturer at the AGNSW in Public Programs for around 18 months. On moving to Perth to do further study at the University of Western Australia, I was invited back to the AGNSW in 2010 to assist with the open weekend for Art +Soul, 2010. On that occasion I got to meet many of the artists whose works are held in the Aboriginal Art Collection and to hear their stories and learn about their work from them. It seemed that a large amount of the history on the Aboriginal Art Collection in the AGNSW, and its ongoing development, was relayed verbally by the very knowledgeable full-time employees of Public Programs and the Aboriginal Art Department. However, there was no complete institutional history of the AGNSW and Aboriginal Art within it. This dissertation therefore aims to provide the gallery with new knowledge as well as new understanding of its historical relationship to Australian Aboriginals, though in no way is it complete. This research aims to contribute to our understanding of state art galleries and the role they play in Australian culture and the arts. Materials accessed for this dissertation are based on the Minutes of the New South Wales Art Academy, the AGNSW Annual Reports, and newspaper clippings from the AGNSW Edmund viii Vanessa Russ: Dissertation and Joanna Capon Research Library, document boxes of Tony Tuckson and exhibition boxes. I also took into account two summary accounts of histories on the Art Gallery of New South Wales, The Art Gallery of New South Wales: Changing shape Changing Function, 1871-1987 by Cecilia Alfonso is a manuscript in the reference library in the AGNSW and Art Gallery of New South Wales: Highlights from the collection by Edmund Capon the AGNSW Director. The latter includes an introduction researched by Steven Miller, the Head Librarian in the AGNSW Edmund and Joanna Capon Research Library, which briefly outlines the gallery history. Steven Miller also assisted this research by directing my search. In The Sydney Art Patronage System 1890 -1940 by Heather Johnson was an additional publication that supported the research. I also note that there are archive boxes from Hal Missingham a Director of the AGNSW at the National Library, in Canberra.
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