Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art. Increasingly, however, new groups began to emerge, dissatisfied with the Society‘s role in the context of the growing presence of ‗modern‘ or modernist art. The period between 1940 and 1970 was characterised by dynamic growth in Brisbane‘s art world and artists‘ groups provided the leadership necessary to bring about lasting change as it progressed toward modernity. A great deal of art history is written around the creativity and dynamism of avant-garde artists‘ groups which are seen as harbingers of change and the main drivers of progress in modern art. Much less has been written about the role of non-revolutionary, community artists‘ groups, especially in underdeveloped art worlds and their progress towards building a mature, institutionally-rich art scene. Using Brisbane as its case study, this thesis argues that such groups have an essential role in sustaining and expanding art practice, art training, art appreciation and an art market. By examining the infrastructure of Brisbane‘s art world, and using social network analysis strategies such as ―weak ties‖ and the diffusion of innovations to understand why the Brisbane art world lagged behind more developed art worlds, this thesis provides a more nuanced view of regional art worlds, and a fuller explanation of the role artists‘ groups have within those art worlds. Non-avant-garde artists‘ groups ―till the soil‖, cultivating cultural landscapes, and by encouraging many to engage in the practice of art making, they are continuously preparing and repairing the fabric of art worlds. iii Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the General Award Rules of The University of Queensland, immediately made available for research and study in accordance with the Copyright Act 1968. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. iv Publications during candidature (Peer reviewed) Hamilton, Judith. ―Influencing the Modern in Brisbane: Gertrude Langer and the role of Newspaper Art Criticism.‖ Queensland Review 20, no.2 (2013): 203-214. Hamilton, Judy. ―Dedicated to Art: The Half Dozen Group of Artists.‖ Fryer Folios 8, no.1 (2013): 16-18. Hamilton, Judith. ―A Provincial Art World: Brisbane between 1940 and 1970 as a Case Study.‖ Journal of Language, Literature, and Culture 61, no.3 (December 2014). Pending. Publications included in this thesis No publications included. Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree None. v Acknowledgements Possibly the most enjoyable moment of completing a long and difficult project is thanking the people who have encouraged, stimulated, and guided you along the path. My first thanks must go to three people, long deceased, who encouraged my lifelong interest in learning. My parents, John Colin Watherston and Violet Frances Watson Watherston (née Greer), received only rudimentary primary education but encouraged me to go as far as I could with my education. Mr Robert Arnold Haugh, ‗Pop‘, who was my only primary school teacher, also encouraged my interest in learning and also added the dimension of art to my world. I offer them my grateful thanks. This project developed as the direct result of my lifelong belief in art as an important part of human expression in everyday life. I would not have been able to bring this work to a solid and coherent conclusion without the work of my advisory team of Dr Melissa Harper and Professor David Carter. I thank them for their support and guidance in this project and for believing that this was a story worth telling. I would also like to thank the staff at the Fryer Library for being so helpful and welcoming as I worked my way through the archives of the many Brisbane artists‘ groups. I would like to thank the office staff of EMSAH for never being too busy to deliver technical assistance when required. The members of various artists groups in Brisbane have consistently supported me in my quest to restructure thought concerning the ways in which artists‘ groups are valued in our society. I would also like to thank artists Alison Coaldrake, Don Ross, Yvonne Mills-Stanley, Rhyl and Rob Hinwood, Beverley Budgen, Joyce Hyam, Wendy Allen, and Warren Palmer for providing personal insights into the period. I am grateful also to Joan Skibby, who was associated with the Johnstone Gallery and facilitated my meeting with Don Ross and Yvonne Mill-Stanley. Finally, I would like to thank Margaret Collerton, who gave me access to her mother‘s (Muriel Shaw) writings and inspirational studio. Thanks also to my friend Jane Denison, who has always provided a willing eye to look over my work. Thanks also to Val Bartholomew for her work in proof-reading the thesis, and finally, thanks to my RHD colleagues in the Michie Building and my friends who have supported me on this journey – thanks for picking me up every time I faltered. vi Keywords Artists‘ groups, art worlds, Brisbane art, social networks, weak ties, diffusion of innovations, cultural institutional thickness, critical mass, professionalisation. Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code 190102, Art History, 100% Fields of Research (FoR) Classification FoR code 1901 Art history 100% vii Table of Contents Acknowledgements v Introduction: Brisbane‘s Art World in Context 1940-1970 1 Chapter One: Art Education: a Bridge to the Modern 25 Chapter Two: Brisbane‘s Art Market: ―Modest Work for Modest Means‖ 45 Chapter Three: Conserving Queensland Art 66 Chapter Four: ―Monstrous Daubings‖: Writing About Brisbane Art 86 Chapter Five: Encouraging Many: Royal Queensland Art Society and Half Dozen Group of Artists 107 Chapter Six: Dancing Around the Rules: Younger Artists Group and Miya Studio 127 Chapter Seven: Hundreds of Dabblers: St Mary's Studio and the Contemporary Art Society 145 Conclusion: We Have Come So Far 165 Bibliography 172 Appendix 1: Foreword YAG First Exhibition Catalogue. 192 viii List of Abbreviations used in this Thesis AAC Art Advisory Committee AGNSW Art Gallery of New South Wales AGSA Art Gallery of South Australia ANZMAG Australian and New Zealand Museum and Art Galleries Association. CASQB Contemporary Art Society Queensland Branch CAS Contemporary Art Society (Other Australian Branches) CTC Central Technical College Art Branch HDGA Half Dozen Group of Artists JDACC John Darnell Art Collection Committee NGV National Gallery of Victoria QAAA Queensland Authors and Artists Association QAF Queensland Art Fund QAS Queensland Art Society QAG Queensland Art Gallery QNA Queensland National Agricultural and Industrial Association QNAG Queensland National Art Gallery RA Royal Academy RQAS Royal Queensland Art Society UAM University of Queensland Art Museum YAG Younger Artists‘ Group 1 Introduction Brisbane‘s Art World in Context 1940-1970 Innovation results not from the contributions of exceptional people, but from numerous and diverse people working together. These people can be unlikely and unexpected.1 Art worlds are found in all urban communities.