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MEMORIES, MATERS and the MYSTIQUE

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MEMORIES, MATERS and the MYSTIQUE MEMORIES, MATERS and the MYSTIQUE Submitted by VALARIE ROBINSON T.I.T.C. Bed. (LIB), BVA (HONS) STUDENT NO. 14314179 A thesis submitted in partial fulfilment of the MASTER OF VISUAL ART- by RESEARCH SUPERVISORS: NEIL FETTLING STEPHEN TURPIE School of Visual Arts and Design Faculty of Humanities and Social Science La Trobe University Bundoora, Victoria, 3086 Australia APRIL 2011 - 1 - ABSTRACT What was the contribution of the women who pioneered Mildura? The contribution and the endowment made by female pioneers to Mildura, is rarely recorded or acknowledged in historical documents and newspapers locally. Through reading about pioneer women in Australia, novels written between the 1880’s and 1920 and the role of women in history and prehistory, I researched why women, not just the pioneers, have become almost invisible in written records. The laws of the land and the customs of the Christian Church perpetuated the myth that women were the weaker sex and doomed them to life in the background supporting the hero, the masculine1. Male dominated perspective of feminine crafts such as embroidery and the fibre arts contributed to their exclusion from the mainstream of art and their rejection by art historians.2 With the rise of feminism in the 1890’s and more radically and profoundly in the 1970’s, the acceptance of the value of both women and women’s work, became possible.3 Art made a century ago by males and females confirmed the evidence of biased historical documentation in books and newspapers. However contemporary artists now use a variety of media without specific boundaries to express their concepts, emotions, criticisms on life. Women artists have challenged the male dominated arts industry to become accepted for their talent, perspectives and insight into society. Contemporary artists who have researched the historical, the domestic, feminine arts and the loss of personal and collective memory have become my focus, which I have employed to make art which records historical narratives and reinstates memories of pioneer women. This thesis and exhibition examines and elevates the pioneer woman to a place of importance as the supporter and nurturer of the new colony, reviving collective memory in installations covering broad categories in Homage to Federation, and I am… you are… , to individual stories in The Veil, augmented by the collaborative tea cosy installation, I’ll put the kettle on. These concepts are explored through text, textiles, soft sculptures, and quilts, the tea cosy and paper doyley installation. The use of the sewing machine to construct, to draw, to write text, honours the history of women, their crafts and the passing of skills from one generation to the next. 1 Grieve 1981, pp. 3-24 2 Parker 2010, p.2 3 Auther 2010, pp. 97-103 - 2 - STATEMENT OF AUTHORSHIP: Except where reference is made in the text of the thesis, this thesis contains no material published elsewhere or extracted whole or in part from a thesis or any other degree or diploma. No other person’s work has been used without due acknowledgement in the main text of the thesis. This thesis has not been submitted for the award of any other degree or diploma in any other tertiary institution. Signed V. Robinson - 3 - CONTENTS TITLE PAGE .......................................................................................................................................... 1 ABSTRACT ............................................................................................................................................ 2 LIST OF PLATES .................................................................................................................................. 6 INTRODUCTION .................................................................................................................................. 8 BACKGROUND ................................................................................................................................... 13 MILDURA ........................................................................................................................... 14 INVISIBLITY OF WOMEN ................................................................................................. 15 SOCIAL AND POLITICAL CHANGES .............................................................................. 16 FEMINISM .......................................................................................................................... 16 CONNECTIONS .................................................................................................................. 17 MEMORIES ........................................................................................................................ 19 BIAS VERSUS MEMORY .................................................................................................... 19 REALISM ............................................................................................................................ 20 THE PERCEIVED TRUTH ................................................................................................. 21 INTERPRETATION OF WRITTEN WORD ........................................................................ 24 ART HISTORY ..................................................................................................................... 25 LOST INDIVIDUAL VOICE ............................................................................................... 28 LOST COLLECTIVE VOICE .............................................................................................. 30 PAST EVENTS- EPHEMERAL ........................................................................................... 32 MATERS ............................................................................................................................................... 33 THE WOMAN ..................................................................................................................... 33 INVISIBILITY ...................................................................................................................... 33 EMBROIDERY .................................................................................................................... 34 THE DOMESTIC ................................................................................................................ 35 MODERNISM/POSTMODERNISM ................................................................................... 37 FEMINISM .......................................................................................................................... 38 ART/CRAFT ........................................................................................................................ 41 QUILTS ............................................................................................................................... 44 TEXT ................................................................................................................................... 47 COLLABORATIONS ........................................................................................................... 47 - 4 - THE MYSTIQUE ................................................................................................................................. 50 MATERIALS ........................................................................................................................ 50 Function .............................................................................................................................. 50 Form .................................................................................................................................... 52 METHOD ............................................................................................................................ 53 CHRONOLOGY .................................................................................................................. 54 EXHIBTION ........................................................................................................................ 59 CONCLUSION ..................................................................................................................................... 66 REFERENCE LIST ............................................................................................................................. 69 JOURNALS ......................................................................................................................... 71 ORAL INTERVIEW ............................................................................................................. 71 PAPERS .............................................................................................................................. 71 WEB SITES ......................................................................................................................... 72 APPENDIX A………………………………………………………………………………………….74 APPENDIX B………………………………………………………………………………………….77 APPENDIX C………………………………………………………………………………………….78 APPENDIX D………………………………………………………………………………………….79 APPENDIX E………………………………………………………………………………………….80 APPENDIX F………………………………………………………………………………………….81 APPENDIX G……………………………………………………………………...………………….82 APPENDIX H…………………………………………………………………………………………83 APPENDIX I………………………………………………………………………………………….84 - 5 - LIST OF PLATES PAGE Plate 1 Valarie Robinson (n.d.) Grandmother’s tea cosy. 18 Velvet, silk, silk thread, unknown batting Plate 2 Frederick McCubbin (1904)
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