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Art & Working Life Slide-Kit, Union Media Services

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Art & Working Life Slide-Kit, Union Media Services Art & Working Life slide-kit, Union Media Services The following slides from the Art & Working Life slide-kit are reproduced here from a copy sited in the archive of Ian Burn. The accompanying script has been transcribed from Art: Critical, Political, a book edited by Sandy Kirby in 1996 focusing on Ian Burn’s work in the Australian labour movement, as a key activist and historian of the 1980s. Only small edits and corrections were made and do not affect the integrity of the original, leaving the idiosyncrasies of Burn’s writing style intact. The kit itself was produced by Burn for Union Media Services, a design and communications company working for trade unions primarily ran by himself and fellow art worker Ian Milliss. The slide-kit’s purpose was to provide a short overview of the history of working class culture in Australia and give contemporary examples of the ways in which the Art & Working Life program was fostering cultural work in the labour movement. As a joint initiative between the Australia Council for the Arts and the Australian Council of Trade Unions, the Art & Working Life program funded and promoted the creation of cultural activities by artists, art workers, and unions in and out of the workplace. As Burn and Kathy Muir wrote in 1992, the program aimed to ‘encourage art practice and policy which is informed by the concerns and issues affecting workers own lives and acknowledges working class cultural traditions and the multicultural nature of those traditions.’1 Terminated in 1986, it has an ambivalent legacy: some criticised it for catering too much to the desire of artists and the ‘values of the artworld’, while others saw it as an instrumentalisation of art for political aims.2 As an informational tool of this program, designed to be distributed amongst art workers, artists, and unions, its ideological claims are at the surface of its functioning and inherent to its purpose as a slide-kit. Below is Kirby’s introduction, outlining Burn’s use of parallel texts: In 1984 Burn produced, through Union Media Services, an ‘Art & Working Life’ slide kit for the Australia Council, which he updated and revised two years later. Two texts were provided. One, to be read aloud, the other supplying more detailed back-up information on the projects, the artists involved and the policies supporting Art and Working Life projects. The optimist of the mid ‘80s is captured in the spoken text reproduced here with slides from the 1986 kit. The second text is also reproduced but with editorial changes. Repetitive or additional information about publications (Badges of Labour, Banners of Pride - aspects of working class celebration; All Our Working Culture; Land of Promises; ‘Art & Working Life’, Caper 13; ‘Art & Working Life’, Caper 18; ‘Working Class, Working Culture’, Caper 19; ‘Loco’, Caper 23), photographic displays, film hire and music recordings has not been included. Union titles have been retained although amalgamations have lead to many name changes since the slide kit was prepared.3 Nicholas Tammens 1 Kathie Muir and Ian Burn, Creative Alliances : Unions & the Arts : Art & Working Life in the 1990s, Sydney, N.S.W.: Union Media Services Pty Ltd, 1992 2 For further information, see Ann Stephen, On Looking at Looking: The art & politics of Ian Burn, The Miegun- yah Press, 2006 3 Sandy Kirby, in Ian Burn, Art: Critical, Political, Uni- versity of Western Sydney, 1996, p.11 Slide 1 (Title slide) Slide 4 (Newspaper headlines: Sweating) …no matter whether it is the late nineteenth Slide 2 (ACTU policy quote) century or the late twentieth century. These headlines are from the Australian Workman (The Official Organ of the Trades and Labor Council of New South Wales) 21 February 1891. ‘Sweating’ refers to very hard labour for low pay and under poor working conditions, especially in the tailoring or clothing trades. Slide 5 (Right To Work march, 1982) ‘The history of the trade union movement shows a significant impact on the cultural life of Australia and its development in the passt. This impact needs to be extended and developed in the current circumstances.’ ACTU Arts & Creative Recreation Policy, 1980. For these reasons, trade unions Slide 3 (Tom Roberts, ‘Shearing the Rams’) were formed to protect the interests of working people… The Right To Work march from Wollongong to Sydney (85km) took place in November 1982. The banner was produced by Redback Graphix and commissioned by the Wollongong Out of Workers Union. Slide 6 (List of unions, 1891) Sometimes works of art, like this, depict the ‘dignity of labour’ but are often there is little dignity in the conditions of labour… …and became the organised structure of the labour movement which now includes nearly 3 million workers or 55 per cent of the workforce. This list of early trade unions is taken from the back page of the Australian Workman, 21 February 1891. 2 Slide 7 (Stonemasons’ banner) Slide 10 (Pressers’ banner) While building by hand the ‘temples of Trade union banners have been a continuous culture’ - the art galleries and the tradition in Australia from the middle of the universities - trades unionists developed nineteenth century to the present, with the their own cultural traditions, closer style of banners changing with the period… to the needs and interests of their members. One important tradition has been the trade Slide 11 (Carpenters and Joiners’ banner) union banner… In 1856, stonemasons in Melbourne and Sydney were the first workers in the world to successfully strike for an eight hour working day. This banner was commissioned from the Sydney firm of Althouse and Geiger in 1903, to replace older banners which were beyond repair. The building on the left is the portico of the Art Gallery of New South Wales; on the right is the Great Hall of Sydney University. Both are examples of the stonemasons’ skills. Slide 8 (Lithgow march, 1900s) …as with this nineteen-thirties banner. Today, the cultural importance of the older banners is being recognised and many are being conserved and displayed in museums and art galleries. And new banners are being commissioned. Banner for the Western Australian branch of the Amalgamated …carried ceremoniously in both Society of Carpenters and Joiners painted by Harald Vike, as a struggle and celebration. The banners convey project of the Workers’ Art Guild. the sense of pride… Slide 12 (Miscellaneous Workers’ banner, Newcastle) An Eight Hour day march, Lithgow, New South Wales, c. 1900-1910 Slide 9 (Pressers’ banner - detail) Some are based on traditional designs… This one is of a number of banners painted by Birgitte Hansen, in conjunction with the Newcastle Workers’ Cultural …pride in trade and craft and skills, Action Committee. The design for the 1983 banner of the and in the knowledge which is part of those Miscellaneous Workers’ Union is based on the old banner of skills. the Leather Dressers who became affiliated with the Miscellaneous Workers. The figures are of two union The Pressers’ banner was made in the late 1880s. members, a nightwatchman and a school cleaner and the Note the flat iron (or ‘goose’) entwined with ribbon hanging vignette shows a view of Newcastle including the hospital in the floral decorations. where many union members work. 3 Slide 13 (South Coast Miners Federation banner) Slide 16 (Food Preservers banner, SA) …while others reflect contemporary designs …or the patterns of labels from and techniques. preserved fruit cans. Banner produced by Redback Graphix (with others) for Banner painted and appliqued by Kathie Muir for the the South Coast Miners Federation (NSW) in 1981. It has been Food Preservers’ Union of South Australia in 1986. The fruit prominent in many marches and industrial actions in the designs on the border are based on the traditional labels glued Wollongong area. onto fruit boxes and cans. Slide 14 (Metal Workers’ banner, Newcastle) Slide 17 (Timber Workers’ banner, Victoria) A rich variety of techniques have Banner painted by Birgitte Hansen for the Newcastle been used, from traditional painting Metal Workers’ Union in 1983. like this banner… Slide 15 (AFULE banner, SA) Banner for the Australian Timber Workers’ Union in Victoria painted by Geoff Hogg (with assistance by Ilma Jasper and Kaye Douglas, and backing sewn by Beverley Jasper) in 1984. Aspects of the design are based on an earlier Timber Workers’ banner. Slide 18 (HEF No.1 banner, Vic) A banner can incorporate the wheels of a locomotive… Banner painted by Ann Newmarch for the Australian Federated Union of Locomotive Enginemen, South Australia, for their centenary in 1986. …to silkscreening images onto the canvas, as with this banner, to sewn and appliqued banners. Banner painted and printed (silk-screened) by Kathy Walters and Julia Church for the Hospital Employees’ Federation, Victoria No.1 Branch, in 1984. 4 Slide 19 (HEF No.2 banner, Vic) Slide 22 (Actors Equity banner - back) These banners continue and extend the idea …but, with today’s communications, of an art related to work… their use is being expanded, as the banners increasingly become the symbols of Banner painted for the Hospital Employees’ Federation, Victoria the union issues to television audiences No.2 Branch, by Ilma Jasper (with poles designed and carved by throughout Australia. Ted Titley) in 1984. The painting is based on photographic documentation of Willsmere (Kew Mental Hospital), with a map Slide 23 (BLF banner - back) plan providing the structural basis for the design. Slide 20 (HEF No.2 banner, Vic - detail) There is also a demand on artists to innovate, to develop imagery and expression specific to the experiences of the union …rather than leisure. It is an art informed members today. This banner is based on the by the concerns and issues affecting the view looking down from the top of a workers’ own lives, and sets out to revalue building under construction, a sight the work experience.
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