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Identity, Culture and the Trauma of War Mediated Thorough the Visual Arts of North-East European Migrants and Émigrés to Australia After 1945

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Identity, Culture and the Trauma of War Mediated Thorough the Visual Arts of North-East European Migrants and Émigrés to Australia After 1945 Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2014 A Leap In The Dark: Identity, Culture And The Trauma Of War Mediated Thorough The Visual Arts Of North-East European Migrants And Émigrés To Australia After 1945 Eileen Whitehead Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Art and Design Commons, and the Social and Behavioral Sciences Commons Recommended Citation Whitehead, E. (2014). A Leap In The Dark: Identity, Culture And The Trauma Of War Mediated Thorough The Visual Arts Of North-East European Migrants And Émigrés To Australia After 1945. https://ro.ecu.edu.au/theses/1438 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1438 Theses Theses: Doctorates and Masters Edith Cowan University Year 2014 A Leap In The Dark: Identity, Culture And The Trauma Of War Mediated Thorough The Visual Arts Of North-East European Migrants And Emigr´esTo´ Australia After 1945 Eileen Whitehead Edith Cowan University, [email protected] This paper is posted at Research Online. http://ro.ecu.edu.au/theses/1438 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. A Leap in the Dark: Identity, Culture and the Trauma of War Mediated through the Visual Art of North-East European Migrants and Émigrés to Australia after 1945. Eileen Whitehead, BA (Hons) Visual Art This thesis is presented in fulfilment of the requirements for the degree of Doctor of Philosophy. Edith Cowan University Faculty of Education and Arts School of Communication and Arts 2014 USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. ii Abstract This thesis explores the contribution to the cultural life of post-war Australia by migrant artists from north-eastern Europe. It researches the lives and work not only of displaced artists arriving in the mass exodus from Europe after the Second World War, but also second and third generation artists descended from original migrant families, and much later émigré artists. Art histories written to date about the post-war period provide little coverage of the contribution to the art and culture of Australia by migrant artists from north-eastern Europe. The coverage in the literature written about the visual art produced by established Australian artists is far greater than that given to the migrant artists also exhibiting at the same time. Insofar as the ‘gap’ in the literature is concerned, this research reveals a number of factors which appear to have influenced the non-recognition of migrant art—such as, poor reception of abstract art in Australia post-war and the protection of established Australian artists. The impact of European abstract expressionism that migrants introduced in the 1950s had a lasting effect on Australian modern art, together with the innovation of their contemporary sculpture, which changed the urban landscape of Australian cities. This research questions the possible long term repercussions emanating from colonial Anglo- centric Australian government policies, which in turn leads to questions about the importance and location of cultural heritage, sense of identity, third space and cultural hybridity. With a focus on migrant artists from north-eastern Europe—the Baltic States and Poland—the research investigates how second and third generation artists locate their visual art in relation to their cultural environment and how they navigate between their cultural heritage and the cultural mosaic of an Australian context. The impact of war on artists from migrant families through the subjugated experience of those families is also addressed to ascertain any effect on the visual art currently being produced. Interviews were conducted with ten artists of north-east European ancestry, using an ethnographic qualitative research methodology incorporating in-depth interviews together with close analysis of artwork during interview or subsequent contact in the artists’ studios and at exhibitions of their work. Research revealed that, regarding a sense of belonging and identity, nine of the ten artists still retain a perception of living between cultures, which appears congruous with the importance of the retention of language and ‘home’ culture. Making art appears to strengthen their sense of living between cultures, and their creative praxis combines experiences passed down through iii the generations fused into their own Australian life-world, modified and shaped within a third space of meaning. The thesis argues that second and third generation Australian artists, whilst engaging with contemporary issues, make reference to cultural traditions interspersed with comment on contemporary conditions, resulting in a syncretic articulation which forms a third space of cultural transformation and unity. The investigation into the impact of war, particularly World War II, revealed that only five participating artists directly manifest war themes in their visual art. However, the repercussions of that war and the Cold War, which lasted for many years after the Second World War, appear to have been subconsciously imprinted on the artwork of all three categories of artist, i.e. second and third generation and émigré artists. The cultural aesthetics migrants introduced has had a long-lasting effect on Australian tastes generally and on art education in particular. This research underlines the particular contribution of migrant artists from north-east Europe, revealing the aesthetic value such cultural integration has produced. This research seeks to initiate dialogue and a growing understanding of the rich and complex history of art and culture which migration has stimulated in Australia since the 1950s. iv Declaration I certify that this thesis does not, to the best of my knowledge and belief:- Incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher education. Contain any material previously published or written by another person where due reference is made in the text; or Contain any defamatory material. I also grant permission for the Library of Edith Cowan University to make duplicate copies of my thesis as desired. Signature: Date: 11th August 2014 v Acknowledgements Life takes many paths, not all of which are chosen, and I consider my impulsive decision to leave Victoria and begin belated studies in Perth to have been one of two life- definng decisions. I had always regretted dropping out of Chelsea Art School in 1960 and treating art as a part-time ‘hobby’ all my life. So upon retirement I seized the opportunity to gain a Bachelor of Visual Art, which led to honours and ultimately to this enriching experience of research. For this I have to thank Dr. Janien Schwarz for having the faith in me to suggest I attempt a PhD and for advising me to pursue the theme that had subconsciously appeared in all my undergraduate work; the effect of war on humanity and my especial interest in the aftermath of World War II. This research has brought me into contact with some amazing people least of whom are the ten visual artists who participated in this study. They gave their time and patiently answered my enquiries over the three year period. Without their input and their talent this thesis would lack the vital human element necessary in an enquiry into the effect of the world we live in on the art we produce. My everlasting gratitude goes to Peteris Ciemitis, Jazmina Cininas, Bronia Iwanczak, Danius Kesminas, Maija Kins, Maris Raudzins, Marek Szyler, Gosia Wlodarczak, Jarek Wojcik and Len Zuks. Their candour in discussing their lives and work gives this thesis its integrity. They gave me the benefit of their knowledge and experience and enlightened me about their families’ traditions and culture. More importantly, they introduced me to writers and artists from the Baltic States and Poland which proved invaluable in my understanding of the region. I am forever in their debt. This thesis only reached completion due to the dedication and unflagging enthusiasm of those involved in my supervision. This support went beyond all reasonable expectations. Dr. Danielle Brady has been my saviour. Her expert guidance and forthright judgement has helped me to continually focus on the fundamentals. On my journey I have received the help and wisdom of Dr. Christoper Crouch, who relieved Dr. Schwarz during her long service leave, and Dr. Rod Giblett, who became an Associate Supervisor at a late stage in my research. His meticulous attention to detail is much appreciated. My thanks must also go to all the academics who have shown their kind interest and support throughout my time at university: Clive Barstow, Debbie Rodan, Paul Uhlman, Glen Phillips and the Faculty research support staff. Also Gregory Pryor, Bethany Andersson, Ann Beveridge, Amanda Allerding, Vanessa Wallace and all the technical support staff in Education and Arts.
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