Daub was a magazine written and illustrated by students of the National Gallery of Art School, now the Victorian College of the Arts (VCA) in the 1940s. Then located in the State Library of Victoria building, painting instruction for the School took place in a long, light bathed studio overlooking Little Lonsdale Street in the city. The 3rd edition of the student magazine published annually from 1947 till 1961, DAUB (1949) is one object in the 44 boxes of the Lucy Kerley collection, which spans 9.42 kilometres. Generously illustrated with artworks, stories and poems by the current students, these documents are a rich source of the juvenilia produced by Melbourne’s artists of the 1940s and they give a glimpse into the life of the Art School and its students in the bustle of post-war Melbourne. Continue reading “‘Daub’ 1947, 1948 and 1949: The Magazine Produced by Students of the National Gallery of Art School”
Daub is a student art magazine which records the first steps in the artistic careers of some of Australia’s most important artists. Several articles reflect the challenges of life at the School and the torment of the creative process, but they also record the self-awareness of these young artists about their place in the Western art lineage and their commitment to progressing contemporary art.
For a conservator, troubles begin, as troubles often do, in a collection, a museum or perhaps, in an archive. Materials change, degrade and then, comes the worry that we’ll lose a piece of history or a moment in time. However, the powers of digitisation have made many collections accessible today in what appears to be a visual freezing of time. In fact, as in fiction, this desire has continued for as long as collections continue to grow – our desire to have and to hold for as long as possible[i]. As an unsuspecting conservator browsing thorough DAUB (1949)[ii], a student art magazine by the National Gallery Art School, I found that it set off these reflections on time and artists. The materiality of time was evident in the thirty yellowed pages of drawings and articles printed in monochrome blue ink. Working with contemporary artists as part of my profession but recalling the saying that reading a book is like looking into someone’s mind, I found myself exploring how these student writings, particularly the more humourous or ironic notes and cartoons in the magazine, resonate nearly seventy years later. Continue reading “What changes? What makes an artist?” →
Frank Tate, born 18 June 1864 near Castlemaine, Victoria, was one of Australia’s most esteemed educators of the 19th and 20th centuries. After discovering a talent for teaching as a pupil-teacher at the Old Model School on Spring Street in Melbourne in 1877, Tate began a hugely successful career in teaching that led to his appointment as the first Director of Education in 1902. Frank Tate was critical of the education system that he inherited, a system that included a narrow curriculum, low teacher training, low teacher salaries and the ‘payment by results’ system of remuneration. As a founding member of the State School Teachers Union of Victoria, Department of Education inspector, a key contributor to the Theodore Fink Royal Commission into technical education, and as Director of Education Tate lobbied for the introduction of ‘new education’ and reform in Victorian schools. Tate’s educational reforms introduced a more liberal and creative approach to education, with the inclusion of literature and poetry into a curriculum that had previously been defined by wrote-learning and strict discipline. Tate was vocal about the under-resourced and under-funded plight of rural Victorian schools, and believed that all Victorian children should have equal access to a well-funded and well-taught public education. Tate has been recognised by colleagues and students as a man of wit and charm, who frequently quoted Shakespeare, and who fostered a sense of dignity among the undervalued teachers of Victoria. Continue reading “The Frank Tate Diaries” →
Supporting democracy and human rights is one of the six principles of the Universal Declaration on Archives was adopted by the 36th Session of the General Conference of UNESCO on 10th November 2011. In acknowledging International Human Rights Day on the 10th of December each year, archives and their Galleries, Libraries, Museums (GLAM) colleagues have a professional obligation to reflect on their role as custodians of records document human rights violations.
Lachlan Glanville, Assistant Archivist, Germaine Greer Archive
Removable media such as floppy disks from the early days of PC ownership are now degrading rapidly and becoming increasingly difficult to access. Without swift action, years of unique records could easily become irrecoverable. Archivists at UMA have been collaborating with colleagues across the University such as Research Platforms, Digital Scholarship and the ESRC on a pilot project on how to extract and preserve digital records. The Greer Archive removable media is one case study. Continue reading “Hexed – discoveries and challenges in archiving born-digital records” →
Dr Rachael Weaver
School of Culture and Communication, University of Melbourne
I first became interested in the Australian writer William Hay ten years ago, when Ken Gelder and I re-published Hay’s 1921 story, ‘An Australian Rip Van Winkle,’ in our Anthology of Colonial Australian Gothic Fiction (2007). The tale is a delightfully strange one, about a stockman named Jake, a romantic figure who resembles the writer R. L. Stevenson; only he is ‘slightly more melancholy.’ It begins with a meditation on the idea of the ‘nowhere road’ – the kind of mysterious sandy white track that winds its way into the Australian bush and seems to promise all kinds of imaginative destinations. Hay’s quaint story was published a little late in the day to be considered strictly colonial, but something about it seemed to belong to the nineteenth century. Like much of Hay’s writing, it has qualities that are anachronistic and modern at the same time. Continue reading “Considering the literary archive: William Gosse Hay” →
It is a photograph of an dusty street in an unnamed city. There are bicycles and a blurry power line. In the background is a low-rise building that might be a market. In the foreground – dominating the scene – is a ceremonial gate, which appears to be made of wood. It is topped by a large dome.
Oscar T. Serquiña, Jr.
A personal photograph collection may reveal the roots and routes of its collector’s life. While its primary function is to collate representations of objects, persons, and events, a collection may also lay bare more than what is visible to the eye. Such is the uncontainable paradox of archival materials, especially photos, after all: on one hand, their enduring presence contracts, as well as suspends in motion, the humanity and entity they capture, but it also allows them to allude to the outside world to which they once belonged or continue to belong, on the other. Such is the case of Una Porter’s photo album in the University of Melbourne archives, which largely contains photographic souvenirs—ranging from portraits of individuals and groups to shots of sprawling landscapes and still lives, to documentations of ordinary objects and lush flora and fauna—from trips to countries such as China, Hong Kong, Japan, Egypt, and India. While some photos seem to have emerged from Porter’s missionary and philanthropic work, others look rather touristy, curious, and quotidian. Continue reading “On Una Porter’s Photograph Album” →
Accompanying the photographs are captions written by Ms Porter. These captions present an insight into Ms Porter’s reactions to some of the people and places that she saw. Of particular interest are three photographs captioned. The first is an image of a bearded man with a Tilaka painted on his forehead, indicating that he is probably of Indian heritage. This image is captioned The Thoughtful East. The second is an image of two western women, clearly distinguished by their clothing and complexions. One of these women is possibly Una Porter herself. This image is captioned The Thoughtless West. The final image is a group photo of twenty Indian men and one white male. The group are wearing of mixture of western attire and Indian garments. This photo is captioned Masters. Jaupur. Individually, these photographs do not provide any context for their creation and rely entirely on the larger photograph album to provide that context and the story of Ms Porter’s journey throughout South Asia. As the entire photograph album has been digitised along with these photographs, the viewer has access to all of Ms Porter’s time in the sub-continent however and makes these three photographs more poignant as a result. Continue reading ““The Thoughtful East” / “Masters. Jaupur”” →
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