Andrew Fuhrmann
There’s no doubt that Raymond Priestly (1886-1974) had a fondness for penguins. Open any of the fourteen volumes of his Australian diaries (1935-1938) and there they are on the inside cover. The personal bookplate of the eminent geologist and Antarctic explorer depicts an icy scene in bold black and white with a fur seal surrounded by four rather stout penguins. Continue reading “Priestley’s Penguins”
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.[1] 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[2]. 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”
Catherine Nunn
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[1].
Diana Tay
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?”
Sophie Russell
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”
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