Recent exhibition, Creativity & Correspondence: The George Paton Gallery Archive 1971-1990 and other images from the archive.

The appointment of Kiffy Rubbo in October 1971 as Director of the Ewing Gallery and Rowden White Library, marks the beginning of one of the most influential contemporary art spaces in Melbourne’s history.

The Ewing Gallery (as it was then known) was established in 1938 to house a permanent exhibition of The Ewing Collection of Australian painting. The collection was exhibited continuously from 1938 until October 1971. When Kiffy Rubbo was appointed the brief for the Ewing Gallery was expanded to begin a program of changing temporary exhibitions with funding provided by the student union.

The first Australia Council grant round was held in 1973 and the Ewing received $3,000 towards its 1974 program. Council funding was received every year until 1990, and this transformed the operations of the gallery and greatly improved the quality of exhibition documentation from 1974 onwards.

In a unique position at the beginning of the 1970’s as Australia’s only avant-garde gallery with institutional support, the Ewing and George Paton benefited from the investment of energy made by a large group of young experimental artists and associated students and academics. Amongst the diverse range of exhibitions and events held during the 1970’s and 1980’s can be found most of Australia’s acclaimed contemporary artists, curators and art writers of today.

Creativity & Correspondence: The George Paton Gallery Archive 1971-1990 explored key relationships and the creative process between artists and gallery directors during the first two decades of the gallery’s history. The exhibition featured original archival material including correspondence, photographs, slides, catalogues, early video art and posters.

Students in Art Curatorship and Cultural Heritage Charmaine Ching, Alice Mathieu and Jeremy McEachern had the opportunity to curate the exhibition through the University’s Cultural Collections Projects program. The exhibition drew inspiration from the beginnings of the blog created by archivist Georgina Ward.

The exhibition also launched the recently-completed catalogue of the archive,  catalogued with support from the Russell and Mab Grimwade Miegunyah Fund.

The opening night was a great success, with many attending and fantastic speeches from Dr Heather Gaunt, Curator of Academic Programs, Ian Potter Museum of Art, University of Melbourne; Dr Meredith Rogers, director, designer and dramaturg, Honorary Research Associate, Latrobe University and Dr Janine Burke, historian, writer, and curator, Monash University.

Thank you to all who attended the opening night and visited the exhibition.

Kiffy Rubbo in Gallery Office, undated, George Paton Gallery Collection, 1990.0144 BWN/1285 University of Melbourne Archives
Kiffy Rubbo in Gallery Office, undated, George Paton Gallery Collection, 1990.0144 BWN/1,285
University of Melbourne Archives
Photograph (digital reproduction of slide) Denise Robinson and Vivienne Shark Lewitt working in George Paton Gallery Office George Paton Gallery Collection, 1990.0144 SL/6,292 University of Melbourne Archives Denise Robinson (May 1982-Jan 1986) went on to be the founding Director of Artspace in Sydney
Photograph (digital reproduction of slide)
Denise Robinson and Vivienne Shark Lewitt working in George Paton Gallery Office, c.1982-c.1986
George Paton Gallery Collection, 1990.0144 SL/6,292
University of Melbourne Archives
Denise Robinson (May 1982-Jan 1986) went on to be the founding Director of Artspace in Sydney
Meredith Rogers in Gallery Office, undated, George Paton Gallery Collection, 1990.0144 BWN/1,306 University of Melbourne Archives
Meredith Rogers in Gallery Office, undated, George Paton Gallery Collection, 1990.0144 BWN/1,306
University of Melbourne Archives
Poster 5 Artists + 5 Architects Howard Arkley, Howard Ragget, John Nixon, Ian McDougall, Roger Kemp, Peter Corrigan, Tony Clark, Ivan Rijavek, Julie Brown-Rrap, Norman Day,  Mixed Media  George Paton Gallery George Paton Gallery Collection, 1990.0144.0533  University of Melbourne Archives
Poster 5 Artists + 5 Architects
Howard Arkley, Howard Ragget, John Nixon, Ian McDougall, Roger Kemp, Peter Corrigan, Tony Clark, Ivan Rijavek, Julie Brown-Rrap, Norman Day,
Mixed Media
George Paton Gallery
George Paton Gallery Collection, 1990.0144.0533
University of Melbourne Archives
Poster Reel Women Clare Jaeger, Sue Ford, Madelon Wilkins, Natalie Green, Women's Collective, Half Way House Collective, Monique Schwarz, Carole Sklan, Kerry Dwyer, Maureen McCarthy, Hanna Dunn,  Film screenings, discussions and workshops George Paton Gallery 27 April 1981-1June 1981 George Paton Gallery Collection, 1990.0144.0533  University of Melbourne Archives
Poster Reel Women
Clare Jaeger, Sue Ford, Madelon Wilkins, Natalie Green, Women’s Collective, Half Way House Collective, Monique Schwarz, Carole Sklan, Kerry Dwyer, Maureen McCarthy, Hanna Dunn,
Film screenings, discussions and workshops
George Paton Gallery
27 April 1981-1June 1981
George Paton Gallery Collection, 1990.0144.0533
University of Melbourne Archives
Poster Art Show  c.1986 On September 28 1985, the Union Board voted to close the George Paton Gallery, however due to a variety of legal obligations, such as existing contracts with staff, the decision was reversed by the Vice Chancellor and a reprieve was granted to August 1986. In the interim the fate of the gallery was to be decided by two referenda of the student body.  George Paton Gallery Collection, 1990.0144.0534  University of Melbourne Archives
Poster Art Show
c.1986
On September 28 1985, the Union Board voted to close the George Paton Gallery, however due to a variety of legal obligations, such as existing contracts with staff, the decision was reversed by the Vice Chancellor and a reprieve was granted to August 1986. In the interim the fate of the gallery was to be decided by two referenda of the student body.
George Paton Gallery Collection, 1990.0144.0534
University of Melbourne Archives
Poster Australian Women Artists:            One Hundred Years: 1840-1940 Mixed Media  Curated by Janine Burke Ewing and George Paton Galleries 2 September 1975-27 September 1975 George Paton Gallery Collection, 1990.0144.0533  University of Melbourne Archives
Poster Australian Women Artists:
One Hundred Years: 1840-1940
Mixed Media
Curated by Janine Burke
Ewing and George Paton Galleries
2 September 1975-27 September 1975
George Paton Gallery Collection, 1990.0144.0533
University of Melbourne Archives
Catalogues on diplay, courtesy of George Paton Gallery.  Note, collection catalogues available for access through University of Melbourne Archives Photograph: Sandie Bridie
Catalogues on diplay, courtesy of George Paton Gallery. Note, collection catalogues available for access through University of Melbourne Archives
Photograph: Sandie Bridie
Opening Night: Janine Burke speaking about her involvement in the gallery, being a student at University of Melbourne, working with Kiffy Rubbo and curating her first show, 'A Room of One's Own' 1974.
Opening Night: Janine Burke – Reflecting on early curatorial experiences
Photograph: Sandie Bridie
Opening Night: Janine Burke
Opening Night: Janine Burke
Photograph: Melinda Barrie
Opening Night
Opening Night: Susan Hewitt viewing collection items
Photograph: Sandie Bridie
Opening Night: Meredith Rogers (assistant director 1974-1979) – Reflecting on working with artists and curators in the Gallery
Photograph: Sandie Bridie
Opening Night: Meredith Rogers (George Paton Gallery Assistant Director 1974-1979), Katrina Dean (University of Melbourne Archivist), Shane Carmody (Library Senior Development Manager) and Sandra Bridie (University of Melbourne Student Union Arts Programs Coordinator) Photograph: Melinda Barry
Opening Night: Meredith Rogers (George Paton Gallery Assistant Director 1974-1979), Katrina Dean (University of Melbourne Archivist), Shane Carmody (University of Melbourne Senior Development Manager) and Sandie Bridie (University of Melbourne Student Union Arts Programs Coordinator)
Photograph: Melinda Barrie
Opening Night: Art Curatorship student Charmaine Ching (Centre); Mark Rubbo and Susan Hewitt (far right) Photograph: Melinda Barrie
Opening Night: Sandie Bride (Universiyt of Melbourne Student Union, Arts Programs Coordinator), Meredith Rogers (right). Photograph: Melinda Barry
Opening Night: Sandie Bride (University of Melbourne Student Union, Arts Programs Coordinator), Meredith Rogers (right)
Photograph: Melinda Barrie
Opening Night: Cultural Heritage student, Jeremy McEachern
Photograph: Melinda Barrie
Art Curatorship student, Alice Mathieu, invigilating Exhibition Photo: Sandie Bridie
Art Curatorship student, Alice Mathieu, invigilating Exhibition
Photograph: Sandie Bridie


Exhibition!

George Paton Gallery
11-27 September

Creativity and Correspondence:
The George Paton Gallery Archive 1971-1990
Presented by the University of Melbourne Archives
Curated by Charmaine Ching, Alice Mathieu and Jeremy McEachern and Georgina Ward

The University of Melbourne’s Ewing and George Paton Gallery was at the forefront of modern art experimentation in the city from the 1970s. Creativity & Correspondence: The George Paton Gallery Archive 1971 – 1990 explores key relationships and the creative process between artists and gallery directors during the first two decades of the gallery’s history. The exhibition features original archival material including correspondence, photographs, slides, catalogues, early video art and posters.

The exhibition launches the recently-completed catalogue of the archive, catalogued with support from the Russell and Mab Grimwade Miegunyah Fund.

Exhibition to be opened by
Dr Meredith Rogers, director, designer and dramaturg, Honorary Associate, Latrobe University and former assistant Director of the George Paton Gallery and Dr Janine Burke, historian, writer and curator

IMAGE: Kiffy Rubbo in You, Them  & Us
Video installation by Judi Stack and Bob Weis, September 1977 Ewing Gallery, University of Melbourne Archives

September 2013
11
OPENING NIGHT

5-7pm

Speeches 5.30pm

RSVP
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In Sisterhood: collectives for women, by women

In the late 20th century female writers were supported by relationships with publishers and the editors of feminist journals, whose aim was to nurture the development of writing by women, for women.

Founded by a close team of five women, including Hilary McPhee and Diana Gribble of McPhee and Gribble fame, Sister’s Publishing was a feminist company with working relationships with significant female writers such as novelist Beverley Farmer, historian Patricia Crawford and poet Rosemary Dobson.  Joyce Nicholson, one of the founders of Sister’s Publishing, outlines their purpose   “to ensure that anything worthwhile written by women would not be overlooked”[1]  a goal with both positive and negative consequences as “we felt that every woman who had ever written anything got it out of her bottom drawer and sent it to us.”1 The workload was too great to sustain and in 1984 Sister’s Publishing ceased operation.

Still in publication, Lilith: a feminist history journal was born from an undergraduate seminar conducted by the History Department of the University of Melbourne in 1983. By 1985 the Lilith Collective was publishing “historical articles and reviews informed with a feminist consciousness”; providing a platform for feminist history students and writers to share their work.

The impact of Lilith is evident not only it the fact that it is still published, but also in the personal impression on readers. Correspondence from a subscriber working in the library of a high school describes her value of the journal, asking for more articles as she was “trying to give a gender balance to the material which usually exists in schools.” She relays that the Lilith articles she has included so far have been “very well used by the senior girl students” The letter is signed, “In sisterhood”.[2]

Whether or not this letter inspired the editors to introduce the journal to new audiences, the minutes of 23 November 1988 reveal that the idea to publicise Lilith to History teachers was raised to assist this mission of a gender inclusive curricula in schools.[3]

UMA has a range of collections from other feminist publishing houses and journals, including Sugar and Snails, a group established in 1974 to counter sexism in children’s literature, Vashti Voice, published by the Women’s Liberation Carlton group around June 1972, and editorial material of Joyce Thorpe Nicholson.


[1] Problems of a Feminist Publishing House, Box 10, Sister’s Publishing Collection 1999.0016

[2] Letter to Meg, 17th October 1988, Box 1, Lilith Collective Collection 1997.0056

[3] Minutes, 23rd November 1988, Box 1, Lilith Collective Collection 1997.0056


The Magic of Meanjin

Cover art. Meanjin. Volume 19, number 3, 1960. Meanjin, Carlton, Vic.
Cover art. Meanjin. Volume 19, number 3, 1960. Meanjin, Carlton, Vic. Reproduced with permission from the estate of Roger Kemp

Writers nurture multiple relationships throughout their career and perhaps there’s none more important than the one with their publisher.  The collections held at UMA illustrate the process of writing and publication, from the moment an idea is born to the maturation of a finished piece of writing. This relationship between writer and publisher is most evident in the archive of one of Australia’s most influential literary journals, Meanjin.

The correspondence files contained within founding editor Clement Byrne Christesen’s papers are a thrilling find for the literary fan and illuminate the working lives and relationships of editor, publisher and writer. Key figures in Australian literature such as AD Hope, Patrick White, Marjorie Barnard, and Peter Carey are highlights of this vast collection. The correspondence with poets, essayists, playwrights, novelists and critics provide an intimate insight into the myriad of relationships editor CB Christesen developed and sustained over three decades, amongst a range of financial, political and cultural challenges.

In one of his many letters to literary critic Nettie Palmer, Christesen almost apologetically explains “An editor seems to be asking all the time – or suggesting. If he merely suggests, invariably nothing is done. He must then follow it up, ask outright or demand…I’m not much good at that, making demands on people’s goodwill, on their time and energy.”[1] Christesen was clearly a talented editor; he published many celebrated figures in Australian literature and introduced Australians to international writing, whilst maintaining a journal of the highest quality with minimum funding. Although Christesen retired from editorship in 1974, Meanjin has successfully continued as one of Australia’s foremost literary voices.


[1] Letter to from C B Christesen to Nettie Palmer, c. November 1945, Box 257, Meanjin Editorial Records of C B Christesen 2005.004

Online finding aid Meanjin – Editorial records of CB Christesen

More from Meanjin can be discovered online http://meanjin.com.au/


A State of Many Stories

The Writers' State: a Literary Map of Victoria
The Writers’ State: A Literary Map of Victoria
Designed by Ron Brooks and compiled by members of ASAL from the forthcoming Oxford Illustrated Literary Guide to Australia and the Victoria 150 Literature Committee, 1981.
University of Melbourne Archives, McPhee Gribble collection 1999.0048 Box 402

Victoria’s rich literary history is revealed on The Writers’ State: A Literary Map of Victoria, with many of the big names and big stories of Australian Literature inspired by or set in the country towns of Victoria and the city of Melbourne.  This beautiful map is also a comprehensive reflection of UMA’s own collections.

The writers map places many of the authors held within the UMA collection firmly in Australia’s literary canon. Their evocative styles imbue a sense of time and place; Margaret Kiddle arouses the spirits of the first pastoralists in Victoria’s Western Districts in her book Men of Yesterday; Ray Ericksen entices you to connect with the beach and bush of Cape Otway in Cape Solitary. John Morrison and Helen Garner’s portrayals of inner Melbourne life reflect the gritty but no less poignant side of Victoria’s capital city.

We recently collaborated with Currency Press for their educational App about Ray Lawler’s seminal play about Melbourne life in the 1950s, Summer of the Seventeenth Doll. Within the dramatically large Melbourne Theatre Company collection we unearthed a cache of set designs, production notes, photographs, posters and ephemera from the 1955 premiere, up until the 1981 production.

And of course, where would Australian literature be without CB Christensen and Meanjin? Our collection of his editorship of the journal equates the significance in the literary world of Victoria, and Australia.

The Writers’ State: A Literary Map of Victoria is a telling portrait of the literary gold that has been inspired by Victoria, its landscape and its people. It not only reveals some of the treasures of our publishing and literary collections but serves as a reminder to re-discover the writers and works who may have been left by the roadside.

Hilary McPhee transferred the vast McPhee Gribble collection in 1999. With over 400 boxes of material, the collection contains author files, manuscripts, minutes, administrative and financial files, correspondence with editors, publishers and agents, as well as documents pertaining to the sale to Penguin.

The Writers' State: A Literary Map of Victoria Designed by Ron Brooks and compiled by members of ASAL from the forthcoming Oxford Illustrated Literary Guide to Australia and the Victoria 150 Literature Committee, 1981.
The Writers’ State: A Literary Map of Victoria
Designed by Ron Brooks and compiled by members of ASAL from the forthcoming Oxford Illustrated Literary Guide to Australia and the Victoria 150 Literature Committee, 1981.

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