The exhibition showcases major works by significant Australian and international artists who have created sculptures especially for the site.
Looking at the sculpture garden created by the exhibition from the main roadway provides a pleasant enough vista. Once out of your car and on your feet walking the ground the vistas are marvellous.
The layout placement of the sculpture exhibition has been done with a creative flair that creates a landscape of the imagination. Simply it all works.
The site suits the exhibition. Its expansive space giving the sculptors the opportunity to create an aesthetic that sets off their work.
Tour and walk guide Monica outlined the trials and tribulations of getting heavy equipment onto the site to set up the artworks was a feat in itself. To the viewers in our party they were certainly impressed by it all.
Tour guide Monica said that the staff and students have started using the grounds around the lakes since the exhibition and sculpture park were created.
Well being and public art
Public art has a positive effect on the community and people’s self-esteem, self-confidence and well being. An article in The Guardian examined the well-being effect of public art on communities and stated:
Alex Coulter, director of the arts advocacy organisation Arts & Health South West believes that: “Particularly when you look at smaller communities or communities within larger cities, [public art] can have a very powerful impact on people’s sense of identity and locality.
Apparently it is the participatory side of getting community involvement that brings out the positive effects on people.
Maybe it is the walking around the picturesque landscape provided by the WSU grounds staff and gardeners. Maybe it is the landscape gardening and native vegetation set off by the water features. Maybe it is the quiet and solitude in the middle of a busy Campbelltown.
Whatever it is in the sculpture garden, whether provided by the permanent WSU sculpture collection or the exhibition works, the site has a positive serenity that is hard to escape. It certainly attracts the staff and students.
The CHN blogger was out and about recently and attended an informative and interesting talk at Belgenny Farm in the Home Farm meeting hall. The presentation was delivered by Peter Watson from the Howell Living History Farm in Lambertville, New Jersey, USA.
Mr Watson, an advocate of the living history movement, was the guest of the chairman of the Belgenny Farm Trust Dr Cameron Archer. Mr Watson was on a speaking tour and had attended a living history conference while in Australia.
Peter Watson and Howell Living History Farm
Peter Watson presented an interesting and far ranging talk about Howell Living History Farm in New Jersey and its programs. He was responsible for setting up the Howell Living History Farm.
Mr Watson said, ‘He initially worked in the US Peace Corps in West Africa and gained an interest in the living history movement through teaching farming methods.’
‘The 130 acre farm was gifted to the community in 1974 by a state politician with the aim of showing how farming used to be done in New Jersey.
Mr Watson said, ‘We took about 10 years to get going and deal with the planning process, which was tenuous for the government authorities who own the farm. Politics is not good or evil but just develops systems that do good for people. New Jersey state government have purchased development rights per acre from land developers.’
Howell Living History Farm is located within a one hour of around 15 million and the far has 65,000 visitors per year and 10,000 school children.
Mr Watson said, ‘The main aim at the farm is the visitor experience. The farm represents New Jersey farming between 1890 and 1910 – a moment in time.’
Mr Watson says, ‘We do not want to allow history to get in the way of an education experience for the visitor. The farm visitors are attracted by nostalgia which is an important value for them.
Most historic farms are museums, according to Mr Watson and he said, ‘At Howell Farm visitors become involved in activities.’
The farm uses original equipment using traditional methods and interpretation with living history.
The living history movement is concerned with authenticity and Mr Watson said, ‘Living history is a reservoir of ideas in adaptive research using comparative farming methods between decades.
Mr Watson illustrated his talk with a number of slides of the farm and its activities. He stressed to the relieved audience that the farm activities used replica equipment, not historic artefacts.
‘This is a different experience for school groups and we do not want to do up all the old buildings. Different farm buildings show a comparative history – 1790, 1800, 1850,’ Mr Watson said.
Stressing how the farm lives up the principles of the living history movement Mr Watson said, ‘The farm is a learning, education and entertainment facility using traditional farming methods that provide an authentic and ‘real’ experience. The farm seeks to preserve the traditional methods which have cultural value.’
Howell Farm’s educational programs engage students in the real, season activities of a working farm where hands-on learning experiences provide the answers to essential questions posed by the New Jersey and Pennsylvania State Standards of Social Studies, Language Arts, Science and the Next Generation Science Standards. The farm’s classic, mixed crop and livestock operations accurately portray the era of pre-tractor systems, creating a unique and inspiring learning environment where history, technology, science converge…and where past and present meet.
‘The farm is a guided experience and there are interpreters for visitors. Story telling at the farm is done in the 1st-person.’
‘The farm has a cooking programme for the farm crops it grows, which is popular with organic producers and supporters of organic farm products. Crops grown using traditional methods include oats, corn and wheat.’
‘The farm sells some its produce and it includes honey, corn meal, maple syrup, used horse shoes, wool, flour.
‘We sell surplus produce at a local market. Activities include apple peeling. There is a sewing guild every Tuesday and the women make costumes.’
‘The farm has an ice house which makes natural ice during winter. Mr Watson made the point that ice making in the US was a multi-million dollar industry in the 1900s.
The promotional information for the farm’s seasonal calendar program states:
Howell Farm’s calendar reflects the cycles of a fully functioning working farm in Pleasant Valley, New Jersey during the years 1890-1910. Programs enable visitors to see real farming operations up close, speak with farmers and interpreters, and in many instances lend a hand. Factors such as weather, soil conditions and animal needs can impact operations at any time, resulting in program changes that reflect realities faced by farmers then and now.
The farm has run a number of fundraising ventures and one of the more successful has been the maze.
Mr Watson said, ‘The farm maize crop has been cut into a dinosaur maze of four acres and used as a fundraiser, raising $35,000 which has been used for farm restoration work.’
‘The farm is a listed historic site with a number of restored buildings, which satisfy US heritage authorities to allow application for government grants,’ said Peter Watson.
‘Traditional farm fences in New Jersey were snake-rail fences which have been constructed using ‘hands-on’ public workshops.’
Mr Watson stressed, ‘The farm is an experience and we are sensitive about where food comes from. Animal rights are a problem and you have to be honest about farming practices.’
The Howell Living History Farm, also known as the Joseph Phillips Farm, is a 130 acres farm that is a living open-air museum near Titusville, in Hopewell Township, Mercer County, New Jersey. WikipediaArea: 53 ha. Operated by the Mercer County Park Commission.
Young visitors to the Camden Museum love the model of the HMS Sirius, in the ground floor display area. HMS Sirius was the flagship of the First Fleet in 1788 under its commanding officer Captain John Hunter. He was later promoted to NSW Governor and in 1795 he visited the local area in search of the wild cattle and named the area the Cow Pastures Plains.
One of the key roles of GLAM sector organisations is to allow their visitors to learn things, in both formal (aka classroom) and informal settings. For the visitor this can come in a vast array of experiences, contexts and situations.
The Macarthur region has a number of galleries, museums and libraries. They are mostly small organisations, some with paid staff, others volunteer-run.
Local council galleries and libraries have the advantage of paid staff. The Alan Baker Art Gallery is located in the Camden historic town house Macaria. At Campbelltown there is the innovative Campbelltown Arts Centre and its futuristic styling.
The local council libraries and their collections fulfil a number of roles and provide a range of services to their communities.
On a larger scale the state government-run historic Belgenny Farm is Australia’s oldest intact set of colonial farm buildings in the Cowpastures established by John and Elizabeth Macarthur. A number of other colonial properties are also available for inspection.
Doing more with less
Doing more with less is the mantra of volunteer-run organisations. They all have collections of objects, artefacts, archives, paintings, books and other things. Collections of knowledge.
Collections are generally static and a bit stiff. There is a distance between the visitor and the collection. Visitor immersion in these knowledge collections is generally through storytelling of one sort or another.
The more dynamic the immersion the more memorable the visitor experience. An immersive experience will be informative, exciting and enjoyable.
This is certainly the aim of school visits. Teachers aim to immerse their school students in these collections in a variety of ways through storytelling. Hopefully making the student visit educational, memorable and enjoyable.
The learning framework
Local schools connect with local stories through the New South Wales History K-10 Syllabus. A rather formal bureaucratic beast with complex concepts and contexts. Local schools vary in their approach to the units of work within the syllabus.
Mrs Pesic said, ‘The students visit was integral in engaging the students and directing them to an area of interest’.
The school teachers posed a number of Key Inquiry Questions throughout the unit of work. The museum visit, according to Mrs Pesic, was the final part of the unit that started with a broad study of Sydney and narrowed to Camden. The students then had a ‘project’ to complete back at school.
Mrs Pesic reported that the teachers felt that they ‘had achieved the outcomes that they had set for their museum visit’.
Another local school Stage 2 group recently visited the museum, the gallery and had a walk around the Camden town centre. They too addressed the same unit of work from the History Syllabus.
Storytelling – the past in the present
The integration of local studies and inquiry-based learning by school students calls for imagination and creativity. What results is an opportunity to tell the Camden story through a narrative that gives a perspective on the past in the present.
There have been generations of story tellers in the Cowpastures and Camden district since the Dreamtime. Young people can have meaningful engagement with these folk through local GLAM organisations, ‘that cannot always be obtained in the classroom’, says Mrs Pesic.
The cows and more. So what do they offer?
All this activity takes place in the former Cowpastures named by Governor Hunter in 1795. This country was formerly Benkennie of the Dharawal people. The Cowpastures is one of Australia’s most important colonial sites.
Under European dispossession the Cowpastures became part of the Macarthur family’s Camden Park Estate from which the family carved out the private township of Camden with streets named after its founders – Macarthur, Elizabeth, John, Edward.
The Camden district (1840-1973) tells stories of hope and loss around farming and mining in the hamlets and villages across the region. New arrivals hoped for new beginnings in a settler society while the loss of the Burragorang Valley, the Camden Railway and a landscape aesthetic created sorrow for some.
The Macarthur region (1973 +) named after the famous family and the infamous Macarthur growth centre. The area is on Sydney’s rural-urban fringe and made up of Camden, Campbelltown and Wollondilly Local Government Areas.
The more things change the more they stay the same
The Cowpastures and Camden districts, now the Macarthur region, are some of the fastest changing landscapes in Australia. There is a need by the community to understand how the past created the present and today’s urban growth.
There is a need for creative and innovative solutions and ways to deliver the Camden and Macarthur stories. These are only limited by our imagination.
In these days of fake news and social media hype people have lost trust in many public institutions. Social media is king and the prominence of news can be driven by clicks and algorithms.
Trust is difficult concept to define and measure. It is a fragile belief that people and institutions can be relied upon to be ethical and responsible. Trust is critical in the effective functioning of a democracy.
It is more important than ever that there are sources that are trustworthy and produce credible evidence-based information, particularly around scientific and cultural issues.
Dr. David J. Skorton is the 13th Secretary of the Smithsonian Institute in Washington DC states in reference to recent controversies:
More and more, the trustworthiness of information is based on the perceived trustworthiness of the source. Libraries and museums are considered honest purveyors of information and places for conversation on issues of local and national significance. Today’s museums are dynamic learning hubs, using the power of art and artifacts to engage, teach and inspire. Museums touch lives and transform the way people see the world and each other.
One group of trusted institutions are museums, galleries and libraries, and within these are local community and folk museums, pioneer villages and house museums. They are genuinely authentic.
The landscape of local museums is one of the characteristics of rural and regional Australia. These local museums are managed and conducted by a host of local community organisations. According to the National Museum of Australia there are over 1,000 local and provincial museums across Australia.
Local museums tell local truths and are trusted sources of local stories and histories. Local museums are stores of memory that are built on nostalgia and contribute to well-being of the community. They are sites of volunteerism and strengthening of community. They promote local tourism, local employment, skill enhancement and training opportunities for local people.
Centred on local history local museums are not fake. They are are honest and straightforward. What you see is what you get.
The local museum tells local stories about local identities and local events, and are driven by local patriotism, parochialism and localism. They celebrate local traditions, myths and commemorations.
The local museum can vary from world class to cringingly kitsch, from antiquarian and to professional. Individuals create them from ‘mad ambition’ and shear enthusiasm.
For all their foibles they can build trust within a community. The local museum can help to build resilience through strengthening community identity and a sense of place. Local museums are a trusted local institutions, contribute to a dynamic democracy and active citizenship.
This post was originally published on the ISAA blog.
The Campbelltown Arts Centre hosted the opening of a whimsical exhibition curated by artist David Capra in April 2018.
Within the exhibition fantasies abound in a world of the imagination where the world is re-interpreted by indulgence.
The exhibition notes state there are:
A number of newly commissioned works in which artists have contemplated private and internal landscapes that have long influenced their practices…bold architectural additions… provide an immersive experience of constructed escapisms that are stongly familiar…
Influences include Hollywood Westerns movie sets and the Golden Age of Cinema. Combined with performance art by Renny Kodgers in a truck where there are ‘slow conversations’.
In October 2016 historian and author Dr Ian Willis addressed a Council Council general meeting. He spoke in support of a motion proposed by Councillor Cagney for the formation of a heritage protection sub-committee.
Dr Willis stated:
Camden Council Public Address
25 October 2016
ORDINARY COUNCIL ORD11
NOTICE OF MOTION
SUBJECT: NOTICE OF MOTION – HERITAGE PROTECTION SUB-COMMITTEE
FROM: Cr Cagney
TRIM #: 16/300825
I would like to thank the councillors for the opportunity to address the meeting this evening.
I would like to speak in support of the motion put by Councillor Cagney.
I think that a section 355 sub-committee on Heritage Protection is long over due in the Camden Local Government Area.
A panel of councillors, experts and community members could give sound and constructive advice to Camden Council on local issues of substance related to local heritage.
This could contribute to the Council’s knowledge of heritage matters within the community.
The proposed Heritage Protection sub-committee could allow stakeholders a platform to voice their concerns around any proposed development that effected any issues concerning heritage in the Local Government Area.
The proposed Heritage Protection sub-committee could seek the view of external experts on contentious heritage matters within the Local Government Area.
The proposed sub-committee could provide considered advice to Council on matters of heritage concern to the community.
Perhaps provide more light that heat on matters of community concern. Such advice might lower the noise levels around proposed development around heritage issues that have arisen in recent months.
In 2010 I wrote an article that appeared in Fairfax Media which I called ‘Heritage, a dismal state of affairs’. It was in response to an article by journalist Jonathan Chancellor about the neglected state of Camden’s heritage lists.
In the article I quoted Sylvia Hales view expressed in the National Trust Magazine that in New South Wales there had been ‘the systematic dismantling of heritage protection’ over the past five years.
I also quoted the view of Macquarie University geographer Graeme Alpin who wrote in Australian Quarterly that ‘heritage listing at the local level does not provide much protection at all’’.
I expressed the view at the time that there needed to be a ‘ thorough and considered assessment of historic houses’. And that
The current political climate in NSW is not conducive to the protection of historic houses. Heritage is not a high priority.
Six years later I have not changed my view.
The proposed sub-committee could give greater prominence to the Camden Heritage Inventory, similar to Campbelltown Council and Wollondilly Council.
In 2015 I wrote a post on my blog that I called ‘Camden Mysterious Heritage List’ in frustration after spending a great deal of time and effort trying to find the heritage inventory on the Council’s website. It is still difficult to find.
In conclusion, the proposed Heritage Protection sub-committee would be a valuable source of advice for council and provide a platform for the community to express their view around heritage issues.
Camden Council approves formation of a Heritage Advisory Committee