Camden artists forewarn with historic contrast of “war and peace” in exhibition.
Camden artists Greg Frawley and Roger Percy have an exhibition entitled “War and Peace” opening on the Thursday 7 June at Camden Library.
The two artists have very different styles of art, and both are hoping to send a message to the people of Camden with their use of imagery.
The inspiration for this collaborative exhibition took lots of thought and purpose.
Roger says of the exhibition,
I thought about the phrase ‘lest we forget’, and thought about what that could also apply to. We never think of now as being a time where things like war could happen, but if people who come look at the exhibition, older or young, and think ‘lest we forget to appreciate what we have. Greg and I have expressed the message through the medium.
“Greg has his war-influenced paintings and I have my various angles of our historic town. This gave us the idea of the contrast between war and peace” said Roger.
Both Greg and Roger have lived many years in the Camden area and have become passionate about the town.
“I’ve been painting Camden for about 20 years.” said Roger about what was different about this collection. “I started painting Camden from angles I had never done before… it was inspiring.”
Roger is the peace side of the exhibition, with use of watercolour and ink to create his landscapes of Camden.
“Roger’s work is very sensitive and reflective of a beautiful townscape – which is under threat.” said Greg about Roger’s work. “It is very timely… people have memories of historic Camden… we can only hope it doesn’t change.”
Roger has recently been appointed the position as the curator of the Alan Baker Art Gallery in Camden – a historic building that is now home to the posthumous collection of works by Baker, a local of Camden.
Roger said, “My works for this new exhibition started with a focus on the gallery, and it expanded to doing unique perspectives looking in to Camden.”
Greg said, “I lived here in the fifties as a kid, I would walk all over this place, back when the town wasn’t very big.”
“I love Camden, that’s why I came back to live here.”
Greg’s works are inspired by war and conflict from various perspectives beyond Camden, and is reflective of Australian history in combination with a mixture of artistic styles.
“I’m a bit of a split personality. I love my painting and I try and do it every day. And despite my commercial art, I try and fight with purpose with my work,” says Greg.
The painting above is called ‘Ceasefire Moon’. “I’ve taken it from the three wise monkeys – hear no evil, speak no evil, see no evil,” Greg said.
Greg acknowledged the patriotism of the Australian war efforts. “There was a level of ignorance with the soldiers, they didn’t question anything they did.”
The content of my paintings is a mix of childhood memories and imagined scenarios – of representation and semi-abstraction. Unable to tap into the depth of the real experience of WW1 and not wanting to copy existing images I developed compositions which reflect my personal thoughts on the contradictions of war.
The exhibition has an official opening on the Thursday 7 June starting at 6pm. The exhibition will be on display in the Camden Library for all of June during the library opening hours.
The next prominent owner was Sydney banker and philanthropist Thomas Walker acquiring the property from Nichols sons in the 1840s. He commissioned Sydney architect Edmund Blacket to design a large two-storey Victorian mansion called Yaralla house. Walker died in 1886 and left the estate in trust to his only daughter Eadith.
Sydney architect Sir John Sulman was commissioned to extend the house to extend the house in the 1890s. He extended the second floor of the house and designed a number outbuildings including the dairy and stable buildings.
Yaralla House and the grounds are strikingly English-in-style and layout. The Arts and Crafts influenced Sulman buildings are set in idyllic setting of an English estate garden and park.
were sub-divided in 1908, 1912, and 1922, becoming estates of Federation and Californian bungalow homes built for soldiers after World War I.
Yaralla House was the ‘hub of Sydney society’ in the Interwar period, according to the Dictionary of Sydney. Eadith Walker who lived at the house during this period was a famous Sydney philanthopist and held many charity events on the property.
Yaralla House was a convalescent hospital after the Second World War and then fell into dis-repair. Much conservation work has been carried out in recent decades.
The property had many important visitors over the years from royalty to the vice-regal.
A ‘secret’ walking trail
The area has a ‘secret’ walking trail along the Sydney Harbour Foreshore. Well known to locals. Little known to outsiders. The walkway includes the Kokoda Track Memorial Walkway from Rhodes Railway Station to Concord Hospital (800 metres). It is all part of the Concord Foreshore Trail. This walk is described this way on the City of Canada Bay walks website:
This historic and peaceful walk stretches from McIlwaine Park in the Rhodes to Majors Bay Reserve in Concord. The route encircles the mangrove-fringed Brays Bay, Yaralla Bay and Majors Bay on the Parramatta River and goes around the former Thomas Walker Hospital ( a heritage listed building), Concord Repatriation General Hospital and the historically significant Yaralla Estate (one of the oldest estates in Sydney dating back to the 1790’s).
Modernism was a transnational force that embraced the Camden community.
The lands releases in the Camden suburb of Elderslie in 1960s have produced a number of houses that have expressed mid-20th century modernism. The house designs were taken from the book of project homes of the day and were quite progressive.
Australian architects including Robin Boyd were expressing Australian modernism. These architects were commissioned by housing developers like Lend Lease to design their housing estates. One such development was the Lend Lease Appletree Estate at Glen Waverley in Melbourne. Another Lend Lease land release and group of show homes were at their 1962 Kingsdene Estate in Carlingford,
The Elderslie homes were built by the miners who worked in the Burragorang Valley and they wanted new modern houses. They generated the wealth that funded the urban growth of the Camden suburbs of Elderslie and South Camden.
Elderslie was one of the original land grants to John Oxley in 1816. The area has been dominated by farming, particularly orchards and vineyards.
Elderslie examples of 1960s modernism include houses in Luker Street characterised by low-pitched rooves, open planned but restrained design, with lots of natural light streaming in full length glass panels adjacent to natural timbers and stone. There are also ranch style houses in River Road with open planning and wide frontages to the street, some architect designed.
These houses are all located in and amongst Federations style farming houses of the Edwardian period. The Federation style houses were on large blocks of land that were sub-divided during the 1960s.
The now demolished Henning’s house in Macarthur Road (image) is an example of open planned ranch style. Other modernist designs are the blocks of flats in Purcell Street, with use of decorative wrought iron railings.
Sunset Avenue in Elderslie was a new land release with a mix of 1960s modern low-pitched roof open planned houses interspersed with New South Wales Housing Commission fibro construction homes.
Other land releases of the 1960s were the New South Wales Housing Commission 1960s fibro houses some of which are located in Burrawong Road and Somerset Street.
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
There is nothing quite like experiencing history in the field to gather a feel for a place. Walking the ground provides a perspective for historians that cannot be gained by staying in the archive. Such is my experience of Goulburn. The inland city Goulburn was one of the most important rural centres in 19th century New South Wales.
The world seems to have passed the town by with its eclectic collection of building style – Victorian, Edwardian, Interwar and post-war. Tucked around every corner there is a new surprise – Catholic and Anglican Cathedrals, the imposing railway station, a grand Victorian post-office and an imposing courthouse that would have certainly made a statement about law and order in 19th century Goulburn. Another world away from the present.
Hidden in plain sight in Auburn Street, Goulburn’s main street, amongst this imposing Victorian grandeur are a number of Interwar buildings. Modernism in the 20th century is represented by the CML building and the small office of the local newspaper. The Goulburn Evening Penny Post building at 199 Auburn Street Goulburn was built in 1935. The newspaper office reflected a confidence in the future of Goulburn. A statement about the town.
The Daniels family, who owned the Penny Post, were part of the country press barons who ruled their rural media empires with an iron fist. Families liked the Sommerlads of the New England, the Sidmans of the Macarthur region, the Shakespeare family of the mid-west, the Robinsons in the Hunter, the Parkers of the mid-west, the Musgraves of Wollongong, the Motts of Albury and a host of others.
The newspaper landscape in Goulburn
Goulburn was a vibrant colonial newspaper landscape reflecting a prosperous colonial pastoral economy. While the Goulburn had a literate population it was still a frontier town. Publishers were self-made men, editors as well. Colonial New South Wales was a rugged and robust publishing environment – a boom and bust cycle.
The first newspaper in the town was the Goulburn Herald in 1848. By the 1920s 21 separate newspaper mastheads had come and gone in Goulburn. The Interwar period appears to have been a prosperous time for the New South Wales country press. According to Rod Kirkpatrick’s Country Conscience, there were 238 titles published in 1920, which was only slightly reduced to 221 in 1930.
The first issue of the Penny Post in 1870 was produced under the cumbersome masthead of the Goulburn Evening Penny Post and Southern Counties General Advertiser as a short tabloid (11 x 14 inches) of 4pp. By 1930 the Goulburn Evening Penny Post was the last standing.
Goulburn society was driven by its religious zeal and the city even had 3 religious publications. They were: The Goulburn Banner (1848 – Presbyterian), the Monthly Paper (1893 – Church of England) and Our Cathedral Chimes (1920s – Roman Catholic).
A special edition celebrates the new office building
The December 1935 edition of the Goulburn Evening Penny Post that celebrated the opening of the new office building. The edition was 36pp with most of the editorial space taken over by recounting the history of the Goulburn township and area. At the time the Post was a daily, Monday to Friday, which incorporated The Goulburn Daily Herald with a cover price of one penny.
Architect LP Burns
The anniversary edition of the ran an article with headline ‘Inside A Modern Country Newspaper Office’. The Sydney architect LP Burns designed an office building which was described as a ‘fine, modern building’ of ‘distinction’ in a ‘modern’ style.
Burns also designed Goulburn’s Elmslea Chambers at 17 Montague Street in 1934. It is described as one of the first buildings in Australia to use coloured polychrome terracotta in its façade which features a fine relief of birds, flowers, leaves and typical Art Deco sunbursts under the windows. The building was designed for wealthy pastoralist FG Leahy.
The front of Goulburn’s Elmslea Chambers was Wunderlich terra cotta polychrome panels and the Building Magazine claimed that ‘Goulburn [had] never before seen a block of offices of such a lavish and commodious nature’. The building interior had Silky Oak panelling with Tasmanian Oak inlay, with chromium light fittings with frosted green glass. The builders were Armstrong and Stidwell.
The newspaper building design
The new building of the Goulburn Evening Penny Post was an example of sleek Art-Deco styling. A stripped back minimalism of the realities of the commercial world – a no-nonsense, business-like, functional and matter of fact. Just like the owners and editors.
Art-deco styling was expression of modernism – sleek, fast, stripped back, not frilly like the Victorian frippery, not tizzy – reminiscent of the world of the railways, movies, motor cars, ocean liners, aeroplanes, consumerism, fashions, wireless. The influences coming down the Hume Highway to Goulburn. The building conveys a powerful statement about the Interwar period in Goulburn.
The Penny Post article on the newspaper office made special mention of the beacon with the lamp on top which made it different from other commercial buildings and with the shopfront Carrara glass. The journalist writing the story was keen to assure the readers that the Carrara glass front was ‘pleasing and harmonious’ and emphasised to the readers that using this type of glass could give a ‘creeping appearance of extravagance’.
Carrara glass was developed in the USA. It was a high-strength coloured glass and used globally in Art Deco and Streamline Moderne buildings. Carrara glass was usually white or blue-gray which resembled the high quality Carrara marble from Tuscany in Italy. The pigmented glass was an acceptable low-cost alternative building material.
The building frontage according to the 1935 press reports was marked by its ‘judicious display’ and ‘would attract attention in any of Sydney’s busiest streets’. The first floor of the building contained the newspaper’s editorial offices and a large strong room where the newspaper archives were kept. The report continued stating that the building was centrally heated by steam including the composing and machinery rooms. This would, it was maintained, be greatly appreciated by the newspapers employees.
The printing presses were at the rear of the building and the newsroom in the centre while the retail shopfront area dealt with advertisers and local folk buying the newspaper. There was a staff of over 20 journalists, compositors, printers, editors, clerical and retail support. These staff were witness to the daily life of the town as it passed through the doors of the newspaper office.
History in plain sight
Today the Goulburn Post building is evocative of a time when print media was king. Walking into the 1935 Penny Post office is like stepping back into the past. Into a world that has disappeared, best illustrated currently by the US movie The Post. The movie explores the buzz of the newsroom at the Washington Post and the publishing of the Pentagon Papers during the heyday of the Vietnam War. When print was king.
While the Goulburn Evening Penny Post was not a large metro daily it is easy to visualize the hive of activity in the newsroom and printing shop. The approaching print deadlines and the smoke-filled rooms amongst the evocative timber paneled rooms throughout the building.
The fabric of the building is still largely intact and retains its integrity, charm and character. The building reveals the layers of history to those who care to take a look. The building has escaped any major renovations and the building structure is as it was in 1935. If these walls could talk they would tell many great yarns of hard-bitten country press barons, editors and journos.
It is easy to image the smell of the printers’ ink; the whir of the printing presses; the buzz of the newsroom; the clacking of typewriters; and babble of conversations at the front desk with advertisers, stock and station agents, and wool merchants. The newspaper was the heartbeat of the town and the ink and newsprint flowed through arteries and veins of the community.
The current Goulburn Post, the offspring of the Goulburn Evening Penny Post, is still is located in the 1935 building. It is the hub for 10 mastheads within the Fairfax Media. Goulburn Post editor Ainsleigh Sheridan says that the newspaper is about creating community history. She would concur with the former president and publisher of the Washington Post, Phillip Graham, who is credited with saying that ‘journalism is the first rough draft of history’ in 1997.
The Goulburn Post is a tri-weekly masthead and is just one of the Fairfax Media group that is produced in the building. The Post is co-ordinated in the Auburn Street office and then sent online to Canberra for printing. In the past printing was done on-site in the back of the Auburn Street building. The current building has issues with fire regulations that did not exist in 1935 and the upstairs area is not currently in use.
The eclectic mix of architecture at the RMIT La Trobe Street Campus ranged from venues that were located in magnificent Victorian colonial building used for the administration of justice to those that were examples of ultra-modern late 20th century style of architecture.
The Storey Meeting Hall of the Hibernian Australasian Catholic Benefit Society (1887) has been remade in modern form reliving its iconography as an important symbol of Melbourne’s social and political protest movement.
Morning and afternoon teas were taken in the alumni courtyard, which was previously the car park of the Russell Street Police Headquarters. The venue provided food for thought located next door to the Old Melbourne Gaol (1842). If these bluestone walls could speak they would tell harrowing tales from the the colourful past of the site.
The conference theme of ‘Remaking Cities’ was inspired by Melbourne as an exemplar of cities that are continually remade. Melbourne was a manufacturing centre, a site of land speculation and a place re-made on the land management practices of the Kulin nation.
The process of re-making Melbourne is underpinned by the processes of settler colonialism, speculation and taking of territory. These factors cast a long shadow of how a shared future might be achieved and the role of the planning processes within these processes.
Industrial growth and development are themes that have been central to the Australia’s nineteenth-century cities, including Melbourne, and their subsequent decline by the late 20th century. The post-manufacturing period provides a whole new set of challenges for cities like Melbourne as the financial, service and cultural sectors drive urban growth.
This was a heady mix that was matched by the mix of 72 presentations from scholars, practitioners and community members across three separate streams. Delegates came from interstate and overseas (New Zealand) with a strong contingent of local Melbournites.
There were sessions ranging from: planning histories; postwar campus; heritage; land speculation; music; maps; housing; rivers and wetlands; parks and gardens; museums; governance; transport; commerce; streetscapes; quarries; urban agriculture and food systems; placemaking; to Indigenous planning and policy.
Delegates were invited to dine beneath the gallows that famously ended the life of notorious bushranger Ned Kelly on 11 November 1880. Kelly is certainly one of the icons of Australian history and has inspired poetry, song, film, art and literature. He has variously been called a bushranger, larrikin, bushman, underdog and arguably an anarchist. The venue was heavy with the atmospherics of its history and delegates could wander in and out of the cells where they could walk the ground from the past.
The bluestone walls provided a ghoulish backdrop to the sounds of Melbourne trio The Orbweavers.
The conference organising committee are to be complemented on doing a grand job.
The Camden Australia Day celebrations opened with the awards at the Camden Civic Centre where the winners of the Camden Citizen of the Year were announced for 2018. At a national level there has been a debate about the date and the day. What does it mean? When should it be celebrated? Should it be celebrated at all?
The day, the 26th January, is the foundation of the military penal settlement at Sydney Cove in 1788 and the anniversary of the coup d’etat against the Bligh colonial administration popularly known as the Rum Rebellion. By 1804, according to the National Australia Day Council, the day was being referred to as Foundation Day or First Landing Day in the Sydney Gazette. On the 30th anniversary in 1818 Governor Macquarie declared a public holiday. In 1838 the 26th January was celebrated as the Jubilee of the British occupation of New South Wales and the 2nd year of the Sydney Regatta that was held on the day. The annual Sydney Anniversary Regattas started in 1837.
On the centenary of the First Fleet’s arrival at Sydney Cove in 1888 the day was known as Anniversary Day or Foundation Day and festivities were joined by Tasmania, Victoria, Queensland, Western Australia, South Australia and New Zealand. In 1915 Australia Day was shifted to the 30th July to assist fundraising for the Red Cross and other patriotic funds after the commencement of the Gallipoli campaign.
It was not until the Australian Bicentennial that all states agreed to celebrate the 26th as Australia Day rather than as a long weekend. At the time Aboriginal Australians renamed Australia Day ‘Invasion Day’ and there has been debate about it ever since.
In 2018 the Camden town centre there was the annual street parade for the Australia Day celebrations with lots of keen participants. The town crier, Steve Wisby, led the enthusiastic crowd in a rendition of the national anthem and then a rejoinder of Aussie, Aussie, Aussie, OOyy, OOyy, OOyy. The parade included historical groups, school groups, community groups, a number of local bands, and emergency services.
A large crowd lined Argyle Street to watch the parade organised by the Camden Lions Club and the many community groups and businesses that took part in it.
Early in the day celebrations began with the Camden Australia Day Citizen of the Year. The 2018 Camden Australia Day Citizen of the Year was David Funnell. David has been a local businessman for many years and he is a descendant from one of the original European colonial settler families in the Cowpastures area. He was a councillor on Camden Council (1977-1980, 2004-2012) and a member of a number of community organisations.
The other Camden Australia Day Award winners were:
Community Group of the Year — Everyone Can Dance Charity and Camden Lioness
Community Event of the Year — The Macarthur Lions Australia Day Parade
Young Sportsperson of the Year — Amy and Natalie Sligar
Sportsperson of the Year — Maddison Lewis
Young Citizen of the Year — Lubna Sherieff.
These people are true local identities who all have stories to tell that become part of Camden’s sense of place and contribute to the the development of community identity.
The Camden Museum was open for Australia Day and by the end of the day hundreds of visitors had inspected the museum and its wonderful collection of local artefacts and memoriabilia.
The Camden Historical Society volunteer coordinator reports that there were 644 visitors to the museum on the day made up of adults and children. The visitors were looked after by 10 society volunteers who roamed around the museum making sure that the day went smoothly and did a sterling job answering their many questions.