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.
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.
One of the Australia’s most important provincial newspapers, the Illawarra Mercury has been defined by parochialism and localism since its foundation in October 1855 by Thomas Garrett (1830–91).
Initially a weekly, the Mercury cost sixpence, and had a print run of 200. Garrett had pooled his resources with W.F. Cahill, who left after three months, to be replaced in 1856 by Thomas’s father, John, a Primitive Methodist. By 1856 the Mercury had become a six-column broadsheet and was distributed to Dapto, Jamberoo, Kiama and Shoalhaven by express coach.
Involvement in community affairs and politics has characterised Mercury proprietors. John Garrett was elected Wollongong’s first mayor in 1859 and the editor, John Curr, was elected Wollongong’s first town clerk. Garret’s son, Thomas, was also a politician.
Thomas took over the paper in 1862, and soon formed a partnership with Archibald Campbell, before selling out to Joseph Hart in 1867. Campbell was the sole owner from 1883 until his death in 1903; he was elected Member for Illawarra in 1891.
In 1888 the Mercury was a tri-weekly of four pages, which featured a weekly serial. By 1901, it was published twice weekly. On Campbell’s death in 1903, his wife, Margaret, assumed control until Shellharbour local Edward Allen purchased the paper in 1905 and improved the news content. He was elected the Member for Illawarra in 1904, continuing a trend.
An Irishman, Standish R. Musgrave, bought the Mercury from Allen in 1911 and ran it until his death in 1943. He assumed the editorship, increased sports coverage and published an edition each Friday. Soon after becoming managing director of the newly formed Illawarra Newspapers Co. Ltd in 1919, Musgrave also purchased the Bulli Times and established the Port Kembla Pilot. By 1932 the Mercury had competition from 2WL, established in 1931. Wilfrid S. Musgrave succeeded his father as managing director and editor. In 1950 he converted the Mercury to a daily, a mark of modernity for a provincial centre, and changed the masthead to the Illawarra Daily Mercury.
The Musgraves were active members of the New South Wales Country Press Association for over 40 years. They mixed with the barons of the country press who sought to restrict competition, and had sympathies with the New England New State Movement and the Old Guard.
However, the Mercury was making substantial losses when it was purchased by R.A.G. Henderson, the managing director of John Fairfax & Sons, in 1959. During the next decade, circulation doubled to over 25,000. In 1968, the Henderson family merged the Mercury with its main opposition, the South Coast Times, and appointed John Richardson executive editor. The following year Fairfax became the major shareholder for a cost of $2.4 million. Under David Lonsdale’s editorship, the newspaper became less parochial and more inclined to take on major community issues.
Peter Newell became editor in 1976, then executive editor in 1978 and finally general manager in 1985. Illawarra Newspapers Holdings Pty Ltd launched a new weekly, the Wollongong-Shellharbour Advertiser, in 1982. The Mercury introduced computer-based story-composition, and in 1986 pioneered the use of colour in daily newspapers in Australia.
Journalists Bill Simpson and Carol Johnstone won Walkley Awards in 1986–87. However, the Mercury was labelled a ‘screaming red-top tabloid’ by James Hooke, Fairfax’s managing director of NSW operations, and in the early 1990s was regularly pilloried by ABC television’s Media Watch.
Innovation continued, with the Mercury producing its first electronically assembled editorial page composed by computer in 1994, and being printed on state-of-the-art printing presses alongside the Sydney Morning Herald and the Australian Financial Review at Chullora from 1999. The Mercury was awarded PANPA Newspaper of the Year in 2006 and Walkley Awards were won by Mercury journalists in 2003, 2008 and 2010 and photographers in in 2008–09. The Mercury’s circulation in 2013 was 18,229.
Souter, Company of Heralds (1981);
Illawarra Mercury, 15–16 October 2005;
Kirkpatrick, ‘Guts-and-glory, murder and more during the Mercury’s 150 years’, PANPA Bulletin (September 2005).
Local historian Dr Ian Willis wrote a review of a new regional masthead that appeared in the Camden Local Government Area in 2016. The review appeared in the Australian Newspaper History Group Newsletter No 90, December, 2016, p.11.
Launch of a new regional newspaper The Independent South-West
From Ian Willis at Camden: This week a new masthead appeared in the Camden Local Government Area called The Independent South-West published by King Media Regional based in Bowral NSW. It was launched at Camden’s annual Light Up Festival. Editor Jane King and other staff handed out copies of the free monthly to families and friends who had come to see Santa, watch the fireworks and see the Christmas lights on the town’s Christmas tree.
The 20pp tabloid is printed in colour on glossy paper and is sure to give the other three free Camden weeklies, the Macarthur Chronicle, Camden Narellan Advertiser and The District Reporter, a run for their money. King states in Issue 1 that it ‘is an exciting new title…family owned and managed business’. She states that the paper will serve the local community and employ local people.
The first issue certainly lives up to these promises by reporting the proceedings of the Moss Vale Local Court. Two matters dealt with involved Camden identities. Local court matters are now heard in Moss Vale since the closure of Camden and Picton court houses. The robust reporting of local court proceedings has largely disappeared from the other three Camden weeklies.
A feature page, ‘Ark’ Up, is written by journalist Juliet Arkwright who in another life was a councillor on Wollondilly Shire Council. This edition profiles the Acting President of the Camden Chamber of Commerce Maryann Strickling. The chamber states ‘we look forward to working with a truly independent newspaper’.
The first edition also has copy provided by the local federal member, a photo feature of a fashion launch at Campbelltown, and content shared from the newspaper’s stablemate LatteLife Wingecarribee, which claims to be the ‘Heartbeat of the Southern Highlands’.
King Media also publishes City Circular which, according to Miranda Ward at Mumbrella, replaced a void left by the closure of News Corps mX in 2015 and is distributed at railway stations. The first newspaper published by King Media group was the masthead LatteLife Sydney which started life in the Eastern Suburbs in 2010. King Media then expanded to publishing The Southern Highlands edition in 2014.
The Independent’s print run of 10,000 will be distributed across localities from Cawdor to Leppington through local retailers, surgeries, real estate officers and other outlets. The print run is modest by comparison to its competitors in the Camden LGA and the publisher’s promises seem ambitious. King Media will support the print edition by managing a Facebook page.
The conservative reporting of local matters by The Independent’s three Camden competitors certainly leaves a niche in the market place if controversies surrounding Camden Council continue as they have done in recent months. King has promised to ‘hold the Council to task’ and take it up to other local papers. If she sticks to her promises The Independent South-West will fit in well with Camden’s fierce parochialism and localism.
Historian Dr Ian Willis is presenting a conference paper on the role local newspapers of the Picton, Camden and Campbelltown area during the First World War. He will show how these small provincial newspapers acted as an archive for the stories from the First World War on the homefront. Community wartime activities will be placed in the context of the international setting of the war.
Small rural communities are an often overlooked part of the wartime landscape of the First World War at home. Local newspapers, or community newspapers, recorded ‘the doings’ of their communities in inordinate detail. Their reportage extended from the local to the provincial and the international by owner/editors who were local identities.
Country newspapers provide an archive record of the First World War that is identifiably different from the large metropolitan daily newspapers of the war period. The local newspaper has a number of differences that are related to their localness and parochialism, their relationship to their readership, their promotion of the community and their approach to the news of the war.
The local newspaper recorded the subtleties of local patriotism and wartime voluntarism and fundraising, the personal in soldier’s letters, the progress of the war and a host of other issues. For the astute researcher country newspapers provide glimpses into wartime issues around gender, class, sectarianism, and other aspects of rural life. All coloured by local sensibilities and personalities. The local newspaper was a mirror to its community and central to the construction of place making and community identity in small towns, villages and hamlets.
These characteristics are not unique to rural Australia and are shared by rural and regional newspapers of other English speaking countries. Recent developments in archival research like Trove provide invaluable access to these resources across Australia. Country newspapers provide a different story of the war at home from an often forgotten sector of society.
The local newspapers that will be used as a case study for this conference paper include:
The Camden News
The Picton Post
The Campbelltown Herald
Local and provincial newspapers are an understudied area of the First World War and this conference paper will address this gap in the historical literature.
Learn moreabout local newspapers in the Macarthur region and elsewhere:
Movie makers have always had an eye on the Camden district’s large country houses, rustic farm buildings, quaint villages and picturesque countryside for film locations.
From the 1920s the area has been used by a series of film makers as a setting for their movies. It coincided was an increasing interest in the area’s Englishness from poets, journalists and travel writers. They wrote stories of quaint English style villages with a church on the hill, charming gentry estates down hedge-lined lanes, where the patriarch kept contented cows in ordered fields and virile stallions in magnificent stables. This did not go un-noticed in the film industry.
One of the first was the 1921 silent film Silks and Saddles shot at Arthur Macarthur Onslow’s Macquarie Grove by American director John K Wells about the world of horse racing. The film was set on the race track on Macquarie Grove. The script called for a race between and aeroplane and race horse. The movie showed a host good looking racing blood-stock. There was much excitement, according to Annette Onslow, when an airplane piloted by Edgar Percival his Avro landed on the race course used in the film and flew the heroine to Randwick to win the day. Arthur’s son Edward swung a flight in Percival’s plane and was hooked on flying for life, and later developed Camden Airfield at Macquarie Grove.
Camden film locations were sought in 1931 for director Ken G Hall’s 1932 Dad and Dave film On Our Selection based on the characters and writings of Steele Rudd. It stars Bert Bailey as Dan Rudd and was release in the UK as Down on the Farm. It was one the most popular Australian movies of all time but it was eventually shot at Castlereagh near Penrith. The movie is based of Dan’s selection in south-west Queensland and is about a murder mystery. Ken G Hall notes that of the 18 feature films he made between 1932 and 1946 his film company used the Camden area and the Nepean River valley and its beauty for location shooting. The films included On Our Selection (1936), Squatter’s Daughter (1933), Grandad Rudd (1934), Thoroughbred (1935), Orphan of the Wilderness (1936), It Isn’t Done (1936), Broken Melody (1938), Dad and Dave Come to Town (1938), Mr Chedworth Steps Out (1938), Gone to the Dogs (1939), Come Up Smiling (1939), Dad Rudd MP (1940), and Smith, The Story of Sir Charles Kingsford Smith (1946).
The Camden district was the location of two wartime action movies, The Power and The Glory (1941) and The Rats of Tobruk (1944). The Rats of Tobruk was directored by Charles Chauvel and starred actors Chips Rafferty, Peter Finch and Pauline Garrick. The story is about three men from a variety of backgrounds who become mates during the siege at Tobruk during the Second World War. The movie was run at Camden’s Paramount movie palace in February 1945. The location for parts of the movie were the bare paddocks of Narellan Vale and Currans Hill where they were turned into a battleground to recreated the setting at Tobruk in November 1943. There were concerns at the time that the exploding ammunitions used in the movie would disturb the cows. Soldiers were supplied from the Narellan Military Camp and tanks were modified to make them look like German panzers and RAAF Camden supplied six Vultee Vengeance aircraft from Camden Airfield which were painted up to look like German Stuka bombers. The film location was later used for the Gayline Drive In. Charles Chauvel’s daughter Susanne Carlsson who was 13 years old at the time reported that it was a ‘dramatic and interesting time’.
The second wartime movie was director Noel Monkman’s The Power and The Glory starring Peter Finch and Katrin Rosselle. The movie was made at RAAF Camden with co-operation of the RAAF. It is a spy drama about a Czech scientist who discovers a new poison gas and escapes to Australia rather than divulge the secret to the Nazis. Part of the plot was enemy infiltration of the coast near Bulli where an enemy aircraft was sighted and 5 Avro-Anson aircraft were directed to seek and bombed the submarine. The Wirraway aircraft from the RAAF Central Flying School acted as fighters and it was reported that the pilots were ‘good looking’ airmen from the base mess. There was a private screening at Camden’s Paramount movie theatre for the RAAF Central Flying School personnel.
Camden Park was used as a set for the internationally series of Smiley films, Smiley made in 1956 and in 1958 Smiley Gets a Gun in cinemascope. The story is about a nine-year old boy who is a bit of rascal who grows up in a country town. They were based on books by Australian author Moore Raymond and filmed by Twentieth Century Fox and London Films. Raymond set his stories in a Queensland country town in the early 20th century and there are horse and buggies and motor cars. The town settings were constructed from scratch and shot at Camden Park, under the management of Edward Macarthur Onslow. The movies stars included Australian Chips Rafferty and English actors John McCallum and Ralph Richardson. Many old time locals have fond memories of being extras in the movies. Smiley was released in the United Kingdom and United States.
In 1999 Camden airfield was used as a set for the television documentary The Last Plane Out of Berlin which was the story of Sidney Cotton. Actor Geoff Morrell played the role of Cotton, who went to England in 1916 and became a pilot and served with the Royal Naval Air Service during the First World War. He is regarded as the ‘father of aerial photography’ and in 1939 was requested to make flights over Nazi Germany in 1939. Camden Airfield was ‘perfect location’ according to producer Jeff Watson because of its ‘historic’ 1930s atmosphere.
In 2009 scenes from X-Men Origins: Wolverine were filmed at Camden and near Brownlow Hill.
In 2010 filmmaker Sandra Pyres of Why Documentaries produced a number of short films in association for the With The Best of Intentions exhibition at The Oaks Historical Society. The films were a montage of contemporary photographs, archival footage and re-enactments by drama students of the stories of child migrants. The only voices were those of the child migrants and there were many tears spilt as the films were screened at the launch of the exhibition.
In 2011 scenes from director Wayne Blair’s Vietnam wartime true story of The Sapphires were filmed at Brownlow Hill starring Deborah Mailman, Jessica Mauboy and Chris O’Dowd. This is the true story of four young Aboriginal sisters who are discovered by a talent scout who organises a tour of American bases in Vietnam. On Brownlow Hill a large stage was placed in the middle of cow paddock and draped with a sign that read ‘USC Show Committee presents the Sapphires’ and filming began around midnight. The cows were herded out of sight and the crew had to be careful that they did not stand of any cowpats. Apparently Sudanese refugees played the role of African American servicemen of the 19th Infantry Division.
The romantic house of Camelot with its turrets, chimney stacks and gables, was built by racing identity James White and designed by Horbury Hunt was the scene of activity in 2006 and 2007 for the filming of scenes of Baz Luhrman’s Australia, starring Nicole Kidman and Hugh Jackman. The location shots were interior and exterior scenes which involved horse riding by Kidman and Jackman. The film is about an aristocratic woman who leaves England and follows her husband to Australia during the 1930s, and live through the Darwin bombing by the Japanese in the Second World War.
Camelot was a hive activity for the filming of the 1950s romantic television drama A Place to Call Home produced by Channel 7 in 2012. Set in rural Australia it is the story of a woman’s journey ‘to heal her soul’ and of a wealthy family facing changes in the fictional country town of Inverness in the Bligh family estate of Ash Park. Starring Marta Dusseldorp as the mysterious Sarah and Noni Hazlehurst as the family matriarch Elizabeth, who has a number of powerful independently wealthy women who paralleled her role in Camden in time past on their gentry estates. The sweeping melodrama about hope and loss is set against the social changes in the 1950s and has close parallels to 1950s Camden. The ‘sumptuous’ 13 part drama series screened on television in 2013 and according to its creator Bevin Lee had a ‘large-scale narrative’ that had a ‘feature-film feel’. He maintained that is was ‘rural gothic’, set in a big house that had comparisons with British television drama Downton Abbey.
The 55-room fairytale like mansion and its formal gardens were a ‘captivating’ setting for A Place to Call Home, according to the Property Observer in 2013. Its initial screening was watched by 1.7 million viewers in April 2013. The show used a host of local spots for film sets and one of the favourite points of conversation ‘around the water-cooler’ for locals was the game ‘pick-the-place’. By mid-2014 Channel 7 had decided to axe the series at the end of the second series. There was a strong local reaction and a petition was circulating which attracted 6000 signatures to keep the show on air. In the end Foxtel television produced a third series with the original caste which screened in 2015.
Camden airfield was in action again and used as a set for the Australian version of the British motoring television show Top Gear Australian in 2010. Part of the show are power laps in a ‘Bog Standard Car’ were recorded on parts of the runways and taxiways used as a test track.
Camden Showground became the set for Angelina Jolie’s Second World War drama Unbroken in 2013. The main character Louis Zamperini, a former Olympic runner, and Onslow Park was used as part of the story of his early life as a member of Torrance High School track team. The movie is about Zamperini’s story of survival after his plane was shot down during the Pacific campaign. The filming caused much excitement in the area and the local press gave the story extensive coverage, with the showground was chosen for its historic atmosphere. Camden mayor Lara Symkowiak hoped that the movie would boost local tourism and the council was supportive of the area being used as a film set. The council had appointed a film contact officer to encourage greater use of the area for film locations.
Edwina Macarthur Stanham writes that Camden Park has been the filming location for a number of movies, advertisements and fashion shoots since the 1950s. They have included Smiley (1956), Smiley Gets a Gun (1958), Shadow of the Boomerang (1960) starring Jimmy Little, My Brilliant Career (1978) was filmed in Camden Park and its garden and surrounds, and The Empty Beach (1985) starring Bryan Brown, House Taken Over (1997) a short film written and directed by Liz Hughes which used lots of scenes in the house. In the 21st century there has been Preservation (2003) described a gothic horror movie starring Jacqueline Mackenzie, Jack Finsterer and Simon Bourke which used a lot of the scenes filmed in the house.
In 2005 Danny De Vito visited Camden Park scouting for a location for a movie based on the book “The True Confessions of Charlotte Doyle”. In Sleeping Beauty (2010) an Australian funded film was shot at Camden Park and the short film La Finca (2012). In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.
In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.
In 2015 the Camden Historical Society and filmmaker Wen Denaro have combined forces to telling the story of the Chinese market gardeners who settled in Camden in the early twentieth century. The project will produce a short documentary about the Chinese market gardeners who established vegetable gardens along the river in Camden and who supplied fresh product to the Macarthur and Sydney markets.
In 2015 an episode of the Network Ten TV show of The Bachelor Australia was filmed at Camden Park in August 2015. They showed scenes of the Bachelor Sam Wood taking one of the bachelorette Sarah on a romantic date to the colonial mansion Camden Park. There were scenes of the pair in a two-in-hand horse drawn white carriage going up and down the driveway to the Camden Park cemetery on the hill overlook the town. There were scenes in the soft afternoon sunlight of the couple having a romantic high-tea on the verandah of Camden Park house with champagne and scones and cup cakes. In the evening there were floodlit images of the front of Camden Park house from the front lawn then scenes of the couple in the sitting room siting of the leather sofa sharing wine, cheese and biscuits in front on an open fire and candles. Sarah is gobsmacked with the house, its setting and is ‘amazed’ by the house’s colonial interior.
In 2018 a children’s film Peter Rabbit was been filmed in the Camden district. The movie is based on Beatrix Potter’s famous book series and her iconic characters. The special effects company Animal Logic spent two days on the shoot in Camden in January 2017. The first scene features the kidnap of the rabbit hero in a sack, throwing them off a bridge and into the river. For this scene the Macquarie Grove Bridge over the Nepean River was used for the bridge in the movie. According to a spokesman the reason the Camden area was used was because it fitted the needed criteria. The movie producers were looking for a location that screamed of its Englishness. Camden does that and a lot more dating back to the 1820s. The movie is set in modern day Windermere in the English Lakes District. The location did not have to have too many gum trees or other recognisable Australian plants. John and Elizabeth Macarthur would be proud of their legacy – African Olives and other goodies. Conveniently the airport also provided the location for a stunt scene which uses a bi-plane. The role of the animators is to make Australia look like England.
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.