Earthworks Poster Collective

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The Earthworks Poster Collective was an artist's collective that operated out of the Sydney University Art Workshop, more commonly known as the Tin Sheds. The collective was active from 1972 to 1979. [1] [2]

Contents

History

The Collective produced mainly screen-printed, political posters that sought to promote the rights of Aboriginal people, gays and lesbians, women, the unemployed and workers, [3] including the posters for the exhibition The D'Oyley Show (1979) by the Women's Domestic Needlepoint Group. [4] In addition, the collective produced anti-nuclear, protest posters. [3] The Collective disbanded in 1979, after failing to attract the funding needed to continue. [3] Today the Collective is regarded as having been the principal driving force in the early development of Australian political poster art during the 1970s. [5] Works produced by the Collective are held within the collections of The State Library of New South Wales, National Gallery of Australia, Queensland Art Gallery, the Powerhouse Museum and the University of Sydney. [3]

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Australian poster collectives were established in the late 1960s, 70s and 80s mainly in Sydney, Melbourne and Adelaide, but also in other Australian capital cities. The collectives were formed by artists concerned with social justice, women's rights, political activism, anti-Vietnam war protest, environmentalism, LGBT rights and Indigenous peoples' rights. Collectives also made posters for concerts, bands, marches and community groups. Feminists were active in the collectives and some were women-only collectives. The list of collectives and artists in this article indicates women were leaders in the poster collective movement, establishing groups, providing training, opening the groups up to other women and decision-making by consensus. The collectives were considered to be democratic art movements outside the gallery systems, able to quickly reflect changing social and political views and challenge social norms by designing, printing and displaying posters in public areas. Some artists were members of more than one collective and often did not sign their name to posters but attributed them to the collective. Similar collectives emerged in the UK, Europe, the US and Cuba during that time. This article covers Australian poster collectives from the 60s to 80s rather than later collectives from the 1990s such as RedPlanet.

Alice Hinton-Bateup is an Australian artist and print-maker. In the 1980s she was active in Garage Graphics, a print workshop in Mt. Druitt, Sydney, which included a number of Aboriginal artists. They produced posters that became important in the struggle for Aboriginal rights in Australia.

The Women's Domestic Needlework Group was established in 1976 by Australian feminist artists Marie McMahon and Frances Phoenix, members of the Sydney branch of the Women's Art Movement, with an interest in reclaiming and focusing attention on the undervalued field of women's traditional craft work. The other members of the collective were Joan Grounds, Bernadette Krone, Kathy Letray, Patricia McDonald, Noela Taylor and Loretta Vieceli.

References

  1. Commercial journal and advertiser., W Jones, 1835–1840, ISSN   1440-1894
  2. "EARTHWORKS POSTER COLLECTIVE". CENTRE FOR AUSTRALIAN ART Australian Prints + Printmaking. Retrieved 4 November 2017.
  3. 1 2 3 4 Museum of Applied Arts & Sciences. "Poster, 'Dance Black Lace', printed by Earthworks Poster Collective". Museum of Applied Arts & Sciences, Australia. Retrieved 4 November 2017.
  4. "Dissenting Doilies: The women's domestic needlework group". New England Regional Art Museum. Retrieved 13 March 2022.
  5. "Toni Robertson. Taking Markettown by Strategy". ARt Gallery of NSW. Retrieved 4 November 2017.