The Development of a Print Culture in South Australia Post-WWII to 2008: institutions, politics and personalities

Abstract

In this thesis, there is an investigation into the factors that contributed to the ascendancy of printmaking in South Australia in the 1960s and the development of political printmaking in the 1970s. An analysis of key individuals is contextualised within the institutional and political frameworks operating in Adelaide at this time. An important aspect of this thesis is the examination of the transition from teaching craft and trade-based print subjects to fine art printmaking courses at the South Australian School of Art (SASA), one of the oldest art schools in Australia. Some of the research was based on the SASA archival material at the University of South Australia, which included the prospectus booklets, presentation of diplomas and prizes leaflets, SASA principal’s reports, and The Advertiser newspaper listings of students’ results.

Paul Beadle and Charles Bannon were responsible for key developments in printmaking in South Australia. Beadle was a dynamic and far-sighted principal of the SASA from 1958-60. Bannon taught at St Peter’s College, where he instituted a ‘Bauhaus-style’ education methodology in the preparatory school. When Bannon was placed in charge of high school classes, he chose German printmaker Udo Sellbach to carry on his educational methods in the preparatory school. Beadle invited Sellbach to set up a graphics studio at the SASA and Sellbach and his then wife, Karin Schepers, became leading figures in the revitalisation of fine art printmaking in South Australia.

Case studies of Charles Bannon, Barbara Hanrahan, Ann Newmarch and Olga Sankey are employed to extend the thesis narrative of printmaking education and professionalism in South Australia. In each case study, the formative years, studies, overseas travel and printmaking careers are considered in relation to their contribution to printmaking in South Australia.

Despite the outstanding achievements of printmaking in Adelaide in the 1960s and 1970s, this has been a neglected area of research. In this thesis, important new research is presented and a number of reasons are canvassed as to why there was a subsequent contraction in printmaking in South Australia, especially in relation to the national context.