Reflections on the Collection
Tribute to Jan Lancaster | Robyn Walton
Jan Lancaster 1942 - 2024
Castlemaine district has lost a fine artist with the death in July of Janice Lancaster Turner after a long illness. The CAM community extends its sympathy to Dick Turner, Jan Lancaster’s husband and fellow artist, her family members and many friends.
Barclay on Singleton
Much admired local ceramicist, advocate for studio pottery, lecturer, advisor to the Castlemaine Art Gallery and Historical Museum (CAGHM) and the Art Gallery of Ballarat, Barry Singleton has recently died. Described by his gallerist Anna Maas from Skepsi Gallery as a charming, polite and generous man, always eager to share his knowledge and experience, Singleton exhibited with the gallery for over 20 years. In this Reflection, colleague and friend Jill Barclay discusses Singleton’s contribution to ceramics and the region. Fine examples of Barry Singleton’s work are held within CAM’s permanent collection. His first solo exhibition at CAGHM was in 1970 and a retrospective exhibition of his work was held in 2013, during the centenary of the Gallery building.
Couchman on the Significance Assessment of the Historical Collection
CAM is unique amongst Victorian regional galleries in having both a nationally significant art collection and local social history collection under one roof. With support from the National Library of Australia, CAM commissioned eminent historian and museum professional, Dr Sophie Couchman to undertake a Significance Assessment of its Historical Collection, housed and exhibited in the Museum.
Here, Dr Couchman casts an overview of the social history collection, providing a window into her scholarly and extensive assessment of its significance. CAM commends this excellent report, which you can also read in full at the link below.
Corben on Elson
In this insightful Reflection by local scientist Louise Corben, we gain a greater appreciation of Phil Elson's ensemble of porcelain vessels. Currently on view in the Higgins Gallery at CAM, visitors are equally delighted to see this work whether on their first viewing, or whether they are familiar with this treasure from the Collection.
Understanding the significance of Elson's title reminds us how important Artist-in-Residence programs are for artists in developing and expanding their practice.
Rodda on Bellette
Local artist and writer Selwyn Rodda makes an illuminating reading of Jean Bellette's dark, even murky, painting Acheron. Raising more questions than answers, Rodda activates a new reading of this mysterious work, revealing a myriad of stylistic, historical and social issues for us to consider.
Nunn on the Conservation of Meeson
Dora Meeson’s In a Chelsea Garden (1912) has returned to Castlemaine Art Museum following much needed conservation. After a number of cracks were identified in the painting, CAM commenced the Cracking Appeal in 2022 to raise funds for its restoration. A sincere thank you to the individual donors who generously supported the Cracking Appeal and, in doing so, the endurance of the collection.
In this personal Reflection, painting conservator Catherine Nunn demonstrates the revealing nature of conservation interventions – uncovering the artist behind the painting.
Turner on Baldessin
Local curator and artist Anthony Dick Turner credits inspiration for his 2007 exhibition, European Sensibilities: George Baldessin and his Circle. Printmaking in Melbourne during the 60’s and 70’s, at the Castlemaine Art Gallery and Historical Museum (CAGHM), to his research into the work of renowned printmaker and sculptor, George Baldessin (1939–1978).
McArdle on Dutton's Bas-Relief
Architectural details have long been inspired by myth, heraldry and symbolism, dating back to the classical era. Such is the case for Orlando Dutton's bas-relief on the Museum's façade.
Here, local artist and writer James McArdle explores the history and subject of the bas-relief, accompanied by his photographs of the façade in the early morning's raking light.
McTernan on Anderson
In her creative response to Madge Anderson’s still life, local writer Kate McTernan finds this exuberant painting of bush limes far from inanimate.
Soumilas on Boyd
In this scholarly Reflection, Diane Soumilas places two glorious works by Merric Boyd from the CAM collection within a broader context of Boyd’s life in Murrumbeena, where he lived and worked – making an enduring contribution to Australian studio ceramics.
The remarkable Boyd family has been a focus at the Glen Eira City Council Gallery, Melbourne, where Castlemaine-raised Soumilas is the Curator and Gallery Coordinator.
Bathgate on Beckett
Welcoming visitors at reception is always a pleasure. In 2022, a quietly spoken visitor lingered a little longer than usual, afterward asking if CAM would be interested in her donating a Clarice Beckett painting. With astonishment, we agreed to meet Jill Bathgate and her donation is now on view in the Higgins Gallery.
Clarice Beckett's Bathing Box, c1929 joins Castlemaine Art Museum's remarkable collection of five Beckett works, ranging from 1923 to 1931.
Here, Jill Bathgate reflects upon the inspiration Beckett's painting played in her own remarkable life. We are grateful to the Bathgate family for their most generous donation.
Tindal on the CAM Façade
Dr Evan Tindal, Principal Objects Conservator with the Grimwade Conservation Service at the University of Melbourne, was invited to assess damage to the museum's façade. Here, Dr Tindal sheds some light on the issues he addressed on first inspecting the building.
McArdle on Griffin
Local artist and writer James McArdle is also an outspoken supporter of Castlemaine Art Museum beyond the gallery. As a Guide, welcoming and supporting visitors to make the most of their visit, McArdle brings a wealth of experience and knowledge which is clearly evident in this spirited Reflection.
English on Phillips Fox
In a small museum, volunteers play a significant role in the buoyancy of the organisation. If there is a hierarchy of tasks, from the prosaic through to the intellectual, our volunteers perform across the board. Libby English is one of those indispensable members of the local CAM community. Here, she reflects on one of the gallery's most loved works by E Phillips Fox.
Walton on Lancaster Bowls
Castlemaine Art Museum holds a small but significant selection of locally created enamel work, including a selection of work by enamelist and painter, Jan Lancaster.
In her second Reflection on Lancaster's enamel work, writer Robyn Walton, one of our esteemed volunteers, discusses a series of bowls currently on view in the Museum as part of the Reflections exhibition. Walton's first Reflection on Lancaster's work can also be viewed here.
An Interview with Wendy Stavrianos
As the paddocks turn golden around Castlemaine, it is timely to focus attention to the work The 'Night Harvest' Ritual by Wendy Stavrianos, which is currently on view as part of Reflections in the Higgins Gallery.
Based in Central Victoria, Wendy Stavrianos is one of Australia’s highly regarded artists with a longstanding career, and her work is well represented in the Castlemaine Art Museum collection. In the following interview, we hear her distinctive voice as she talks about how the landscape in which she lives permeates her work.
Miley on Waller
Dr Caroline Miley reflects on the influence of Theosophy and Hermetic lore on the work of Christian Waller (1894–1954), and the presence of these ideas in the prints and drawings in the collection.
Join Caroline Miley to celebrate the book launch of Christian Waller Stained Glass: Toward the Light on Saturday 27 August at CAM, with an illustrated talk on Christian Waller’s exemplary skills and achievements as an Australian stained glass artist.
Donlon on Thake
Castlemaine poet, Ross Donlon, responds to Eric Thake's linocut An Opera House in Every Home, with his poem The Architect and the Mozzie.
Frazer on Sinclair
CAM Front of House Officer Sarah Frazer unearths childhood treasures from the library of CAM's inaugural Director, Beth Sinclair.
Walton on Lancaster
Robyn Walton has a special interest in decorative arts made in our region. As a volunteer researcher on CAM's decorative arts collection, Walton met up with highly-productive crafts-person and painter Jan Lancaster to speak about her work in the CAM collection. This type of collection-based research is highly valued, not just for a deeper understanding of our collection, but for increasing the archive of knowledge of Australian art and artists. This Reflection follows on from Walton's previous study on Stanley Ellis.
Frazer on Grønn
CAM Front of House Officer Sarah Frazer takes us on a journey of research and discovery as she delves into the life of 19th century Danish migrants at Campbells Creek – or Little Copenhagen – by way of the CAM Collection.
Nunn on Longstaff, Part 2
Last week, conservator Catherine Nunn discussed two small paintings by John Longstaff in our collection. Nunn has been researching these works for her PhD in Technical Art History/Conservation. In this Reflection, Nunn discusses her technical examination of the paintings.
Nunn on Longstaff, Part 1
In the first of two reflections, conservator Catherine Nunn writes about two small paintings by John Longstaff in our collection. Nunn has been researching these works for her PhD in Technical Art History/Conservation. Here she touches on Longstaff's biography and in the next Reflection Nunn discusses her technical examination of the paintings.
Hall on Tyndall
Doug Hall AM reflects on his decades-long relationship with Central Victorian artist Peter Tyndall, whose exhibition Peter Tyndall: SINCLAIR+GALLERY opens at CAM on Thursday 16 December 2021.
Join Peter Tyndall in conversation with curator Jenny Long on Saturday 18 December, 2pm-4pm at CAM.
McArdle on Wilson
James McArdle, local photographer, writer and CAM guide writes on a remarkable exhibition, Electrical Ecologies, by local artist Felix Wilson. Electrical Ecologies is now showing in the Sinclair Gallery, until Sunday 6 December.
Duigan on Colin OAM
Sometimes works of art linger in the imagination long after departing from the gallery, as happened for Jan Duigan on viewing two remarkable works by Tjikalyi Colin, OAM (1942 – 2002), currently on view in the Higgins Gallery. Here Duigan shares her interest and research, beginning with her misgivings about the frames.
Stephens on Braund
Here is a woman artist well represented in our collection who deserves greater attention. Dorothy Braund (1926-2013) made a steady contribution to modernism in Australia and was subject of a major survey exhibition at CAM in 2006, curated by Kirsten McKay. Celebrated art writer Andrew Stephens reflects on a cracking Braund gouache in the collection.
Murray on Colin OAM
Melinda Harper selected two remarkable watercolours by First Nations artist, Tjikalyi Colin, OAM (1942 – 2002) for her In Conversation exhibition currently showing in the Higgins Gallery. Not only do they resonate with Harper's works on paper, but they are a welcome and curious addition to the collection. CAM's records are slender on these works, except for the name of artist and donor. However, interest in the works is such that members of the community have stepped forward with comments and background on Tjikalyi Colin. Here writer Kevin Murray reflects on what we now know about the artist, the local donor and the donor's relationship with Ernabella, South Australia.
Wilson on Bale
Photographic artist and Vaughan resident Felix Wilson reflects on the medium of photography in this appreciation of a photograph by W.M. Bale. Wilson noticed this landscape while working on the digitisation of a large number of photographs, drawings and documents in the CAM collection, as part of the Digitisation Roadshow, funded through Creative Victoria in 2020. Wilson's own exhibition of photographic installations, Electrical Ecologies, opens this week in the Sinclair Gallery.
Engberg on Leason
Eminent curator and writer Juliana Engberg writes a rollicking piece on CAM’s most favoured work by Percy Leason (1889 -1959). This follows an earlier reflection on the same painting by Andrew Goodman: it seems these children always elicit a strong response.
Siggins on Brack
John Brack’s Surrey Hills floats high on a blue wall in Melinda Harper’s current exhibition at CAM, adding to its curious perspective and abstraction. No stranger to CAM Reflections, here Phillip Siggins discusses one of the collection highlights.
Wheat on Lindsay
CAM Guide Chris Wheat has a way of bringing paintings in the collection to life - in the gallery, and in times of lockdown - on our screens. Knowledgeable about artists and their methods, in this playful reflection Wheat invites us to look more carefully at a small oil on board of nighttime Kowloon by Arthur J Lindsay.
Rigg on the Experimental Print Prize
In this reflection, Michael Rigg, patron of the Experimental Print Prize discusses two outstanding works exhibited in the inaugural 2019 prize. A champion of printmaking in Central Victoria, he explains his motivation in creating this unique exhibition and prize for the Castlemaine Art Museum. Entries for the 2021 Experimental Print Prize have been extended to 26 September 2021 due to the lockdown.
Capper on Riley Munduwalawala and Kuntiwa Pumani
In reflecting on approaches to landscape in contemporary First Nation’s painting, Chris Capper declares the exhibition Ginger Riley: The Boss of Colour (15 January-19 April 2015)―commissioned by CAM’s then Director, Jennifer Kalionis―and the work of Betty Kuntiwa Pumani as hugely significant in rethinking the landscape tradition in Australia.
A Still Life and a Recipe
In this novel Reflection on a still life by Elma Roach featuring pomegranates, Peter Perry, previous Director of CAM (1975-2014), writes about the artist while his son Alexander Perry, renowned Castlemaine chef, creates and shares a pomegranate recipe. Here CAM celebrates two outstanding features of our region: the art and the cuisine.
Pomegranate trees are found in many established gardens across Central Victoria planted one imagines, for their beauty rather than for their fruit. In his note about the recipe Alexander writes, "I have put together a cake recipe using pomegranate and pear, two fruits which grow abundantly around Central Victoria and are often left neglected in front lawns."
Scott on the Castlemaine Brewery Clock
It was a fortunate day that Horologist Brian Scott visited CAM and Buda and left us his business card and a request to examine two clocks in the museum. So delighted were we, that we invited Brian to write a Reflection. Brian writes on a magnificent utilitarian clock which has for many years been located towards the back of the museum. Do any of our readers remember this clock in situ, in either of its previous esteemed locations?
Brack on Beckett
In this elegant and playful reflection, Clara Brack touches on looking at and writing about art, about colour and the serendipity of being drawn to a particular artwork. Clarice Beckett's Wet Evening was also the subject of our first Reflection, written by art historian Helen McDonald.
Rayson and Cathcart on a stuffed quoll
Of the many reasons to travel to Castlemaine and visit CAM, this reflection is particularly delightful. Some months ago, distinguished Australian playwright Hannie Rayson was photographed in the museum standing in front of a display of taxidermy animals. Taking the photograph was her husband, equally distinguished Australian Broadcaster, Michael Cathcart. They were celebrating Rason's recent international award for her radio play about an attempt to save the Otway tiger quolls, entitled Extinction, 2013. We invited Rayson and Cathcart to write about the two modest cases of Australian wildlife, each featuring quolls in the foreground. Sadly, we were not able to provide any information regarding the provenance of these popular displays.
Moussa on The Unquiet Landscape
With the launch of CAM's new website, we have included an exhibition archive, documenting as many of CAM/CAGHM’s past exhibitions as we can. This archive is still in development, and will grow over the coming months.
As a museum and gallery, we have a responsibility to collect and share stories reflecting the world outside CAM, but it is also important for us to reflect on our institutional history. CAM's exhibition history is a narrative within itself, reflecting changing social tastes, beliefs and values. The temporary nature of exhibitions also means that the dense curatorial content of exhibitions can be lost in the folds of time. You can explore our past exhibitions here. If you have further content, installation photographs, or stories to add to any exhibitions, please get in touch.
To launch this exhibition archive, local writer and performer Wahibe Moussa reflects on an exhibition from CAM’s recent past - The Unquiet Landscape (11 October 2019-11 October 2019); an exhibition that refuses to be forgotten.
Hamilton on Wolfhagen
In this response to a large oil painting in the collection, poet Allis Hamilton recalls her poem Hare, as having ‘writing itself onto my page’ after viewing Philip Wolfhagen’s Southern Vista I. As Allis describes, "there is no visible hare in Wolfhagen’s painting yet to me it felt like it was there, or could quite easily be there, in among the shadowy hedges of the landscape."
An Interview with Melinda Harper
During the lockdown as part of the Reflections series, CAM published several email interviews with local artists. Of particular interest was how an artist's daily studio routine was impacted by the lockdown. Here we republish the interview with Melinda Harper in celebration of her major exhibition Melinda Harper: in conversation with the collection currently on view in the Higgins Gallery.
Soumilas on a mourning cape
In reflecting on a costume in our collection Annette Soumilas, explores the social history and meaning of this striking black cape.
Siggins on Ramsay
In art as in life, hands can tell us something of an individual's age and possibly of their station in life. In this reflection on a portrait by Hugh Ramsay, Phillip Siggins shares with us the reaction of the portrait's famous commissioner, donor, and daughter of the sitter, Dame Nelly Melba to the artist's depiction of her father's hands. In 2019 Ramsay's portrait of David Mitchell was lent to the National Gallery of Australia for their major Hugh Ramsay exhibition.
Walton on Ellis
CAM’s decorative arts collection is a proud component of our museum collection, much admired by staff and visitors alike. Melinda Harper, too, has selected many items by Stan Ellis to include in her upcoming In Conversation exhibition. In this week’s Reflection, Castlemaine-local Robyn Walton examines the influences on, and influence of, Stan Ellis and his enamelware.
McArdle on Scott
Through the Digitisation Roadshow program, CAM has unearthed treasures to feature in publications and exhibitions. Six astonishing early photographs of Castlemaine from the local firm Verey Brothers have been digitised and three are currently showing in the Whitchell Gallery. Local artist and academic James McArdle brings his expertise in photography to shed valuable light on two cloudy ‘moonlight’ panoramas.
A Conservation Mystery Uncovered
Diane Frape-Linton has made a substantial contribution as a volunteer to museums and collections across Central Victoria. A longstanding CAM volunteer her knowledge of the museum is prodigious and her skills are wide ranging. Recently, Diane uncovered a fascinating story about Russell Drysdale’s Desolation whilst cataloguing historical documents relating to gallery acquisitions. Diane has used a letter from Drysdale to the gallery to solve this mystery.
Conway on Rees
A great joy of CAM's Reflection series has been the response we've received from our extended community, the many people who have contacted us to offer follow-up thoughts, to provide further recollections, to add details about collection items. Kerry Conway is one such reader, inspired to share her thoughts on a Lloyd Rees image. Here, she explains why his work resonates so strongly with her.
Loos on Platypus
CAM's taxidermy platypus, carefully composed within a purpose-designed vitrine, draws a range of reactions from viewers. Local naturalist and writer Tanya Loos invites us to better understand the object, its history and meaning, posing some important questions about its original purpose.
Murdoch on frames
In the midst of Central Victoria lives one of Australia’s eminent frame makers, Rob Murdoch. In this broad-ranging reflection, he discusses the changing fortunes of period frames in public and private collections and poses an intriguing conundrum to professionals and visitors.
Siggins on Blackman
CAM guide Philip Siggins reflects on one of his favourite paintings in the collection - Charles Blackman’s Dream Image. Purchased by the gallery in 1964, this tender yet mysterious image of a sleeping Barbara Blackman reflects the artist’s exploration of innocence and foreboding.
Bews on looking at Green
In this powerful and personal reflection, local writer and theatre artist Samantha Bews explores her response to a series of hand-coloured photographs of teenagers by Janina Green.
Pilgrim on the Leviny Women and Mrs Larritt
Artist Catherine Pilgrim mines historical collections and objects for lost and hidden stories. Skilled across many artforms and crafts - from printmaking through to textiles - observation and drawing is at the heart of her practice. In this reflection Pilgrim shares with us her longstanding engagement with the lives of local women, particularly the Leviny women, so central to the cultural history of Castlemaine, and to her own artistic practice.
Connor on Shmith by Millowick.
CAM holds a significant collection of photographic portraits of Australian artists. In this Reflection Angela Connor considers Julie Millowick’s striking portrait of Athol Shmith. Connor selected this photograph to bring to light the work of women artists of Central Victoria.
Kaptein on Longstaff
Central Goldfields Art Gallery curator, and Castlemaine local, Helen Kaptein examines a portrait by John Longstaff of his wife Topsy.
Reflections on historic photography in the collection
CAM’s Honorary Conservator, Deborah Peart, returns with another insight into the historical collection, this time considering CAM’s historical photographs. You can read Deborah’s earlier pieces on Footwear and Frames. This reflection is supported by the Victorian Government through Creative Victoria’s Digitisation Roadshow program.
Donehue on being an intern at CAM
As museum professionals, many of us commence our careers working as interns. Even practicing artists intern and volunteer, and many an exhibition at CAM is installed by practicing artists who bring valued perspectives to the installation. In this delightful reflection, La Trobe University intern and local artist Emily Donehue shares her experience working at CAM.
Reid on Canning
As a celebrated writer on gardens, local author Christine Reid is drawn to the work of painter Criss Canning. Here Reid writes on Canning’s delightful study which contrasts the dark textures of coloured glass, the vibrant petals of partially opened water lilies and the play of light on water. Readers might like to view Christine’s current exhibition, please see details below.
Onus on repatriating First Nations knowledge
In recognition of NAIDOC week, CAM Board member Tiriki Onus (Yorta Yorta, Dja Dja Wurrung) proposes a new way of thinking about First Nations artefacts held in museum collections. Onus brings a remarkably broad range of experience as a visual artist, musician and educator to leading a discussion about the role of objects in the proud repatriation of Indigenous knowledge.
Sinclair on the ‘Castlemaine Hermit’
Local writer Kacey Sinclair has a gift for bringing history to life through her careful reading of documents and material culture. Last year she wrote an influential article in The Conversation on Castlemaine resident Fanny Finch, Australia’s first known female voter, following her research in CAM’s social history collection. Here Sinclair weaves a wonderful local story from photographs in CAM’s Bale Photography Collection and contemporary reports in The Mount Alexander Mail.
Zilles on Buda and CAM
Loretta Zilles is as intimately knowledgeable about the Castlemaine Art Museum as she is about Buda Historic Home and Garden, where she is the house manager and curator. Earlier this year we invited Zilles to digitise aspects of the Buda collection as part of the Digitisation Roadshow program funded by Creative Victoria, continuing a long and fruitful relationship between Buda and CAM. In this reflection, Zilles sheds light on the fascinating formal, informal and creative interconnections between these august Castlemaine institutions.
Bunbury on Thake
Writer and curator Alisa Bunbury was an Honorary Fellow at the State Library of Victoria in 2018, where she researched their rich holdings of Eric Thake material, including paintings, gouaches, prints, bookplates, photographs and design projects. Here she turns her attention to a delightful watercolour in the CAM collection, one that seems prescient in this time of social isolation. This follows an earlier Reflection on Eric Thake by Christine Bell.
Smith on Boyd
In this erudite reflection, Geoffrey Smith writes about Penleigh Boyd. Smith weaves Boyd’s biography with his rousing use of wattle, reminding us of the symbolic role wattle played in Australian in the lead up to Federation and beyond to the post war years.
Reflections on orchids in the field and in the CAM collection
Flowering season is well underway in the forests and bush around Castlemaine and will continue until early summer. In this reflection, naturalist George Broadway is inspired by three watercolours in the collection. Through CAM’s Digitisation Roadshow project, we are now able to share these beautifully observed orchid studies by local artist Alice Cherry (nee Brotherton,1861–1898), possibly the elder sister of Miss Winnie Brotherton. A gifted amateur poet and painter, Cherry was the first woman elected to the prestigious Buonarotti Club in 1883. This Melbourne-based club for professional artists was important in advancing the careers of many female artists, including May Vale, also represented in the CAM collection (see Stephen F Mead). Here, George Broadway invites us to venture into the field and explore Castlemaine’s magnificent wildflowers.
Theobald on Miss Brotherton
Local historian Marjorie Theobald reflects on the life of the remarkable Miss Brotherton, one of a small group of local women who imagined and then worked towards establishing an art gallery and museum for Castlemaine.
Goodman on Leason
Percy Leason’s remarkable portrait of his children Jack and Jean, is one of CAM’s most intriguing treasures, here discussed by local artist and writer Andrew Goodman.
Laird on Staffordshire Mantle Dogs
Local artist and writer Tessa Laird brings fresh eyes to a pair of porcelain mantle dogs in the CAM social history collection, which are currently on display in the museum and awaiting your return. Her response to these seemingly benign decorative pieces is a spirited reflection, mindful of our current times.
Aunty Julie McHale on Bush Tucker
Aunty Julie McHale (Palawa) shares with us her deep knowledge of Bush Tucker, particularly on Jaara country. Aunty Julie is a passionate advocate for Bush Tucker in many ways, from teaching and presenting workshops; her engagement with renowned Indigenous catering service Murnong Mummas, through to the significant new project of establishing a Bush Tucker farm at Harcourt, a short drive from Castlemaine. Accompanying this Reflection are images from the CAM collection of First Nations' art and material culture.
Millner on Flint
Writer and academic Jacqueline Millner sheds a critical light on the winner of the 2016 Len Fox Prize, a study of a woman washing at her basin, by Prudence Flint.
Felstead on Fairweather
Local artist Ken Felstead reflects on three wonderful works in our collection by Ian Fairweather. Weaving together aspects of Fairweather’s biography, Felstead introduces some of the philosophical and artistic influences on Fairweather’s work. Felstead will be known to many visitors as a finalist in the last two Len Fox Painting Award exhibitions at CAM.
Tribute to John Nixon (1949–2020)
Castlemaine has many links with the artist John Nixon, who died in August. In 2017 CAM presented John Nixon: Experimental Painting Workshop, curated by Emma Busowsky Cox; CAM has three Nixon works in its collection; and many of Nixon’s colleagues and friends live locally. In this tribute, fellow artists Melinda Harper, Clayton Tremlett and Justin Andrews, and curator Busowsky Cox share their memories of John Nixon, each writing with affection, respect and a profound sense of loss. Here you will learn something of the artist, celebrated not only for his work but also for his generous contribution to the sector through publishing, curating and supporting other artists at all stages of their development. We extend heartfelt condolences to Nixon’s wife, Sue Cramer, and daughter, Emma Nixon, and to John’s wider art family.
Reflections on the nature of cracks
From behind closed doors, CAM invited celebrated painting conservator Caroline Fry from the Grimwade Centre for Cultural Materials Conservation to write on an issue which can affect both historical and contemporary art. Far from an exact science, Fry discusses some of the considerations made before working on a painting. In her engaging reflection Fry foregrounds some of the dilemmas conservators face on a daily basis.
Grant on Atkinson
It is a pleasure to read this reflection on a spirited gift from the artist Yvonne Atkinson in 1977, written by the curator and writer Kirsty Grant. Through a Community Heritage Grant from the National Library of Australia (see below for full list of supporters) Grant is undertaking a significance assessment of CAMs art collection. As part of her assessment, Grant has undertaken community consultations and we look forward to sharing the results of her work later this year.
Bell on Bookplates
Amongst many areas of research, Christine Bell has taken a special interest in Bookplates. A great supporter of CAM, Bell has been assisting us in identifying and housing CAMs fine collection of Bookplates. In this reflection, Bell places this most fabulous bookplate by Eric Thake within a brief introduction to this longstanding art form, the artist and his subject, the dynamic Jean Daley. Thake’s Bookplate is currently exhibited in The Unquiet Landscape, curated by Jenny Long in the Higgins Gallery.
Vale Colleen Ruth Anne Smith
CAM is indebted to our guides for the warm and intelligent welcome they give visitors of all ages. They are nimble in responding to the interests of visitors, including giving formal tours. CAM guides are a high functioning group of local volunteers who come from many walks of life. New guides undergo a rigorous training provided by the more experienced guides, and participate in professional development programs with other galleries across the state. Guides also provide important support to reception staff. Unfortunately, Guides have not been able to work at CAM due to the pandemic however, we look forward to their return in the not too distant future.
Our community was saddened to learn of the recent passing of Colleen Smith, one of CAM’s valued guides, who unexpectedly passed away last week following surgery. Judith Staudte, CAM Guides Training Coordinator, spoke to Colleen’s colleagues across the country to compose this tribute to Colleen’s skilful and longstanding contribution to the public understanding of art.
Reflection on rehousing CAM’s Footwear collection
Some of us are just crazy about shoes — new shoes, old shoes, those in good order, those worn down through use and time. Quite aside from thinking of footwear as fashion items, we can see shoes as something like a short story which a skilled reader can interpret. In this delightful reflection, CAM honorary Conservator, Deborah Peart discusses some treasures in the collection: an astonishing shell work by First Nations artists from La Peruse in NSW as well as other small treasures in the local history collection. As part of CAM’s Digitisation Roadshow (supported by Creative Victoria), Peart introduces some of the issues around the care and housing of our footwear collection. Peart also invites members of the community to contact us if they have information to share about the items she is rehousing.
Barclay on McCubbin
In a personal and erudite reflection, local writer Jill Barclay shares her thoughts on a favourite in the collection by Frederick McCubbin (1855–1917), Heath Paddock, Hawthorn, 1886.
Morden on Brack
Here is something to lift your spirits: Castlemaine Secondary College students Verity Morden and Lulu Carolan share their reflections on a striking gouache by John Brack (1920 -1999). Morden and Carolan responded to a digital file of Ray and Judy,1969 whilst CAM was temporarily closed due to the pandemic. These reflections form part of VCE Unit 1, presented by local artist Clayton Tremlett in which Year 11 students develop written skills in analysing works of art.
I invite you to share this reflection with friends and family, particularly young people who wish to develop their writing skills. Young writers are invited to contact us if they too would like to write a Reflection for publication, we will assist in the process.
Check out our home activities for the school holidays based on works at CAM, created for young people and the young at heart.
Naomi Cass
Director CAM Renewal
Reflection - Sequeira on Moon
What gesture should galleries adopt to celebrate the opening of an exhibition in the time of Covid-19, when social distancing precludes the delightful tradition of an exhibition opening? While nothing can replace the conviviality of gathering in the Sinclair Gallery with the artist and a glass of wine, today we offer a thoughtful reflection on the key work in Moon’s exhibition, by artist and gallery director, David Sequeira as our opening gesture. We also launched CAM Collectables, our new retail project in the McKillop Gallery. Moon is the first featured artist and will be followed by artists and makers from the region and beyond.
Gaynor on de Maistre
In this delightful reflection, art historian Andrew Gaynor writes on a work by Roy de Maistre (1894 – 1968). Gaynor speaks from a position of respect and knowledge as de Maistre is the subject of his forthcoming PhD dissertation.
On the Castlemaine Art Gallery and the ‘Museum Movement’
Local academic Ian McShane explores why a British MP sponsored by one of America's most influential philanthropists was singing the praises of the newly opened Castlemaine Gallery in 1933. We look forward to learning more about this relationship following Dr McShane forthcoming research in the CAM archives. It is interesting to note that the photograph of the Whitchell Gallery below was taken prior to the Higgins Gallery being built and that the benches which are still in use, also date from this period.
Siggins on Teague
In this reflection, Phillip Siggins, one of CAM’s stalwart guides, writes about Violet Teague’s (1872–1951) gritty Portrait of a Pioneer, 1917. This was an important and prescient gift of the artist in 1940. Castlemaine women had a pioneering role in establishing CAM, and the museum’s first director, Beth Sinclair (appointed in 1962), was the first female director of any public gallery in Australia.
Busowsky Cox on Waller
Here is a treat, a reflection on the work of a much-admired local artist Christian Waller (1894–1954), written by a much-respected local curator and writer, Emma Busowsky Cox.
Dober on Williams
Today, Local artist Mark Dober writes on a key work in the collection by Fred Williams (1927 – 1982). CAM has twelve works by Fred Williams, ranging from 1948 through to 1980, including two oil paintings and works on paper. As a landscape artist, Dober offers a welcome perspective on this iconic and much loved painting from the late 1960s.
Reflections - On the significance of frames
Surrounding CAM’s celebrated collection of artworks is an equally intriguing and important collection of frames. Last year, CAM honorary conservator Deborah Peart conducted a frame-cleaning workshop with volunteers to prepare works from the collection for the upcoming exhibitions: The Unquiet Landscape and Janina Green in conversation with the Collection.
As frames are to the work of art, volunteers are to cultural organisations: offering critical support however, volunteers are not always as visible. In this, National Volunteer Week, we are pleased to bring you Deborah Peart’s reflection on the significance of frames. Peart is driving CAM policies and practice around caring for frames. As part of CAM’s Digital Roadshow (supported by Creative Victoria), Peart introduces some of the surprising issues surrounding the new-found respect, research and care given to frames.
Perry on Shore
In this edition of Reflections Peter Perry writes about Arnold Shore’s delightful painting Farmyard, Mt Macedon, 1941, with reference to Shore’s pioneering role as a foundational Modernist. Former Director of Castlemaine Art Gallery & Historical Museum 1975–2014, Perry was pivotal in securing CAM’s strong representation of fourteen works by the artist.
Annear on Watson
Stepping forward in time to 2008, in this Refection renowned curator and writer Judy Annear writes about an enigmatic and delightful painting in the collection by celebrated painter Jenny Watson.
Milford on Smart
In this Reflection, George Milford shares a personal reading of one of CAM’s jewels, Hide and Seek III 1969–70, by Jeffrey Smart (1921–2013). Castlemaine holds not only this painting but also a preliminary sketch from the same year. Here, Milford reflects on how his interest in art intersected with his work. You can catch up on earlier reflections by clicking here.
Lit from above: on not being able to visit Damon Moon’s exhibition in the Sinclair Gallery
Is not the Sinclair Gallery one of the most sublime small galleries? Consider its almost domestic proportions (save for the ceiling height), its stylish Art Deco footprint but mostly, its glass-paneled ceiling illuminating the space. So tuned are we to the slightest changes in light, that it is quite a wonderful experience viewing art under natural light. Slight changes in the sky dramatically alter this 'lightbox', shifting how we feel and how we see the artwork. In using a very limited palette, Moon’s objects take up the changing shadows cast through the space and across the day. Indeed, the changing light challenges making a consistent set of installation photographs, as you may note in the images here.
Contemporary ceramicist Damon Moon visited CAM late last year to discuss his forthcoming exhibition, Cast Recast: Damon Moon for the Sinclair. Moon spoke of his love of CAM’s Art Deco facade and ways he might create a new series of work for the space, whilst weaving throughout the language of historical Bendigo Pottery, where his studio is now based.
Reflection No. 1
During this period of temporary closure, we will invite members of the CAM community to write brief reflections on aspects of CAM art and museum collections, which we will share on a regular basis.
This series, entitled Reflections, commences below, with an inspired coupling: one of CAM's most loved artists, Clarice Beckett, and brilliant art historian Helen McDonald, who has elected to write about Wet Evening c1927. This work currently hangs in the Higgins Gallery in the exhibition Janina Green in Conversation with the Collection. Here, the sombre mood of Beckett’s small dark painting resonates formally and in spirit with Green’s equally bleak, hand-coloured photographic study of a massive road train.