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‘Baker, The Artist, The Influencer’, the exhibition

A new gallery exhibition

If you are observant when walking around central Camden, new vibrant posters are publicising a new exhibition at the Alan Baker Art Gallery Macaria in John Street Camden.

A poster to be found in a bus shelter in John Street Camden advertising the exhibition. This poster is of the artist Alan D Baker and provides a colourful addition to passengers using the local bus service. (I Willis, 2023)

The posters are in all sorts of locations.

One of the most interesting is the back wall of the Oxley Street carpark.

An exhibition poster for ‘Baker, The Artist, The Influencer’ located on the rear wall of the Oxley Street carpark. Illustrating that art is for everyone and is accessible to all. The subject of the poster is Alan Baker’s wife, Marjorie. (I Willis, 2023)

The new exhibition is ‘Baker, The Artist, The Influencer’ and runs until September 2023.

 The exhibition is the story of the Camden Art Group, which commenced sometime in 1972.

The art group started with local school teacher Ken Rorke. He was an art teacher at Camden Public School from 1961 to 1981.

As a keen artist, Ken asked artist Alan Baker to teach a Wednesday night class, which he refused, but he agreed to provide ‘advice and an expert hand’.

The experiences of the Wednesday night art group were quite varied and prompted some individuals to further their art careers.

An exhibition poster of ‘Baker The Artist The Influencer’ using one of his works ‘The Master’s Student’, which was completed at the Wednesday night Camden Art Group session in 1975. The poster is located in the laneway at the rear of the Oxley Street carpark and brightens up an otherwise drab masonry wall. (I Willis, 2023)

The exhibition catalogue states:

Camden Art Group was comprised of a mix of people from all walks of life. There were local business people, high school students, teachers, mothers, fathers, forestry workers – anyone with an interest in art was welcomed and found a place for themselves among the friendly group.

The art group, usually consisting of an attendance of about 20 artists, fostered the creative talents of many people who have gone on to bigger and better things.

Alan Baker’s role was to be ‘an inspiring and charismatic force for the class’. (Ahmad, et al, 2018)

Rizwana found it interesting to compare her training in South Asian training with Alan Baker’s Realist technique and style. (Ahmad, et al, 2018)

Some were encouraged to extend their professional interest in art after being discouraged early in life. (Ahmad, et al, 2018)

The displayed artworks at the Alan Baker Art Gallery Macaria in John Street, Camden. These are some of the works from the Camden Art Group. (I Willis, 2023)

There were other benefits from the art group included lifelong friendships, opportunities for professional development, the development of a collegiate artistic atmosphere, mentoring of local artistic talent, the creation of a thriving arts community that encouraged creativity, and several participants’ lives that were changed by art. (Ahmad, et al, 2018)

Baker, mentor, artist, and local identity encouraged the art group members to experiment and use a range of styles and materials, and their work is displayed alongside Baker’s art in the exhibition.

The exhibition catalogue states:

Sleek sculptures in stone and wood, commemorative busts, traditional oil paintings, drawings, and expressive watercolours hand side by side. These works showcase the impressive body of work created by the Camden Art Group in the years of the group meetings and, continuing beyond Baker’s death, into the present day.

This artwork called ‘An Artists Life’ portrays the Camden Art Group busily at work in one of the classrooms at Camden Public School. Ken Rorke instigated the formation of the art group and invited Alan Baker to teach the class, which he refused to do. Instead, he offered to attend the group sessions and provide advice and an expert hand. He did this from 1972 until his death in 1987. Some of the participant artists of the group are listed, and their work is displayed in the exhibition. This work is located just inside the front door of the gallery. (I Willis 2023)

The Camden art group’s ground-breaking influence and its collegiate atmosphere is still evident today.

Exhibitions of artwork by Baker and others create an atmosphere that fosters creativity and innovation. Art can catalyse economic activity, leading to new businesses and job opportunities.

References

Gallery 2023, Baker, The Artist, The Influencer. Alan Baker Art Gallery Macaria, Camden.

Ian Willis 2018, ‘Alan Baker, the artist’. Camden History, September, vol 4, no 6, pp242-247.

Rizwana Ahmad, Patricia Johnston, Olive McAleer, Shirley Rorke, Nola Tegel, and John Wrigley, 2018, ‘Alan Baker Art Classes’. Camden History, September, vol 4, no 6, 248-257.

Ian Willis, 2018, ‘Alan Baker Art Gallery opening, a brush of class’. Camden History Notes Blog, Camden, 5 March. Online at https://camdenhistorynotes.com/2018/03/05/alan-baker-art-gallery-macaria-opening/

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The Cowpastures’ English-styled-gentry and their private villages

A certain type of Englishman

These Englishmen were also known as the Cowpastures gentry, a pseudo-self-styled-English gentry.

All men, they lived on their estates when they were not involved with their business and political interests in Sydney and elsewhere in the British Empire.

By the late 1820s, this English-style gentry had created a landscape that reminded some of the English countryside. This was particularly noted by another Englishman, John Hawdon.

There were other types of English folk in the Cowpastures, and they included convicts, women, and some freemen.

EstateExtent (acres)Gentry  (principal)
Abbotsford (at Stonequarry, later Picton)400 (by 1840 7,000)George Harper (1821 by grant)
Birling Robert Lowe
Brownlow Hill (Glendaruel)2000 (by 1827 3500)400 (by 1840, 7,000)
Camden Park2000 (by 1820s, 28,000)John Macarthur (1805 by grant, additions by grant and purchase)
Cubbady500Gregory Blaxland (1816 by grant)
Denbigh1100Charles Hook (1812 by grant), then Rev Thomas Hassall (1828 by purchase)
Elderslie (Ellerslie)850John Oxley (1816 by grant), then Francis Irvine (1827 by purchase), then John Hawdon (1828 by lease)
Gledswood (Buckingham)400John Oxley (1816 by grant), then Francis Irvine (1827 by purchase), then John Hawdon (1828 by lease)
Glenlee (Eskdale)3000William Howe (1818 by grant)
Harrington Park2000Gabriel Louis Marie Huon de Kerilliam (1810 by grant), then James Chisholm (1816 by purchase)
Jarvisfield (at Stonequarry, later Picton)2000Henry Antill (by grant 1821)
Kenmore600John Purcell (1812 by grant)
Kirkham1000William Campbell (1816 by grant), then Murdock Campbell, nephew (1827 by inheritance)
Macquarie Grove400Rowland Hassall (1812 by grant)
Matavai Farm200Jonathon Hassall (1815 by grant)
Maryland Thomas Barker
Narallaring Grange700John Oxley (1815 by grant), then Elizabeth Dumaresq (1858 by purchase)
Nonorrah John Dickson
Orielton1500William Hovell (1816 by grant), then Frances Mowatt (1830 by purchase)
Parkhall (at St Marys Towers)3810Thomas Mitchell (1834 by purchase)
Pomari Grove (Pomare)150Thomas Hassall (1815 by grant)
Raby3000Alexander Riley (1816 by grant)
Smeeton (Smeaton)550Charles Throsby (1811 by grant)
Stoke Farm500Rowland Hassall (1816 by grant)
Vanderville (at The Oaks)2000John Wild (1823 by grant)
Wivenhoe (Macquarie Gift)600Edward Lord (1815 by grant), then John Dickson (1822 by purchase)

This Charles Kerry Image of St Paul’s Anglican Church at Cobbitty is labelled ‘English Church Cobbitty’. The image is likely to be around the 1890s and re-enforces the notion of Cobbity as an English-style pre-industrial village in the Cowpastures (PHM)

Private villages in the Cowpastures

VillageFounder (estate)Foundation (Source)
CobbittyThomas Hassall (Pomari)1828 – Heber Chapel (Mylrea: 28)
CamdenJames and William Macarthur (Camden Park)1840 (Atkinson: Camden)
ElderslieCharles Campbell (Elderslie)1840 – failed  (Mylrea:35)
Picton (Stonequarry in 1841 renamed Picton in 1845)Henry Antill   (Jarvisfield)1841  (https://www.aussietowns.com.au/town/picton-nsw#:~:text=Origin%20of%20Name,at%20the%20Battle%20of%20Waterloo.)
WiltonThomas Mitchell (Parkhall)1842 – failed (https://www.towersretreat.org.au/history/park-hall-east-bargo-1841-1860)
The OaksMrs John Wild (Vanderville)1858 (https://en.wikipedia.org/wiki/The_Oaks,_New_South_Wales)
MenangleJames and William Macarthur (Camden Park)1863 – arrival of railway (https://camdenhistorynotes.com/2014/02/16/menangle-camden-park-estate-village/)
   

Updated on 26 May 20223. Originally posted on 28 May 2022 as ‘The Englishmen of the Cowpastures’

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Sydney’s urban fringe: a transition zone of hope and loss

Winners and losers on the urban fringe

Mount Annan around 2002 CHS2005
Mount Annan around 2002 CHS2005

Sydney’s rural-urban fringe is a site of winners and losers.

It is a landscape where dreams are fulfilled and memories are lost. The promises of land developers in master-planned suburban utopias meet the hope and expectations of newcomers.

At the same time, locals grasp at lost memories as the rural countryside is covered in a sea of tiled roofs and concrete driveways.

Conflict over a dream

As Sydney’s rural-urban fringe moves across the countryside, it becomes a contested site between locals and outsiders over their aspirations and dreams. The conflict revolves around displacement and dispossession.

Sydney’s rural-urban fringe is similar to the urban frontier of large cities in Australia and other countries. It is a dynamic landscape that makes and re-makes familiar places.

More than this the rural-urban fringe is a zone of transition where invasion and succession are constant themes for locals and newcomers alike.

Searching for the security of a lost past

Fishers Ghost Festival

As Sydney’s urban sprawl invades fringe communities, locals yearn for a lost past and hope for some safekeeping of their memories. They use nostalgia as a fortress and immerse themselves in community rituals and traditions drawn from their past. They are drawn to ever-popular festivals like the Camden Show and Campbelltown’s Fishers Ghost Festival, which celebrate the rural heritage of Sydney’s fringe.

Local communities respond by creating imaginary barriers to ward off the evils of Sydney’s urban growth that is about to run them over. One of the most important is the metaphorical moat created by the Hawkesbury-Nepean River floodplain around some of the fringe communities of Camden, Richmond and Windsor.

Fringe communities use their rural heritage to ward off the Sydney octopus’s tentacles that are about to strangle them. In one example, the Camden community has created an imaginary country town idyll. A cultural myth where rural traditions are supported by the church on the hill, the village green and the Englishness of the gentry’s colonial estates.

Hope and the creation of an illusion

Outsiders and ex-urbanites come to the new fringe suburbs looking for a new life in a semi-rural environment. As they escape the evils of their own suburbia, they seek to immerse themselves in the rurality of the fringe. They want to retreat to an authentic past when times were simpler. It is a perception that land developers are eager to exploit.

Ex-urbanites are drawn to the urban frontier by developer promises of their own piece of utopia and the hope of a better lifestyle. They seek a place where “the country still looks like the country”. These seek what the local fringe communities already possess – open spaces and rural countryside.

The imagination of new arrivals is set running by developer promises of suburban dreams in master-planned estates. They are drawn in by glossy brochures, pollie speak, media hype and recent subsidies on landscaping and other material benefits.

Manicured parks, picturesque vistas and restful water features add to the illusion of a paradise on the urban frontier. Developers commodify a dream in an idyllic semi-rural setting that new arrivals hope will protect their life savings in a house and land package.

Destruction of the dream

CHS2436
Oran Park Development 2010 (Camden Image/P Mylrea)

Dreams are also destroyed on Sydney’s urban frontier for many newcomers. Once developers of master-planned estates have made their profit, they withdraw. They no longer support the idyllic features that created the illusion of a suburban utopia.

The dreams of a generation of ex-urbanites have come crashing down in the suburbs like Harrington Park and Mount Annan. The absence of developer rent-seeking has meant that their dreams have evaporated and gone to dust. Manicured parks have become overgrown. Restful water features have turned into dried-up cesspools inhabited by vermin.

Paradoxically, the ex-urbanite invasion has displaced and dispossessed an earlier generation of diehard motor racing fans of their dreams. The destruction of the Oran Park Raceway created its own landscape of lost memories. Ironically new arrivals at Oran Park bask in the reflected glory of streets named after Australian motor racing legends and sculptures that pay tribute to the long-gone raceway.

The latest threat to the dreams of all fringe dwellers is the invasion of Sydney’s southwest urban frontier by the exploratory drilling of coal seam gas wells. Locals and new arrivals alike see their idyllic surroundings disappearing before their eyes. They are fearful of their semi-rural lifestyle.

So what of the dreams?

Sydney’s rural-urban fringe will continue to be a frontier where conflict is an ever-present theme in the story of the place. Invasion, dispossession, opportunity and hope are all part of the ongoing story of this zone of constant change.

Front Cover of Ian Willis’s Pictorial History of Camden and District (Kingsclear, 2015)

Learn more

Ian Willis 2012, Townies, ex-urbanites and aesthetics: issues of identity on Sydney’s rural-urban fringe.

Ian Willis 2013, Imaginings on Sydney’s Edge: Myth, Mourning and Memory in a Fringe Community (Sydney Journal)

Updated 10 May 2023. Originally posted 24 September 2015