Sunday, 14 June 2015

Fugue Book Launch Televised now on Youtube


The first book talk and launch of Australian Fugue: The Antipode Room at the exhibition I co-curated Intertwined at the ANU was televised, and the television shows are now up on YouTube, with an extract of my talk and launch, links are here. 
This is the start of a series of novels which will become progressively more 'realistic' yet fictionalised as the main character discovers the hidden history that she then reinvents in a historical story. I talked a bit about this and how the writing is linked to my art work, in the launch talk (click the images to play) : Australian Fugue: The Antipode Room book talk and launch short
(Pictured above: Ruth Skilbeck)
Australian Fugue: The Antipode Room book launch and talk - long. 
Pictured Lesley Dimmick OAM (left) artist and director of Tap Gallery, who was recently awarded an Order of Australia Medal for her longstanding contribution to the visual arts in Australia, with artist and poet and former director of Tap Gallery, Irena Storay (right). 





Art works in the background. 
In the shorter video, the art works are "Rainy Window" by Paloma Concierta, on the left side of the screen, "Untitled" by Denise Ferris in the centre, "Last Things" by Ruth Skilbeck with wall essay "First Things: Reflections on Single-lens Digital Photography with a Wide-angle Lens" on the left side. 

In the longer video, the show is opened by Ruth Skilbeck, co curator, the curators all speak, about their philosophies and art as mothers.





Wednesday, 13 May 2015

'Rhymes with Silence'- 13 Plays on Domestic Violence at 107 Projects, Redfern,16 May


Rhymes with Silence is a collection of short plays about domestic violence and mothers comprising thirteen new plays by nine playwrights, directed by Joy Roberts, and produced by Improvising Change at 107 Projects in Redfern, Sydney which opens at 7 pm this Saturday, and runs from 16-24 May.

“What is so powerful and potentially therapeutic about writings and plays on domestic violence by people who may have experienced it, is that it turns the shame of a stigmatized personal assault into a social concern and a workplace issue, and in doing so can help individuals affected by this to move on, at the same time giving insights into how and why it happens which can also help in the fight to eradicate domestic violence which so many women are subjected to and which destroys families and relationships and impacts on women at work as the plays on domestic violence show.”
Dr Ruth Skilbeck, author of Australian Fugue: The Antipode Room

Monday, 11 May 2015

INTERTWINED art exhibition and book launch

The Intertwined: Exhibiting Mother Artists talks and book launch of Australian Fugue: The Antipode Room on Saturday at the ANU School of Art in Canberra proved to be a great occasion and highly memorable with many of the artists and others there. The floor talk and book launch were televised. Thanks to all the artists, and to all those who came, and for your interest all those unable to make it, planning more book launches and art events. Will keep you posted!
Ruth Skilbeck

http://lipmag.com/arts/art-arts/intertwined-exhibiting-mother-artists/

Friday, 1 May 2015

'Last Things' in Exhibition and Book Launch at ANU School of Art, Canberra May 4-9th


LAST THINGS:
An exhibition of photographic images and writings by Ruth Skilbeck 
In Intertwined: Exhibiting Mother Artists, ANU School of Art, May 4-9, 2015
Author talk and book launch of Australian Fugue: The Antipode Room, 4-5pm May 9


The talk and exhibition opening were televised for  Sydney "Coffee Break" CommunityTV show, producer Jan Wood

The exhibition was of nine photographic images from the Last Things series with an essay.

Wall Essay:
First Things: Reflections on Single-lens Reflex Digital Photography with a Wide-angle Lens
by Ruth Skilbeck
Published in The International Journal of the Image, Vol. 3, 2013

This reflective practice essay discusses the psychology of perception and the proposition of processing trauma and loss through digital photography focusing on “Last Things” series of photographic images by the author. The paper reflexively explores the proposition of Art making as means of processing Traumatic experience, of loss, and shock of the unknown, in this case literally as well as symbolically, in images that go beyond words. The room was “empty” but needed clearing of the last things. She entered her mother’s death chamber with camera held to her face as shield and mask and took photographs of objects that she found there. The author learned from her own response, that she turned to the visual, to images, before words; she used her digital single-lens reflex camera, with wide-angle lens. This experience shifted her focus as arts journalist, to reflectively writing of her own perceptions and response, and the images made in that passing moment. Here she also refers to other artists and critics including urban Aboriginal artists, Mary Kelly, Barthes in his "Camera Lucida" and to further published exhibited works she has made.

And:
Blue Fugue, 2013  (Book cover image)
Australian Fugue: The Antipode Room, Newcastle: PostMistress Press, 2015. 

Exhibition: Intertwined: Exhibiting Mother Artists
Curated by Ruth Skilbeck, Vee Malnar and Joan Garvan 
with Book Launch of Australian Fugue: The Antipode Room a novel by Ruth Skilbeck
Exhibition: ANU School of Art Monday 4 May- Saturday 9 May.
Author Talk and Book Launch: 4-5 Saturday 9 May 2015  






Sunday, 26 April 2015

'Remembering Australia's Forgotten Mothers' - Art Manifesto

In the Anzac Day commemorations, it is fitting to also think about the women and mothers who were forgotten during the twentieth century in the years of mass adoption. This manifesto first posted on this blog has since been quoted in an essay by Ruth Skilbeck "Remembering Australia's Forgotten Mothers" published in the Journal of the Motherhood Initiative.

Skilbeck, Ruth (2012), 'Remembering Australia's Forgotten Mothers: Reclaiming Lost Identity in Colonial History', Journal of the Motherhood Initiative, Vol. 3, Issue 2. 163-177


Saturday, 25 April 2015

Three Grandfathers- Quiet Heros of the Western Front

Reposting an article from April last year.

by Ruth Skilbeck

Grandfather was an officer and a gentleman. He returned from World War 1, a young hero, who had been awarded the Military Cross, and many other medals, for his bravery at Ypres, Passchendaele, leading his battalion, the 38th Battalion, for weeks on end after the Commander had been killed and he, as the Adjutant took over. After the War, he was, in acknowledgment of his extraordinary service, offered a parliamentary position, as Clerk of the New South Wales Legislative Assembly. He was offered a position in Canberra, in the Federal parliament, so my mother told us, but Grandmother did not want to leave Sydney. He took up the position in the NSW parliament and every day for all of his working life he travelled to and from the city to their house overlooking a gully (valley) on Sydney’s leafy north shore.

     Grandfather was a trim dapper man,  five foot eleven, he had a square, calm, pale face, with intelligent eyes, and a quiet good humoured manner of speaking, he dressed immaculately in three piece suits, bespoke leather shoes that were always well polished, and he never went into the city without his hat, a trilby, and in the inclement season his cream coloured raincoat, and of course always his mahogany-coloured leather briefcase.
     With his highly capable modest ways and scrupulous attention to detail, his selfless devotion to duty, he was a highly respected public servant, who was highly thought of by all, as the booklet that was printed to commemorate his life, when he passed away, twenty years after his retirement shows. Over 15 members of parliament stood up and give speeches in his memory, which are recorded in the book that was given to my mother, and that I keep along with other documents of the family history.

But there was another man, who fought bravely in the war. There was another family. Of the man, who fought bravely and lost an eye, in the same battalion. He was the Sergeant in the same Battalion where Grandfather was the Adjutant. Uncle Jack and Grandfather were good friends. All the Anzacs who went through such hell as the trench warfare on the western front were mates for life, but as Sergeant and Adjutant they had a bond of holding the line together through the hells of Ypres and Passchendaele, that went much deeper than words could ever say.

Chateau Wood Ypres, 1917 Photo: Frank Hurley
 Grandfather and Uncle Jack fought here


     This was a family of three girls and a mother. Three girls, and the eldest was just a couple of years younger than my mother. Three sisters; the middle one, looked quite like my mother, with her black wavy hair, green eyes and high cheekbones. This family lived only a few streets away from Grandmother and Grandfather and my mother when she was growing up. They all went to the same private girl’s school, in spacious grounds not far from the Pacific Highway.

Every Christmas we went to Uncle Jack’s, mother told us, as we were growing up in England. And we had to spend a few hours at their house every Christmas day.  Her voice tended to falter and come to a halt there. What did you do we asked prompting her to continue, helping her to go on.
     Oh we all just sat around the living room. We gave each other presents, she said. There was Aunty K. and the three girls…


Pa, my father’s father also fought in WW1. He was a boy of 16 in Middlesbrough, Yorkshire, when the war broke out and he lied about his age, said he was 18 so he could go and fight for his country. After the war was over, instead of returning to England, he went back to Australia with his ANZAC mates, who he met in the trenches. At least that was never hidden; we knew his story, although his willingness to go off and fight at age 16 was a source of wonder and awe that was somewhat beyond our comprehension as children.  We knew about it, nothing was hidden.
     It was on the colonial Australian family side of my mother's family that the long silence fell.

Those quiet heroes, kept very quiet, and that was probably no doubt to do with the trauma they had suffered in those terrible years.
     There was much that they did not want to talk about or remember, and that included the truth of my mother’s origin, and her own mother who had been eradicated from the records and official history. Yes, there was much else that got swept up into the waves and walls of silence that fell and formed the uneasy muffled backdrop of our colonial families’ lives.

Nobody talked about those things then, and that we, grandchildren, were not allowed to know. It would be many years until I would ever know about the real significance and identity of the mystery man my mother talked about as “Uncle Jack”, and that other family.

Uncle Jack and Grandfather were good friends. All the Anzacs who went through such hell as the trench warfare on the western front were mates for life, but as Sergeant and Adjutant of the 38th Battalion they had a bond of holding the line together.


Ruth Skilbeck.     
From notes for a novel in progress to be published by Postmistress Press.

Friday, 24 April 2015

Whatever happened to "Afghan coats"?

I was a child of the 60s and 70s. I remember when everything one heard about the middle east was cool.
Who remembers Afghan coats? Persian rugs?  Once upon a time in the west in the 70s these were the indicators of cool and hipness. Every self respecting right-on academic would have one or two.

So fast forward to the boring "control and surveillance" society of the 20-teens.
These items would now have you put on a list for potential terrorist activity.

Who is wearing an Afghan coat now? who is proudly displaying a persian rug?

The main question to ask here is: how is this linked to the profits of the shareholders in the companies and corporations that profit from the wars on the Middle East?

To what extent is fashion as depicted in mainstream media tied to and dictated by the "market" which is led by Wall Street?
And here in Australia by the Australian Stock Exchange.

So, in conclusion we can say once they were so cool. Whatever happened to the Retro revival of Afghan coats? It got lost in the PR for the wars on the Middle East.