If you don't fight ... you lose

politics, posters and PAM

A Flinders University Museum of Art exhibition curated by Catherine Speck and Jude Adams

Exhibition guide

We must risk unlearning all the things that have kept us alive for so long

And even if they say that you never had it so good, that is still a slogan of those who have much more ...

When workers unite bosses tremble

Let’s make things perfectly clear

So we must fly a rebel flag

Post-PAM

Ephemera

^{Pamela Harris

Andrew Hill (collaborating artist)

Peter Mumford (collaborating artist)

Ann Newmarch (collaborating artist)

If you don't fight you lose, 1977

screenprint, ink on paper

63.1 x 75.7 cm (image)

64.9 x 91.3 cm (sheet)

Private Collection}

^{Pamela Harris

Doll, c. 1973

screenprint, ink on paper

34.6 x 49.9 cm (image)

56.1 x 76.1 cm (sheet)

Donated through the Australian Government's Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5013}

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We must risk unlearning all the things that have kept us alive for so long

Traditionally, Marxist male-dominated political groups, including PAM, regarded the women’s struggle as secondary to the class struggle. Nevertheless, some of the most striking posters by PAM artists focused on feminist issues, including women as both objects and consumers of advertising, women in non-traditional jobs, the exploitation of migrant women workers, and sexual exploitation underscoring how the ‘personal is political’.

^{Robert Boynes

Morals of money, 1974

screenprint, ink on paper

edition 2/10

56.4 x 50.3 cm (image)

76.7 x 64.2 cm (sheet)

Gift of Daniel Brine

Collection of Flinders University Museum of Art 4660

© the artist}

^{Ann Newmarch

Two versions, 1975

screenprint, ink on paper

edition 17/22

72.0 x 51.4 cm (image)

77.4 x 59.3 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5022

© the estate of the artist}

^{Ann Newmarch

Look rich, 1975

screenprint, ink on paper

edition 31/40

70.9 x 55.0 cm (image)

77.7 x 63.2 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5021

© the estate of the artist}

^{Ann Newmarch

We must risk unlearning, 1975

screenprint, ink on paper

edition 28/40

71.2 x 55.5 cm (image)

81.4 x 66.0 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5023

© the estate of the artist}

^{Ann Newmarch

Queen of hearts, 1977

silkscreen print, ink on paper

edition 40/70

68.8 x 46.5 cm (image)

76.2 x 56.7 cm (sheet)

Collection of Flinders University Museum of Art 2019

© the estate of the artist}

^{Pamela Harris

Living doll, 1981

silkscreen print, ink on paper

63.5 x 40.4 cm (image)

78.0 x 52.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Pamela Harris

Women (lesbian mothers are everywhere), 1984

screenprint, ink on paper

edition 5/10

48 x 60.9 cm (image)

57.4 x 76.4 cm (sheet)

Gift of the Australian Experimental Art Foundation

Collection of Flinders University Museum of Art 2880.050

© the estate of the artist}

^{Pamela Harris

Working woman and child, 1981

silkscreen print, ink on paper

40.5 x 50.2 cm (image)

53.2 x 75.9 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Pamela Harris

Whores no. 1, 1981

silkscreen print, ink on paper

edition 9/13

78.4 x 39.0 cm (image)

100.1 x 70.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Pamela Harris

Whores No. 2, 1981

silkscreen print, ink on paper

edition 13/13

78.4 x 39.0 cm (image)

100.1 x 70.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

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And even if they say that you never had it so good, that is still a slogan of those who have much more …

‘You never had it so good’ draws on Gough Whitlam’s words reproduced as a newspaper headline in the Australian (1974). Mandy Martin takes them out of context and reworks them to draw attention to the myth of Australia as a classless society. The media, politicians and big business may benefit from increasing prosperity, but life remains a struggle for those who are socio-economically disadvantaged.

^{Mandy Martin

A lovely house in Springfield and a chauffeur-driven Jag, 1975

screenprint, ink on paper

edition 11/25

63.4 x 45.7 (image)

76.0 x 55.8 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5046

© the estate of the artist}

^{Mandy Martin

Adelaide Railway Station 2, 1973

screenprint, ink on paper

50.0 x 73.7 cm (image)

56.0 x 76.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Mandy Martin

But for the 750,000 people in the world who depend directly on General Motors for their daily bread ..., 1975

screenprint, ink on paper

edition 4/25

63.4 x 45.7 cm (image)

76.0 cm x 55.8 cm (sheet)

Donated through the Australian Government's Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5045

© the estate of the artist}

^{Andrew Hill

Management deliberately employ women, 1984

screenprint, ink on paper

49.8 x 74.5 cm (image)

56.0 x 76.0 cm (sheet)

Gift of the Australian Experimental Art Foundation

Collection of Flinders University Museum of Art 2880.055

© the artist}

^{Mandy Martin

Don't be taken in, 1975

screenprint, ink on paper

edition 18/40

55.3 x 40.8 cm (image)

76.2 x 56.0 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5047

© the estate of the artist}

^{Andrew Hill

We are immigrants, 1984

screenprint, ink on paper

49.7 x 74.7 cm (image)

55.5 x 77.2 cm (sheet)

Gift of the Australian Experimental Art Foundation

Collection of Flinders University Museum of Art 2880.054

© the artist}

^{Mandy Martin

You never had it so good, 1976

screenprint, ink on paper

edition 4/25

65.0 x 46.0 cm (image)

76.0 x 55.8 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5055

© the estate of the artist}

^{Mandy Martin

You never had it so good, 1976

screenprint, ink on paper

edition 1/20

71.4 x 50.7 cm (image)

90.0 x 64.1 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5059

© the estate of the artist}

^{Mandy Martin

Iron ore baron, 1977

screenprint, ink on paper

edition 2/6

90.0 x 55.0 cm (image)

102.2 x 73.2 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5065

© the estate of the artist}

^{Mandy Martin

Nothing but his hands, 1977

screenprint, ink on paper

edition 5/30

90.0 x 53.3 cm (image)

102.4 x 73.2 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5067

© the estate of the artist}

^{Pamela Harris

What did you tell that man?, 1977

silkscreen print, ink on paper

76.2 x 60.0 cm (image)

92.0 x 68.5 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

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When workers unite bosses tremble

PAM members saw their role as artists to support the workers' struggle and to advance the revolutionary movement for change. In parallel to the 1968 uprisings in France, which united students and factory workers, PAM stood with local workers amid unrest in Adelaide’s car manufacturing industries. Echoing the street activism in France, hand-printed posters played a crucial role in campaigns to nationalise the car industry and secure the release of imprisoned worker Will Heidt. Additionally, PAM produced posters for national campaigns such as Australian Independence, and Campaign against Foreign Bases.

^{Progressive Printers Alliance

Say no to foreign masters, 1974–1976

screenprint, ink on paper

66.3 x 44.5 cm (image)

76.0 x 50.7 cm (sheet)

Gift of Mark Thomson

Collection of Flinders University Museum of Art 5112

© the artist}

^{Artist unknown

Campaign to nationalize the car industry, c. 1975

silkscreen print, ink on paper

63.5 x 40.9 cm (image)

76.0 x 52.0 cm (sheet)

Ann Newmarch Collection}

^{Ann Newmarch

Gaol bosses; not workers, 1976

silkscreen print, ink on paper

38.9 x 57.4 cm (image)

51.0 x 66.2 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Ann Newmarch

Nationalize the car industry, c. 1975

screenprint, ink on paper

89.7 x 59.2 cm (image)

101.8 x 66.4 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5038

© the estate of the artist}

^{Mandy Martin

Who owns Australia, 1976

screenprint, ink on paper

edition 10/50

85.5 x 50.5 cm (image)

101.9 x 66.4 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5062

© the estate of the artist}

^{Peter Mumford

The sound of thunder, 1977

photographic silkscreen print, ink on paper

61.4 x 45.5 cm (image)

76.0 x 65.0 cm (sheet)

Private Collection

© the artist}

^{Andrew Hill

Our work is only half done, 1977

photographic silkscreen print, ink on paper

66.2 x 47.4 cm (image)

75.9 x 56.1 cm (sheet)

Private Collection

© the estate of the artist}

^{Mandy Martin

When workers unite, bosses tremble, 1974–1975

screenprint, ink on paper

50.7 x 75.9 cm (image)

55.5 x 76.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Ann Newmarch

Strike for wage justice, c. 1976

silkscreen print, ink on paper

38.6 x 57.0 cm (image)

45.0 x 65.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Ann Newmarch

Free Will Heidt, 1976

silkscreen print, ink on paper

artist proof

62.7 x 50.3 cm (image)

66.0 x 50.7 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Peter Mumford

The unemployed won't wait much longer, c. 1977

silkscreen print, ink on paper

67.6 x 59.3 cm (image)

76.7 x 64.9 cm (sheet)

Ann Newmarch Collection

© the artist}

^{Mandy Martin

Confrontation, 1977

screenprint, ink on paper

edition 6/20

71.0 x 101.5 cm (image)

73.4 x 102.3 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5077

© the estate of the artist}

^{Andrew Hill

Our hands will take up arms, 1979

photographic silkscreen print, ink on paper

edition 11/15

63.2 x 92.3 cm (image)

75.1 x 105.6 cm (sheet)

Private Collection

© the artist}

^{Andrew Hill

New technology for prosperity not unemployment, 1984

screenprint, ink on paper

86.5 x 59.8 cm (image)

100.0 x 70.2 cm (sheet

Gift of the Australian Experimental Art Foundation

Collection of Flinders University Museum of Art 2880.053

© the artist}

^{Mandy Martin

Big boss, 1977

screenprint, ink on paper

edition 6/12, 2nd printing

73.3 x 47.7 cm (image)

102.2 x 88.0 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5060

© the estate of the artist}

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Let’s Make Things Perfectly Clear

Traditional political posters do make things perfectly clear. With simple design elements, instantly recognisable graphics, and topical or confrontational subject matter, their impact is immediate. However, with some PAM posters or prints, more than a glance is required to decipher their layered or juxtaposed images and text. Likewise, a series of narrative-based prints requires a sequential reading to ‘get the whole picture’.

^{Robert Boynes

Let’s make things perfectly clear, 1974

screenprint, ink on paper

Artist Proof

25.2 x 27.2 cm (image)

43.0 x 45.2 cm (sheet)

Collection of the artist

© the artist}

^{Andrew Hill

Killing Australia, 1977

photographic silkscreen print, ink on paper

58.1 x 45.0 cm (image)

75.9 x 56.0 cm (sheet)

Private Collection

© the artist}

^{Robert Boynes

Stroke it rich, 1973

silkscreen print, ink on paper

edition 5/30

67.4 x 92.9 cm (image)

75.4 x 101.0 cm (sheet)

Ann Newmarch Collection

© the artist}

^{Ann Newmarch

Bill, 1976

silkscreen print, ink on paper

Artist Proof

40.0 x 90.9 cm (image)

64.7 x 90.9 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Mandy Martin

Unknown industrial prisoner II, 1977

screenprint, ink on paper

edition 7/35

55.2 x 89.0 cm (image)

73.3 x 102.2 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5063

© the estate of the artist}

^{Mandy Martin

Gallery 1, 1977

screenprint, ink on paper

edition 5/35

55.9 x 89.7 cm (image)

73.3 x 102.7 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5069

© the estate of the artist}

^{Mandy Martin

Collaboration II, 1977

screenprint, ink on paper

edition 6/40

61.0 x 89.6 (image)

71.0 x 101.5 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5074

© the estate of the artist}

^{Mandy Martin

Gallery 2, 1977

screenprint, ink on paper

edition 4/40

71.0 x 101.5 cm (image)

74.1 x 102.4 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5072

© the estate of the artist}

^{Mandy Martin

Assimilation, 1977

screenprint, ink on paper

edition 4/30

60.5 x 89.3 cm (image)

73.1 x 102.3 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5073

© the estate of the artist}

^{Mandy Martin

Ann Newmarch (collaborating artist)

Robert Boynes (collaborating artist)

Arts spending, where does the money go?, 1974

screenprint, ink on paper

61.0 x 44.7 cm (image)

63.9 x 44.7 cm (sheet)

Ann Newmarch Collection

© the artist and estate of the artists}

^{Mandy Martin

The Investors, 1977

gouache, pen & ink on card

39.4 x 62.9 cm (image)

53.1 x 71.3 cm (sheet)

South Australian Government Grant 1978

Art Gallery of South Australia 782D4

© the estate of the artist}

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So we must fly a rebel flag ...

‘So we must fly a rebel flag’ comes from Henry Lawson’s iconic working-class poem, Freedom on the Wallaby, the last lines of which are included in Christine McCarthy’s Blood on the Wattle. The rebel flag is the Eureka flag first raised on the goldfields at the Eureka Stockade in 1954, and then at the 1891 Shearers’ Strike, to which Lawson’s poem was responding. The Eureka flag was important to PAM as the flag of the Australian Independence Movement and for its association with rebellion and workers’ rights. And, for its five years of existence, PAM did, indeed, ‘fly a rebel flag’ …

^{Ann Newmarch

National anthem, 1974

silkscreen print, ink on paper

Artist Proof

64.5 x 39.0 cm (image)

76.5 x 56.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Andrew Hill

Vanished like the morning dew, 1976

photographic silkscreen print, ink on paper

34.3 x 43.8 cm (image)

48.1 x 56.1 cm (sheet)

Private Collection

© the artist}

^{Mandy Martin

Stop Omega, 1974

screenprint, ink on paper

65.5 x 48.3 cm (image)

76.0 x 56.3 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5058.002

© the estate of the artist}

^{Christine McCarthy

Blood on the wattle, 1977

linocut, ink on paper

edition 3/13

68.8 x 25.2 cm (image)

80.1 x 33.4 cm (sheet)

Private Collection

© the artist}

^{Jim Cane

Vote communist, c. 1970s

screenprint, ink on paper

66.5 x 44.0 cm (image)

70.8 x 50.9 cm (sheet)

Gift of the Australian Experimental Art Foundation

Collection of Flinders University Museum of Art 2879.024

© the artist}

^{Mandy Martin

Australian independence, 1974

screenprint, ink on paper

50.6 x 76.0 cm (image)

55.9 x 76.1 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5053

© the estate of the artist}

^{Progressive Printers Alliance

Pamela Harris (collaborating printer)

Whose "health and welfare" is the Fraser Government Protecting?, 1978

screenprint, ink on paper

49.4 x 62.4 cm (image)

50.7 x 64.6 cm (paper)

Gift of Kate Millington

Collection of Flinders University Museum of Art 4648.020

© the estate of the artist}

^{Pamela Harris

International Women's Day: women's march for liberation, 1983

screenprint, ink on paper

53.3 x 44.3 cm (image)

70.7 x 50.7 cm (sheet)

Gift of the Australian Experimental Art Foundation

Collection of Flinders University Museum of Art 2879.118

© the estate of the artist}

^{Pamela Harris

Let's all resolve, 1981

silkscreen print, ink on paper

edition 25/35

65.0 x 46.0 cm (image)

100.0 x 70.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Ann Newmarch

We accuse, 1979

silkscreen print, ink on paper

Artist Proof

84.5 x 55.7 cm (image)

91.2 x 64.9 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Ann Newmarch

Dollies for the Australian Uranium Producers Forum, 1979

silkscreen print, ink on paper

39.0 x 40.0 cm (image)

76.0 x 56.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Mandy Martin

The great fear, 1976

screenprint, ink on paper

edition 11/20

69.5 x 44.5 cm (image)

85.0 cm x 70.5 cm (sheet)

Donated through the Australian Government’s Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5061

© the estate of the artist}

^{Ann Newmarch

Sunrise, 1975

screenprint, ink on paper

49.7 x 64.9 cm (image)

56.1 x 76.5 cm (sheet)

Collection of Flinders University Museum of Art 1842

© the estate of the artist}

^{Ann Newmarch

Redgum, 1978

silkscreen print, ink on paper

60.2 x 71.1 cm (image)

64.8 x 91.2 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Jim Cane

Andrew McHugh (collaborating printer)

Tribune Dance, c. 1970s

offset lithograph, ink on paper

47.0 x 32.4 cm (image)

50.5 x 34.4 cm (sheet)

Gift of the artist

Collection of Flinders University Museum of Art 4832}

^{Jim Cane

Andrew McHugh (collaborating printer)

East Timor Liberation Benefit Dance, c. 1970s

offset lithograph, ink on paper

52.0 x 36.0 cm (image)

54.0 x 38.0 cm (sheet)

Gift of the artist

Collection of Flinders University Museum of Art 4829}

^{Ann Newmarch

Vietnam Madonna, 1975

screenprint, ink on paper

67.0 x 42.0 cm (image)

76.1 x 56.2 cm (sheet)

Donated through the Australian Government's Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5012}

^{Ann Newmarch

Vietnamese Women's Visit,1974–1975

screenprint, ink on paper

59.6 x 43.0 cm (image)

64.0 x 44.8 cm (sheet)

Ann Newmarch Collection}

^{Mandy Martin

The drive of the U.S., 1975

screenprint, ink on paper

64.8 cm x 44.7 (image)

76.2 x 55.9 cm (sheet)

Donated through the Australian Government's Cultural Gifts Program by Amanda Martin

Collection of Flinders University Museum of Art 5042

© the estate of the artist}

^{Andrew Hill

Not until I saw the corpse with my own eyes, did I believe, 1977

photographic silkscreen print, ink on paper

66.2 x 56 cm (image)

56.8 x 45.3 cm (sheet)

Private Collection

© the artist}

^{Pamela Harris

Australian Women's Education Coalition 1979

silkscreen print, ink on paper

43.5 x 29.3 cm (image)

53.0 x 37.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Artist unknown

Demand cultural independence, c. 1976

silkscreen print, ink on paper

53.2 x 43.4 cm (image and sheet)

Gift of the Australian Experimental Art Foundation

Collection of Flinders University Museum of Art 2879.016}

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Post-PAM

When PAM ended in 1978 many of its artists maintained politically engaged practices finding new ways of challenging the status quo. Robin Best’s ceramic works, for instance, take the PAM mantra to promote a progressive Australian culture away from critique to whimsy by playfully subverting Australian cultural motifs. Here, her Fish and chip bowl (1987) transforms the humble newspaper wrapping of a classic Australian meal into a ready-made dish, while Soap opera house (1988), a pun on Sydney’s home of high culture, takes a light-hearted approach to cultural imperialism with its reference to the, mostly American, daytime television dramas viewed across Australian suburbia.

In Ann Newmarch’s Cats against uranium (1979) and Cats for independence (1979) – presented in the gallery foyer – the artist also employs a light touch to draw attention to the causes she continued to espouse beyond the life of PAM. In her bold and witty images of her feline friends, she highlights her guiding philosophy 'the personal is political', while also identifying two of her enduring concerns: anti-uranium mining and the campaign for Australian independence.

72.Robin Best-Soap Opera-white ground copy 21.jpg

^{Robin Best

Soap opera house, 1988

cast white clay, glazed with applied colour decals

8.0 x 60.0 x 80.0 cm

Collection of the artist

© the artist}

^{Robin Best

Fish and chip bowl, 1987

folded white clay with applied newspaper decals

10.0 x 35.0 x 35.0 cm

Collection of Michael Young

© the artist}

^{Ann Newmarch

Cats against uranium, 1979

silkscreen print, ink on paper

46.5 x 45.2 cm (image)

76.0 x 56.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

^{Ann Newmarch

Cats for independence, 1979

silkscreen print, ink on paper

46.5 x 45.2 cm (image)

75.9 x 56.0 cm (sheet)

Ann Newmarch Collection

© the estate of the artist}

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Ephemera

PAM’s political activism flowed into the personal lives of many who shared their beliefs. As well as badges often worn by the radical left promoting various causes, the campaign to Nationalise the Car Industry appeared on T-shirts and Ann Newmarch's anti-uranium posters were re-worked as postcards. Newmarch also made various household items s from fabric printed with the Eureka flag, the symbol of the Australian Independence Movement (AIM).

^{Ann Newmarch

Eureka flag, c. 1975

silkscreen print, ink on sewn fabric

54.0 x 76.7 cm

Ann Newmarch Collection

© the estate of the artist}

^{Ann Newmarch

Eureka flag pillowcase, c. 1975

silkscreen print, ink on fabric

46.5 x 70.0 cm

Ann Newmarch Collection

© the estate of the artist}

^{Artist unknown

March on July 4, c. 1974-1978

silkscreen print, ink on paper

52.3 x 35.3 cm

Ann Newmarch Collection}

^{Ann Newmarch

Please stop uranium mining! postcard, 1979

silkscreen print, ink on paper

14.6 x 10.1 cm

Ann Newmarch Collection

© the estate of the artist}

^{Progressive Art Movement

Eureka flag stamps, date unknown

silkscreen print, ink on paper

10.7 x 9.9 cm

Ann Newmarch Collection}

^{Ann Newmarch

Nationalize G.M.H, 1975

silkscreen print, ink on fabric

18.8 x 25.2 cm (image)

Ann Newmarch Collection}

^{Worker Student Alliance

Empire Times Press, Flinders University (publisher)

1979 Calendar: Independence for Australia, 1979

silkscreen print, ink on bound paper

45.0 x 28.9 x 0.4 cm

Ann Newmarch Collection}

^{Artist unknown

Campaign against foreign military bases flyer, 1974

silkscreen print, ink on paper

46.7 x 30.6 cm (image)

50.6 x 35.5 cm (sheet)

Ann Newmarch Collection}

^{Artist unknown

Australian art - who decides?, 1977

screenprint, ink on fabric

25.0 x 32.0 cm (image)

Ann Newmarch Collection}

^{Ann Newmarch

Nationalize G.M.H, 1975

silkscreen print, ink on fabric

18.8 x 25.2 cm (image)

Ann Newmarch Collection}

^{Progressive Printers Alliance

The unemployed are angry, c. 1970

4.5 x 4.5 x 1.0 cm

Artist unknown

Up the left, c. 1971-1977, 4.0 x 4.0 x 1.0 cm}

^{Vietnam moratorium campaign, c. 1970, 3.5 x 3.5 x 1.0 cm}

^{I support Aboriginal land rights, c. 1979, 4.5 x 4.5 x 1.0 cm}

^{Independence for Australia, c. 1974, 3.5 x 3.5 x 1.0 cm}

^{Women’s liberation, c. 1972, 2.5 x 2.5 x 1.0 cm}

^{Rally for peace - stop military madness, c. 1971-1977, 4.0 x 4.0 x 1.0 cm}

^{Stop uranium mining, c. 1979, 3.5 x 3.5 x 1.0 cm}

^{Peace, c. 1971 - 1977, 2.5 x 2.5 x 1.0 cm}

^{Art in revolution, c. 1971 - 1977

2.5 x 2.5 x 1.0 cm}

^{All badges are ink on paper in metal and plastic laminate and from a private collection.}

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