cagd332 advanced gd & vis com theory, spring 2014
DESCRIPTION
Tertangala, 1994-2004: Ten years of cover art that defined a student movementTRANSCRIPT
Faculty of Law, Humanities and the Arts
School of Creative Arts
Graphic Design
Tertangala, 1994-2004:
Ten years of cover art that defined a student movement
Jessica Nesbitt
CAGD332 Advanced GD & Vis Com Theory
Spring 2014
ii
Contents Abstract i
List of Illustrations ii
1 Introduction 1
2 Catalogue Essay
2.1. Background of student activism, 1994 - 2004
2.2. Introduction to the Tertangala
2.3 Ten years of cover art that defined a student movement
2-9
3 Project Research
3.1. Catalogue essays
3.2. Magazine cover design
3.3. Case studies: magazine exhibition design
10-14
4 Conclusion 15
5 Bibliography 16-19
i
Abstract
The following document sets out the theoretical and historical concerns brought to bear on the
production of a catalogue essay for a hypothetical exhibition titled ‘Tertangala 1994 – 2004:
Ten years of cover art that defined a student movement’. The two theoretical concerns that
inform this brief are those of the purpose behind catalogue essays – why they are produced
and how- and the function of magazine cover art. The third significant field of enquiry
examines a part of the University of Wollongong’s ‘hidden history’, looking at the upsurge of
student protest and activism between 1994-2004 with particular mention to Christian Darby’s
2012 thesis ‘Another World is Possible’: From Education to Alter-Globalisation Activism at
the University of Wollongong, 1994-2002. The result is a thorough exploration into the
University of Wollongong and the Tertangala’s history as well as an authoritative voice on
the how’s and why’s of exhibition design and magazine cover art.
ii
List of Illustrations
Figure 1. Goldie K, 1994, ‘O-Week Edition’, cover image, Tertangala,
magazine, Westonprint, Kiama Australia.
7
Figure 2. Badham V and Lloyd J, 2000, ‘Tax Edition’, cover image,
Tertangala, magazine, Spotpress, Marrickville Australia.
8
Figure 3. Constable A, 2004, ‘Censorship Edition’, cover image,
Tertangala, magazine, self-published.
9
Figure 4. Apeture, 2014, ‘The New York Times Magazine Photographs’
exhibition at Foam Gallery, Amsterdam, Netherlands, image,
Apeture Magazine website, accessed 4/11/2014, <
http://www.aperture.org/traveling-exhibitions/the-new-york-
times-magazine-photographs/>
12
1
Introduction
Student activism, protest and radicalism are not the first thoughts which come to mind when
discussing the University of Wollongong’s recent past (1994-2004). In the ten years since
“the most sustained period of mass protest in the university’s history” (Darby, 2012, p.2), the
University of Wollongong has succeeded in only presenting a ‘particular, sanitised version’ of
its past events to the public. Christian Darby, in his 2012 thesis ‘Another World is Possible’:
From Education to Alter-Globalisation Activism at the University of Wollongong, 1994-
2002’, states that the student protest movement of 1994-2002 was deemed ‘unfit for popular
consumption’ and was often hidden so as not to challenge the university’s seemingly
‘harmonious and progressive story’ (Darby, 2012).
The following document, similarly to Darby’s thesis, hopes to assist in further documenting
and commentating on this period of ‘hidden history’ at the University of Wollongong. By
researching the university’s student magazine, the Tertangala, and analysing the cover art
from 1994 – 2004, this document will provide an in-depth examination of the University of
Wollongong and the Tertangala’s history of student radicalism, activism and protest within
the decade.
This document will also provide a set of research imperative to creating an exhibition
showcasing magazine cover art; such as the hypothetical Tertangala 1994 – 2004: Ten years
of cover art that defined a student movement’ exhibition simultaneously in development with
this document. Through investigation of catalogue essays, magazine cover art & design and
multiple case studies of magazine exhibitions, this document will prove an invaluable source
when planning and designing that exhibition.
2
Catalogue Essay 2.1. Background of student activism, 1994 - 2004
Student activism, protest and radicalism are not the first thoughts which come to mind when
discussing the University of Wollongong’s recent past (1994-2004). In the ten years since
“the most sustained period of mass protest in the university’s history”(Darby, 2012, p.2), the
University of Wollongong has succeeded in only presenting a ‘particular, sanitised version’ of
its past events to the public. Christian Darby, in his 2012 thesis ‘Another World is Possible’:
From Education to Alter-Globalisation Activism at the University of Wollongong, 1994-
2002’, states that the student protest movement of 1994-2002 was deemed ‘unfit for popular
consumption’ and was often hidden so as not to challenge the university’s seemingly
‘harmonious and progressive story’ (Darby, 2012).
This ‘hidden history’ conceals a story of student movement that sought to “contest
government power, challenge the authority of the university administration, and, eventually
[…] completely overturn ‘the system’”(Darby 2012, p.6). The movement, both in
Wollongong and nationally, developed in an increasingly radical direction and led to a level
of mass mobilisation of students which had never been seen in the University of
Wollongong’s history (Darby, 2012).
The movement began in 1994 -when after a period where “radical political activity among the
students was rare”(Castle, 1991, p.44)- the issue of sharply increased fees for postgraduate
courses drove students to take to the streets (Darby, 2012, p.7). The sense of being part of an
“international movement to seriously contest the government’s agenda”(Darby, 2012, p.8),
and the subsequent election of the federal Coalition government in 1996, drove levels of
protest to new highs (Darby, 2012). Darby examines how despite the “decline of the
movement against education cuts and fee increases”(Darby, 2012, p.8), Wollongong students
did not demobilise but “remained active around a wide range of issues”(Darby, 2012, p.8).
Darby states, “students attempted to reach out beyond the campus and partake in wider social
struggles against the environment, workers’ rights and economic democracy”(Darby, 2012,
p.8) and continued to develop a ‘growing radical consciousness’ of the need for ‘systemic
change’ (Darby, 2012, p.8).
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This ‘growing radical consciousness’ and the “global upsurge in radical politics” (Darby,
2012, p.9) pushed University of Wollongong students to formulate their own ideas about
power and ideology, and “the ways in which dominant social groups control and limit the
dissemination of knowledge”(Darby, 2012, p.8). The Tertangala, the newspaper (now
magazine) of the Student Representative Council became a welcomed outlet for these ideas
and opinions, as well as an object of total independence from the university administration
and government power.
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2.2. Introduction to the Tertangala
The Tertangala, first established in 1962, is the University of Wollongong’s student
magazine published and run by the Wollongong University Student’s Association (formerly
SRC). Traditionally, the magazine was non-political, “reporting the activities of the sporting
clubs and other societies [and] commenting on campus facilities and printing students’ literary
efforts” (Castle, 1991, p.40). Damien Cahill, who had enrolled in 1992 and went on to
become the editor of the Tertangala in 1995, stated in an interview with Darby, “when I first
got there student activism wasn’t prominent on campus, it wasn’t particularly radical... [and]
was very much on the fringes” (Darby, 2012, p.19).
But in 1994, in reaction to the proposed increase to postgraduate course fees, “the previously
apolitical Tertangala, […] went on to attack the proposed fees in every issue for the
remainder of the year” (Darby, 2012, p.20). This small spark of student protest and radicalism
began a new era for the Tertangala- a decade of political discussion and debate, of student’s
opinions and ideas and, of course, a decade of government opposition and resistance.
Damien Cahill, in his editorial for the fifth issue of 1995, the ‘Media Issue’, wrote:
Student newspapers are in a unique position. They are not constrained by the same factors as the commercial press, factors such as the need to sell, being beholden to commercial interests- be they of advertisers or of the owners. This is particularly important in Australia- a country which can claim the enviable statistic of one of the highest concentrations of media ownership in the world. Student newspapers are in a unique position and they have a responsibility to take advantage of this position. The student press can and should offer an alternative to the narrow and banal representations of reality that saturate mainstream media. It should challenge people’s preconceptions and help to foster the development of a critical consciousness, seeing oneself as an active participant in the world, rather than as an object which is acted upon. There is the potential for the student press to be part of the process of people reflecting critically upon their environment, upon the world. It should encourage debate and challenge people to think. It should be interesting, funny, controversial, entertaining, aware that it is necessarily political and should be in some way relevant to the interests of students. It should be a forum for the expression of student opinion. (Cahill, 1995, p.2)
Such an analysis could be declared as a ‘mission statement’ for the Tertangala- to not be
swayed by popular opinion and the pressures of the ‘status quo’ and to constantly question
mainstream media and government ideology. Fundamentally, Cahill asks for the Tertangala
to remain an independent outlet for student’s to express their opinions; and it has, as Belinda
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Quinn reiterates 19 years later in her abstract titled ‘So what’s this magazine all about,
anyway?’:
Over the last couple of years, the Tertangala has functioned with the philosophy that anyone who wants to learn or improve their skills should be welcomed to join the team. We’re not aiming to be the best magazine out there; we’re aiming to help one another grow as writers, artists and designers while making some great pals along the way. […]
This magazine is all about providing a voice for students, not just for those in journalism or creative writing, but for anyone who has a story to tell. We want to provide a space for those who feel alienated from the university to have somewhere to share their concerns.
We do not work for the university, we do not work for a brand or a corporation: we work for the students. (Quinn, 2014, p.i)
Evidence of these ‘values’ (freedom of speech, political discussion and debate, opinions,
ideas and controversy) of the Tertangala can be seen spectacularly across the magazine’s
cover art from 1994 until now. As Darby states, there is a definite ‘historical neglect’ of the
student radicalism at the University of Wollongong and “despite being one of the most
dynamic sectors of Australian political and cultural life, […] little has been done to advance
either it’s documentation or analysis” (Darby, 2012, p.9). Herein lies the central purpose of
this catalogue essay - to assist in further documenting and commentating on a decade of
student activism through the following exploration of the Tertangala’s cover art from 1994 -
2004.
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2.3. Ten years of cover art that defined a student movement
From the black and white, grid-based, newspaper-like covers of the sixties that displayed
constraint and conformity, to the psychedelic full-colour abstract covers of the late eighties
that challenged tradition and stimulated emotions; each cover of the Tertangala is a
stimulating reflection of its time.
From 1994- 2004, the Tertangala covered, commented, discussed and debated a myriad of
topics ranging from Sexuality & Gender to Politics, Economics & Education and from
Reconciliation & Indigenous matters to an issue simply titled ‘Bum’.
The following is an exploration of cover art across the decade with quotes taken from the
content of each issue, as well as comments from the editors and a chronological commentary
of student protest and activism running throughout.
*Disclaimer: Considering this assignment’s nature and the word count, I have selected and
analysed one cover image from the year’s 1994, 2000 and 2004.
Editors from each year from 1994-2004 were also contacted with only one from 1997 (Van
Badham) replying in the 13 weeks for this project and not able to commit in my time frame.
Therefore, I believe the following to be a proposal of sorts for a future thesis, as I would need
many more months to interview each editor and obtain sufficient commentary. If I were to
continue with this project into honours, I would hope to analyse each cover in the 1994-2004
decade with comments from editors, artists, contributors and students that recall the
artworks.*
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1994, O-Week Edition Editor: Kathryn Goldie
The 1994 cover of the
Tertangala’s ‘O-Week
Edition’, illustrated by Kathryn
Goldie, editor and layout
designer of 1994. Made at the
University of Wollongong,
primarily with paint and a
combination of coloured
pencils and computer graphics.
Illustrated by Kathryn Goldie,
student at the University of
Wollongong and regular
contributor to the 1994,
progressive editions of the
Tertangala.
An isolated abstract illustration,
audiences are drawn to the
image’s vivid colours and lines.
With the focus on the large, emphasised zipper and the human and animal figures obviously
fleeing from the fish-like monster, the artwork could be seen as a comment on social
censorship. The image works to empower the overbearing fish-like subject as it bites a small,
blue human figure. The fish-like monster may be construed as a metaphor of corporate and
government power, as this subject is commonly portrayed in ‘biting’ or ‘eating’ metaphors.
This illustration for the 1994 cover of The Tertangala was intended for student audiences and
circulated amongst the University of Wollongong campus.
Unfortunately, the 1994 issue or subsequent issues stated nothing about the cover artwork or
it’s artist.
Fig 1. Goldie K, 1994, ‘O-Week Edition’, cover image, Tertangala, magazine, Westonprint, Kiama Australia.
8
2000, Tax Edition Editor: James Beach
The 2000 cover of the
Tertangala’s ‘Tax Edition’,
photographed and edited by
Van Badham and Jaia Lloyd.
Made at the University of
Wollongong, collage of
photography and computer
graphics.
A photo collage of sorts,
audiences are drawn to the
image’s block of colour and
stark white text. The text,
reading “Ready to Eat: Good
and Services $18.99kg,
Imported” is an obvious
comment on the newly instated
Goods and Services tax. As
described above, the image again refers to traditional ‘eating’ or food metaphors used when
describing unwanted corporate power or government legislation.
This artwork for the 2000 cover of The Tertangala was intended for student audiences and
circulated amongst the University of Wollongong campus. In a ‘disclaimer’ for the issue,
James Beach the 2000 editor of the magazine writes:
This edition is not our fault. Had the liberal/ national government not implemented the tax [GST] or had the democrats not done the deal, or had the ALP not rested on their laurels, or had the greens had more than one parliamentarian, the GST would not be happening and the following contents would simply not exist. We totally repudiate that the students of the University of Wollongong or their representatives are responsible for the opinions represented within. Society’s to blame… (Beach, 2000).
Fig 2. Badham V and Lloyd J, 2000, ‘Tax Edition’, cover image, Tertangala, magazine, Spotpress, Marrickville Australia.
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2004, Censorship Editor: Annaleise Constable
The 2004 cover of the
Tertangala’s ‘Censorship
Edition’, no further
information on author or artist
provided. Made at the
University of Wollongong,
collage of illustration and text.
Audiences are drawn straight
to the strong lines of the
graphics and, ofcourse, the
large and provocative text.
The text, reading “the pages
the *ex* president doesn’t
want you to see” is an
introduction to the short issue
which consists President’s
insistence on censoring
Tertangala and it’s content.
This artwork for the 2004 cover of The Tertangala was intended for student audiences and
circulated amongst the University of Wollongong campus. The first page holds an article
titled ‘Death of Free Speech at the hand of SRC President’ with phrases such as “long live the
ABC and free press in Australia” and “one students says: ‘let me be heard!’” strewn
throughout the pages. Annaleise Constable, the editor for 2004, writes:
The ‘President’ of the University of Wollongong Students’ Representative Council, Michael Szafraniec, is muting the student voice. The Students’ paper, the Tertangala, is suffering under the controlling hand of the Publisher/ SRC President Michael. Mr Szafraniec has pulled 10 pages of the Tertangala content and has taken complete editorial control of the student voice. […] This misuse of authority is unacceptable. […] The Publisher insists on justification for the inclusion of every word/article/image in the Tertangala. (Constable, 2004).
Fig 3. Constable A, 2004, ‘Censorship Edition’, cover image, Tertangala, magazine, self-published.
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Project Research 3.1. Catalogue Essays
Writings on the intention and the consumption of the ‘catalogue essay’ and my subsequent
reading of several exhibition catalogue essays have largely informed this document. Jennifer
Allen’s 2009 article How do you write a catalogues essay for a show that hasn’t yet opened,
first published in Frieze magazine, argues that the publication of a catalogue essay is an
“oddly persistent step in the ritual of making exhibitions”(Allen, 2009). She writes that the
purpose of a catalogue essay is often misleading, especially considering it’s apparent capacity
to ‘look forward and backward at the same time’ (Allen, 2009).
Allen argues that catalogue essays are often not read or even purchased as they “have little to
do with the exhibitions they purportedly document”(Allen, 2009). Critics are thrown blindly
into writing about an exhibition that they have not yet seen and consequently neglect the
“possibility of including installations shots, let alone discussions of the impact of the
installation and the exhibition space on the art”(Allen, 2009). Conclusively, Allen suggests a
simple solution: to publish the catalogue after the show has begun. This does, however,
present possible disadvantages of promotion and sales, and leaves attendees without an in-
depth ‘guide’ to the exhibition.
Part two of this document, originally intended as a catalogue essay, has instead transformed
into copy for a brochure or small guidebook to accompany the Tertangala, 1994-2004: Ten
years of cover art that defined a student movement exhibition. Less formal than a catalogue
essay, the conversational copy was written to guide the audience through the exhibition in a
chronological and easily understandable manner. As the Tertangala aims to be comprehensive
and accessible to all, it is appropriate that any accompanying writing about the student
magazine encompasses those qualities as well.
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3.2. Magazine Cover Design
“Covers try to connect with our values, dreams and needs,” Mitchell Beazley writes in his
2003 text Magazine Covers. “[They] adopt personas and characters in their titles” in an
attempt to connect “consumers to advertisers” (Beazley, 2003, p.7). The Tertangala- the
University of Wollongong’s student magazine, however, possesses no such intention as an
(mostly) advertisement-free publication. Like mainstream magazines, the Tertangala aspires
to catch the eye of passing-by consumers but unlike mainstream publications where consumer
may mean ‘shopper’ or ‘customer’, the Tertangala hopes it’s readers will consume its content
for discussion, debate and analysis rather than to boost profit or audience reach.
Of course, the Tertangala still hopes to influence and inspire people, but through its diversity
of subject matter rather than the advertisers it might choose. As Robert Holden states in his
1995 book Cover Art: The Art of Magazine Covers in Australia, a magazine should “reflect
the personality of an individual and the special interest of a coterie”(Holden, 1995, p.9), with
its cover portraying these interests. Beazley agrees with Holden, citing Ellen McCracken as
she states “the cover serves not to label the magazine, but the consumer who possesses
it”(McCracken, 1992 cited in Beazley, 2003, p.7). The Tertangala upholds both these ideals,
with it’s content reflecting the personality and social issues of the its target market and the
cover and design of the magazine appealing to its consumer’s image or ‘label’, as McCracken
puts it.
This is particularly true for the Tertangala’s cover art from 1994 – 2004. As described above
in section 2., this decade of cover art covered a wide range of on-campus issues such as
course fees, education cuts, censorship and local economics as well at national and
international issues such as the environment, workers’ rights, economic democracy,
indigenous and women’s issues and the continual social struggle against ‘corporate power’.
While not all of these issues would entice every consumer, the variety of subject matter being
discussed within the magazine- and it’s often humorous take on these ‘serious’ issues-
attracted more often than not it’s target market- the progressive, and sometimes radical,
student.
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3.3. Case Studies: Magazine Exhibition Design
The New York Times Magazine Photographs exhibition
September 17, 2014 – November 1, 2014
Fig. 4. Apeture, 2014, ‘The New York Times Magazine Photographs’ exhibition at Foam Gallery, Amsterdam,
Netherlands, image, Apeture Magazine website, accessed 4/11/2014, < http://www.aperture.org/traveling-
exhibitions/the-new-york-times-magazine-photographs/>
Featuring approximately 130 works by forty-three artists, and spread over a month and a half,
The New York Times Magazine Photographs exhibition was well received on an international
level (Apeture, 2014). The exhibition, curated by Kathy Ryan and Lesley A. Martin, focussed
‘primarily on the past fifteen years’ and provided a “behind-the-scenes look at the
collaborative, creative processes that have made [The New York Times] magazine the leading
venue for photographic storytelling within contemporary news media” (Apeture, 2014).
Apeture Magazine, an international quarterly journal specialising in photography, wrote of the
exhibition on their website:
13
The exhibition is comprised of thirteen individual modules, each of which focuses on
a notable project or series of projects that has been presented in the pages of
the Magazine. The featured projects mirror the Magazine‘s eclecticism, presenting
seminal examples of reportage and portraiture as well as fine art photography.
The exhibition also includes contextualizing reading material for all the projects on
exhibit, and an extensive series of selected tearsheets and covers from the last thirty
years of the Magazine. (Apeture, 2014).
The New York Times Magazine Photographs exhibition uses an array of interactive elements
to entice and engage audiences with its visual material. The separation of the content into
thirteen individual modules and the insight into the photographic process really intrigues and
entertains the audience. Kathy Ryan, one of the curator’s of the exhibition, states “we wanted
to give you [the audience] insight into the relationship a photographer develops with the
magazine over a period of time and the editing process” (Foam Fotografiemuseum
Amsterdam, 2012).
Cover Art: The Time Collection exhibition
Online Exhibition
From the National Portrait Gallery’s introduction to the online Cover Art: The Time collection
exhibition:
In 1978 Time magazine gifted to the National Portrait Gallery some eight hundred
works of original art that had at one time or another appeared on its covers. […] Since
the 1970s, however, covers that have not been portraits, but rather issue and theme
oriented covers have appeared with increasing regularity, reflecting the prevailing
trends in journalism in more recent times. In the intervening years since Time’s initial
gift, The National Portrait Gallery’s Time cover art exhibition had grown to almost
2,000 pieces.
The portrait displayed in this site represent the compelling variety of personalities and
art that have distinguished Time covers for more than three-quarters of a century.
Heroes and rogues, queens and presidents, popes and pop stars, singers and athlete- all
14
have been ensconced, in one form or fashion, within Time’s trademark red border.
(National Portrait Gallery, 2014).
The Cover Art: The Time Collection exhibition is an innovative and well-structured system of
displaying magazine cover art. Curator James G. Barber and web designer Troy Lachance
have captivated an audience with a modern and fun method of viewing what is considered to
some a boring topic. This online database is a significant resource to my own exhibition
design, especially considering the myriad ways I could present my information
chronologically in a continuous scroll method.
15
Conclusion
As this document highlights, there is significant neglect of the student radicalism, protest and
activism of 1994 – 2004 in the University of Wollongong’s recorded history. Darby states that
this neglect, this lack of evidence to what activists has done in the past will lend significant
disadvantage to progressive movements on the future (Darby, 2012, p.12). Without clues to
“how we should proceed or what measures have proved effective, and knowledge of previous
mistakes that we could avoid repeating” (Darby, 2012, p.12) active intervention in the
contemporary political landscape will prove difficult.
By researching the university’s student magazine, the Tertangala, and analysing the cover art
from 1994 – 2004, this document has succeeded in uncovering another chunk of University of
Wollongong and the Tertangala’s ‘hidden decade’ of student radicalism, activism and protest.
As Edward Thompson writes in his 1963 text The Making of The English Working Class, if
we “emphasise new possibilities by disclosing those hidden episodes of the past when, even if
in brief flashes, people showed their ability to resist, to join together, occasionally to win” it
will contribute to the task not only of interpreting the world, but of changing it (Darby, 2012,
p.11).
16
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