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221:(1973), a semi-autobiographical consideration of her childhood in the 1940s and 1950s in Thebarton, shortly after the death of her grandmother in 1968. Her edited diaries were published in 1998, revealing less than favourable comments about many of her contemporaries, although some friends and colleagues commented that it was interesting to understand how Hanrahan's brain worked. A biography by Annette Marion Stewart was published in the same year.
267:“themes of society and its norms, its expectations and its conventions and how the individual fares therein - buffeted and withstanding, weak and strong. She particularly analyses the relationship between men and women, often through their sexuality, and, as well, the relationship of the generations. The subjects are clearly chosen, gleaned from a lifetime of careful looking, listening, reading, digesting and remembering.”
33:
368:, documents her sexual encounters on her journey to London and the relationships she had. Again it is both fictional and autobiographical, Hanrahan using a main character similar to herself. Like Hanrahan's art, her writing was also punchy and to the point. She documented the patriarchal facts of finding a man
273:“Hanrahan uses Hockney, but, in her best work of the periods, she moves on considerably from him; she achieves a high emotional pitch, working with uncomfortable themes of love, family and relationships and using awkward childlike form. The process goes far beyond the easy, self-controlled world of Pop art.”
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Hanrahan concludes: “What we want now in
Adelaide are writers and artists who work from the heart of those commonplace suburban streets, who recognise the weirdness of the ordinary, who record it before the version of it we have now is swept away. We want passion and intensity, an art that comes from
148:
in 1940, when
Hanrahan was just a year old, she lived with her mother (a commercial artist), her grandmother, and her great aunt (who had Down syndrome). This matriarchal household is often correctly thought of as the inspiration for much of Hanrahan's art, as well as the suburb she was raised
198:
in
Cornwall and Portsmouth College of Art. During this time she returned periodically to Adelaide to teach at the South Australian School of Art and to organise her one-woman exhibitions, and she eventually returned there to live permanently. Her first exhibition was at the
237:
Hanrahan's work is personal and private yet its themes are universal, portraying relationships between girlfriends, women and men, and the struggle against societal structures. These themes are constantly repeated throughout her oeuvre in prints, such as in
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Hanrahan was a painter and printmaker, experimenting with printing styles such as screen printing, etching, relief printing, and woodblock and lino cutting. She would often revisit the same print in different styles and colours, such as
275:
Carroll implies that the simplicity in both
Hanrahan and Hockney's drawings are similar. Hanrahan, however, strays from the pop art formula and creates complex feelings between the characters in her works and the viewer and the works.
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Hanrahan exhibited her artwork internationally, including in London, Italy, Japan, New
Zealand, Sweden, Scotland, the United States and Canada. Her artwork is collected in numerous galleries in Australia, including the
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Hanrahan often combined writing with visual arts. She kept a diary in her late teenage years, and then again in London to make sense of a strange city. She began writing her first book,
250:, of a woman having to play multiple roles at once, and her unease with society's outdated values. By the 1960s many women were not virgins at the time of marriage, and Hanrahan's
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for South
Australian writers was established in Hanrahan's memory in 1994 by her partner, Jo Steele. A street in Thebarton is named after her, and in 1997 a building at the
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347:
Her novels often had a main character similar to
Hanrahan herself. Annette Stewart writes about the difficulty in being able to distinguish fact from fiction.
164:(1957-1960). In 1963, when Hanrahan was 23 she moved to London to take a break from teaching tertiary art in Adelaide. Hanrahan furthered her studies at the
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for painting. In 1962, she served as president of the South
Australian Graphic Art Society. In 1963, at the age of 24, she left Adelaide to study at the
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in London. She lived mostly in
England until the early 1980s, with her partner, sculptor Jo Steele. Hanrahan also lectured for a time at the
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Hanrahan attended
Thebarton Primary School and Thebarton Technical School. Hanrahan went on to study a diploma in art teaching from
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Critic and art historian Alison Carroll draws parallels between the simplicity of Hanrahan's scenes and David Hockney's pop art;
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349:“Confusion between reality and the imagination was key to barbara writing, lending it a particular and distinctive atmosphere.”
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112:(1939–1991) was an Australian artist, printmaker and writer whose work featured relationships, women, women's issues and
370:“To be popular on the ship you had to be willing to iron, and the men came along to the ironing room looking helpless.”
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is autobiographical, Virginia is Barbara. The book is reminiscent and nostalgic for the place where she once lived.
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captures the moment of unease between the couple, with the lack of intimacy shown by the gap between them.
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246:(1975). Both works depict Hanrahan's unease with women's roles in society, such as the juggling act in
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Hanrahan's books were just as expressive and confronting as her artworks. Her books such as the
260:“Wedding night has shocked people since its creation by its refutation of romance of the event,”
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In 1960, Hanrahan began printmaking, working with her German lecturer and print master,
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214:. Both organisations strived for equal pay for female artists as well as increased exposure.
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in March 2003. The column was then commemorated and partially reproduced in June 2020 in
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Eight Voices of the Eighties : Stories, Journalism and Criticism by Australian Women
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places like Port Adelaide and Thebarton and Holden Hill; that stays unofficially weird.“
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depicts the outdated assumption that for consummation to happen the woman must be pure.
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This tension in relationships and their roles was expressed in her writings and art.
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features a narrator, Virginia and her move from Adelaide, South Australia to London.
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In March 1988, she wrote a celebrated column, ”Weird Adelaide", that appeared in
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Heywood, Anna 'Hanrahan, Barbara Janice (1939-1991)' Australian Women's Register
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ideology. Hanrahan was also known for her writings and short stories featuring
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Guide to the Papers of Barbara Hanrahan MS 7754 National Library of Australia
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Woman and herself : a critical study of the works of Barbara Hanrahan
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http://mpegmedia.abc.net.au/rn/podcast/extra/hht_20110220_hanrahan84.mp3
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708:"The strangeness of the ordinary: the art and life of Barbara Hanrahan"
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Hanrahan, Barbara SA Memory Website, State Library of South Australia
394:, edited by Gillian Whitlock.It was also referenced in a short story,
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613:
137:
93:
948:"Writing the Self: Barbara Hanrahan's The Scent of Eucalyptus"
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Upon her return Hanrahan was also a member of the Australian
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Many of her papers and unpublished writings are held at the
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ABC Radio National Hindsight program about Barbara Hanrahan
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National Library of Australia. Retrieved 20 August 2019.
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National Gallery of Australia. Retrieved 20 August 2019.
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in 1939. After her father's death at the age of 26 from
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National Gallery of Victoria. Retrieved 20 August 2019.
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Mixed matches : interracial marriage in Australia
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Mixed matches : interracial marriage in Australia
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are described as breaking the suburban female mould,
533:'s City West campus was named to honour her memory.
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Barbara Hanrahan (details works in the collection).
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History Trust of South Australia 'Barbara Hanrahan'
934:Art Gallery of New South Wales: Barbara Hanrahan.
739:. St Lucia, QLD: University of Queensland Press.
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390:The column was republished in the 1989 anthology
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815:Obituaries: Hanrahan, Barbara Janice (1939-1991)
313:holds some 453 of her drawings and prints. The
1121:Alumni of the Central School of Art and Design
265:Hanrahan’s work is described as exploring the
646:: CS1 maint: multiple names: authors list (
1066:"After Barbara" Encountering a real artist.
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1007:
850:– via National Library of Australia.
795:Item held by National Gallery of Australia
769:Item held by National Gallery of Australia
650:) CS1 maint: numeric names: authors list (
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1016:austlit.edu.au. Retrieved on 23 July 2024
149:in, the inner-western Adelaide suburb of
120:stories that were somewhat biographical.
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317:also holds over 200 of her prints. The
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203:Gallery in Adelaide in December 1964.
1111:20th-century Australian women writers
1101:20th-century Australian women artists
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979:Hanrahan, Barbara. ”Weird Adelaide",
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293:(1991) was used as the cover art for
16:Australian artist, writer (1939–1991)
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569:Barbara Hanrahan : a biography
160:, while also taking classes at the
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516:, edited by Elaine Lindsay (1998)
1116:Academics of Falmouth University
1071:British Museum: Barbara Hanrahan
174:- Hanrahan on moving to London.
1106:20th-century Australian artists
996:Reflections on 'Weird Adelaide'
946:Thomas, Sue (3 December 2017).
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820:
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612:Carroll, Alison, 1948- (1986).
514:The Diaries of Barbara Hanrahan
162:South Australian School of Arts
132:Barbara Hanrahan Lane, Mile End
37:Barbara Janice Hanrahan c. 1968
983:, Vol. 49, March 1988, pp. 6-7
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327:Art Gallery of New South Wales
321:holds six of her works, while
315:Art Gallery of South Australia
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234:, which has three variations.
153:. Her mother later remarried.
1:
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538:National Library of Australia
531:University of South Australia
311:National Gallery of Australia
287:National Gallery of Australia
136:Barbara Hanrahan was born in
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1151:Women's Art Register artists
1141:Australian women printmakers
615:Barbara Hanrahan, printmaker
441:Where the Queens All Strayed
319:National Gallery of Victoria
186:. In 1961, Hanrahan won the
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1026:Papers of Barbara Hanrahan.
791:"Dear Miss Ethel Barringer"
527:Barbara Hanrahan Fellowship
304:
10:
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1136:Australian women novelists
566:Stewart, Annette. (2010).
502:Michael and Me and the Sun
366:Michael and Me and the Sun
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158:Adelaide Teachers' College
936:Retrieved 20 August 2019.
924:Retrieved 20 August 2019.
875:Retrieved 20 August 2019.
827:June Duncan Owen (2002).
674:retrieved 5 October 2009
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248:Dear Miss Ethel Barringer
244:Dear Miss Ethel Barringer
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72:Adelaide, South Australia
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56:Adelaide, South Australia
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1050:retrieved 5 October 2009
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922:QAGOMA: Barbara Hanrahan
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396:In Sunshine or in Shadow
201:Contemporary Art Society
1061:Retrieved 21 April 2014
421:The Scent of Eucalyptus
219:The Scent of Eucalyptus
110:Barbara Janice Hanrahan
1131:Australian printmakers
910:NGV: Barbara Hanrahan.
861:NGA: Barbara Hanrahan.
733:Stewart, A.M. (1998).
454:The Frangipani Gardens
262:writes Alison Carrol.
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133:
1146:Writers from Adelaide
697:Retrieved 21-04-2014
166:Central School of Art
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817:Retrieved 21-04-2014
212:Women's Art Register
208:Women's Art Movement
192:Royal College of Art
999:The Adelaide Review
981:The Adelaide Review
789:Hanrahan, Barbara.
763:Hanrahan, Barbara.
618:. Wakefield Press.
572:. Wakefield Press.
408:The Adelaide Review
404:The Adelaide Review
380:The Adelaide Review
339:Scent of Eucalyptus
714:. 11 February 2011
670:2009-10-23 at the
508:Good Night Mr Moon
496:Iris in her Garden
434:The Albatross Muff
400:Kerryn Goldsworthy
364:Hanrahan's novel,
325:holds 20, and the
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886:"Barbar Hanrahan"
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146:tuberculosis
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67:(1991-12-01)
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1091:1991 deaths
1086:1939 births
1001:. June 2020
466:Kewpie Doll
291:Generations
289:. Her work
280:Exhibitions
242:(1977) and
168:in London.
90:Printmaking
78:Nationality
1080:Categories
1064:Guest, C.
846:10 January
746:0702230022
625:0949268429
544:References
329:holds 17.
124:Early life
81:Australian
49:1939-09-06
964:0106-5734
895:20 August
800:20 August
642:cite book
588:499460163
428:Sea-Green
359:Sea Green
355:Sea Green
151:Thebarton
103:Jo Steele
952:Kunapipi
668:Archived
634:16833540
305:Holdings
210:and the
196:Falmouth
138:Adelaide
114:feminist
333:Writing
100:Partner
94:Writing
962:
837:
743:
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521:Legacy
510:(1992)
504:(1992)
498:(1991)
492:(1989)
486:(1987)
480:(1987)
474:(1985)
468:(1984)
462:(1982)
456:(1980)
450:(1980)
443:(1978)
436:(1977)
430:(1974)
423:(1973)
323:QAGOMA
178:Career
958:(3).
774:7 May
718:7 May
414:Works
398:, by
297:, by
960:ISSN
897:2019
848:2018
835:ISBN
802:2019
776:2019
741:ISBN
720:2019
652:link
648:link
630:OCLC
620:ISBN
584:OCLC
574:ISBN
525:The
460:Dove
309:The
62:Died
43:Born
225:Art
1082::
1006:^
988:^
972:^
956:11
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51:)
47:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
