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).

3

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

5

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.

9

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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