Aboriginal Healing,
Sharing Culture |
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'…in the education of the boys in a way that will befit them to take their place on terms of reasonable equality with the whites, it was NOT in their best interests to put the emphasis on art which, at best, would never earn them a living and would, as at present, be treated only as an interesting curiosity…'
Mr. S.G. Middleton to Mrs. Florence Rutter |
Letters and ArtOnce Mrs. Rutter returns to the U.K., she continues to update the School on her progress. She receives much welcome letters from many of the Carrolup boys during 1950.
“Every letters you write Mr White reads it out to the school children. We are very proud of you and what you are doing for us in other parts of the world.” Parnell Dempster, 6th July 1950. 'Down to Drink' by Parnell Dempster, pastel on paper, 58 x 76 cm, 1949. Herbert Mayer Collection, held at the John Curtin Gallery, Curtin University.
“How we, us boys come to do such beautiful art work of scenic and bush scenes is that we spent all our previous play hours at school and weekends doing this work and three years of this took our art work up to where it is today, and I say all honours are on Mr White who gave us that opportunity to improve our work...” Barry Loo, 20th September 1950. 'Bounding for Home' by Barry Loo, a watercolour and black ink on paper, 30.2 x 50.5 cm, 1950. Herbert Mayer Collection, held at the John Curtin Gallery, Curtin University.
“Before Mr White came to Carrolup nobody ever heard the name of Carrolup, but now it is known all over the world. So now I am getting older I would like to take my place in this world amongst other people and be respected as a decent citizen of Australia.” Reynold Hart, 1950. 'A Native Corroboree' by Reynold Hart, a pastel on paper, 75 x 112 cm, 1949. Herbert Mayer Collection, held at the John Curtin Gallery, Curtin University.
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Exhibitions in EuropeInitially, Native Affairs Commissioner Mr. S.G. Middleton writes enthusiastic letters to Mrs. Rutter. She organises an exhibition in Appeldoorn, Holland, where the art is acclaimed. People’s perceptions of ‘Stone-Age’ Aboriginal people are changed.
However, an open conflict breaks out between the new supervisor at Carrolup, Mr. Sully, and Mr. White. Mr Sully stops the boys working on their art in the evenings and weekends, preventing Mr. White providing new art for Mrs. Rutter to exhibit and sell. Mrs. Rutter protests to Mr. Middleton. Mr. Sully files a formal complaint against Mr. White to the Department of Native Affairs. He claims that the boys’ art and football successes give them, as 'ill-equipped “niggers”', a false impression of the world they will eventually have to face. In London, over 300 people, along with reporters from 14 publications, attend the opening of Mrs. Rutter’s successful two-week exhibition of Carrolup art at Overseas House. Mrs. Rutter tells Mr. Middleton that there is a strong demand for the boys’ art in England. She says that the boys are likely to earn the same as famous Aboriginal artist Albert Namatjira, £1,500 pounds ($76,246 in today's terms) per annum. Mrs. Rutter gets a shock when she receives her next letter from Mr. Middleton. He tells her that there will be no more art for exhibition or sale: '…in the education of the boys in a way that will befit them to take their place on terms of reasonable equality with the whites, it was NOT in their best interests to put the emphasis on art which, at best, would never earn them a living and would, as at present, be treated only as an interesting curiosity…' In December 1950, the Department of Native Affairs closes down Carrolup School, with little warning to Noel and Lily White. They are devastated. The prestigious Illustrated London News highlights the Carrolup boys' achievements.
> Life After Carrolup |