337:. Consequently, the Miya Studio began to merge with this radical club. The New Theatre Club stood for "Peace, Freedom and Cultural progress". This amalgamation was named the Artists group of the New Theatre, which formally constituted in June, 1949. The Miya Studio group officially ended in 1950. Crawford was elected the first chairman of the new art society. Through this association, Crawford began stage designing and in 1952, she illustrated costume sketches for Jim Crawford's play the
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Cecil Knopke. There was no government funding at that time for independent art schools and budding artists needed a studio to express their passion. The Miya studio was different from other artist groups as the artists painted with radical intent, rather than for a record of achievement. Crawford became the secretary-treasurer for the Miya Studio in March, 1946.
285:. This style was highly advanced in the Brisbane art scene during this period. An art critic who had visited the exhibition stated that Crawford was one of the most promising artists in the show. Most critics, however, were dismissive of the modernist work of the group. Joanne Watson's brief history of the
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and Miss
Birkbeck whose studios were in Brisbane. However, these teachers were not progressive artists of the 1950s. Like many young Brisbane artists of the period, Crawford attended lectures held by Dr. Gertrude Langer. Langer, a Viennese art historian who had fled the rise of Nazism in Germany, had
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September 1949, Pamela Crawford spoke at the Youth Charter Conference held in Trades Hall, Brisbane. This conference was held to expose the enemies of the Youth in order to allow Youths to have a better life. One hundred and fifteen delegates from 47 organisations participated in the conference.
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was formed in 1945 as a break-away from the more conservative Royal
Queensland Art Society when the parent body disapproved of the direction of the Younger Artist's Group (YAG). Indeed, this group had been established by Crawford (then Seeman), Laurence Collinson, Joy Roggenkamp, Laurence Hope and
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group. Studio members organised art exhibitions and other events, such as, public lectures held by emerging intellectuals and writers of the day. The first major exhibition was in 1946, held at the
Banquet Hall of Hotel Canberra. The artworks from the exhibition included Crawford's paintings
388:. This series of artworks allowed the University of Queensland to hold an exhibition dedicated to the young Brisbane artists who lived during the 1940s. This exhibition, titled "Young Turks and Battle Lines", was the first exhibition to explore this aspect of the city's cultural history.
295:(2004) records Crawford as saying: '"Most Modern art was regarded by the art establishment as an unlovely aberration that would go away if ignored." Her nude study, alongside Laurence Collinson's antiwar painting drew police attention at Finney's Gallery in 1948.'
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in George Street, Brisbane, as a full-time student. She had been unable to do so earlier due to a family illness. Once she completed the introductory course, she began studying fashion as theatrical design was not offered. Crawford later transferred into
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magazine and Miya studio members frequented the Pink
Elephant Cafe which gained the reputation in Brisbane as a meeting place for the unruly. It was not uncommon for police raids to occur on the suspicion that alcohol trading was apparent.
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in 1977. The association was founded in 1950 with the mission to preserve historical sites around
Queensland, Northern New South Wales, France and Great Britain. One of the historical sites that the association worked towards saving was
357:(Jim) on 22 December 1949. Crawford was influenced by Jim's political philosophy and may also have become a member of the Communist Party. The marriage inspired her to unite her artistic and theatrical passions.
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Young Turks and Battle Lines, Barjai and Miya Studio: An
Exhibition Arranged by the University Art Museum, University of Queensland, Centering Around Young Brisbane Artists of the 1940s
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Queensland Youth Voice,'47 Organisations
Support Youth Charter Conference', Jim Crawford Collection, UQFL301, Box 3, Folder 6, Fryer Library, University of Queensland Library.
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was to allow adolescents to express themselves about experimental art and literature. However, Headmaster Waddle prohibited the newspaper from the school; Reid sold the
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Crawford was involved in the radical art and literary movements of
Brisbane's 1940s. She was a member of the Barjai group which published the radical youth art magazine
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become influential in the development of the Arts in
Queensland and was a central figure for Miya Studio artists. Langer also offered her support to the
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under John Appleyard. Crawford was still attending some classes in 1945; however, she left college before she was awarded her diploma.
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Watson, Joanne. 'Brisbane's Little Chelsea': the cultural legacy of the Barjai and Miya groups. Overland, no.174, Autumn 2004: 58â62.
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The University of Queensland. The Miya Studio Archive. UQ Art Museum at University of Queensland, n.d. Web, 2011. 29 April 2012
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group held fortnightly meetings in the Australasian Catholic Assurance building at Queen Street, Brisbane. By this stage the
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had an audience of around three hundred people and more than fifty people contributed poetry, stories, essays and artworks.
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In 1988, Crawford donated a series of artworks (including around fifty of her own works) from the Miya Studio to the
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magazine described itself as 'a meeting place for youth'. Crawford was also involved in the establishment of the
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In 1988, she donated a large collection of artworks from the Miya Studio to the University of Queensland.
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group. Crawford stated that she was educated on many topics during these lectures, such as, the
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PDF link to list of what is included in Jim Crawford Collection in Fryer Library, UQ St Lucia.
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In the late '40s, Crawford began spending a lot of time with a radical society called the
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Barjai, Miya Studio and Young Brisbane Artists of the 1940s: Towards a Radical Practice
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Barjai, Miya Studio and Young Brisbane Artists of the 1940s: Towards a Radical Practice
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also joined the magazine. This group was further joined by associate writers,
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Pamela Seeman was born in Brisbane in 1921. In 1942, Crawford entered the
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The Miya Studio operated between 1945 and 1949 and had grown out of the
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http://adb.anu.edu.au/biography/collinson-laurence-henry-laurie-12337
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View across Youth Charter Conference. Delegates towards stage.
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group had grown considerably. Writers included people like
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The magazine continued outside of school and by 1944, the
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515:. St Lucia: University of Queensland. 1987. Print., p. 4
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http://adb.anu.edu.au/biography/crawford-james-jim-12867
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The Australia Dictionary of Biography â James Crawford.
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Crawford addressing Youth Charter Conference in 1949
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