Ann Newmarch

Ann Newmarch OAM (1945–2022) was a highly influential Australian artist renowned for her groundbreaking contributions to feminist art, political activism, and community engagement. Born in Adelaide, she was a key figure in the Women's Art Movement during the 1970s and remained deeply committed to utilising art as a catalyst for social change. Newmarch’s diverse practice encompassed painting, sculpture, printmaking, and mixed media, frequently incorporating domestic and everyday imagery to question societal norms and gender roles. She was especially recognised for her politically charged screenprints, which addressed pressing issues such as feminism, environmental concerns, and Indigenous rights. Her work has been widely exhibited both in Australia and internationally, with pieces housed in major institutions, including the National Gallery of Australia, the British Museum, and the Art Gallery of South Australia. Notably, she was the first living female artist to be honoured with a retrospective exhibition at AGSA, The Personal is Political (1997). Newmarch’s legacy is also evident in her contributions to public art projects, particularly in Prospect, where she created murals and pioneered the tradition of painting Stobie poles.[1]

The 1970s were among the most tumultuous decades in Australian history, defined by protests over issues such as the Vietnam War, uranium mining, gender inequality, and Aboriginal land rights. This wave of activism was often expressed through striking political posters that appeared across Australian streets, homes, and workplaces. Screen-printing became a particularly popular method for producing these posters, as it allowed for rapid responses to current events while enabling large-scale production at a relatively low cost. Thus, this accessibility made political and social messaging more widely available to the public. Similarly, Ann Newmarch recognised screen-printing as an ideal medium for conveying her ideas to a broader audience. One of her most well-known prints, Babies Alive (1977), exemplifies her deep political engagement. The poster confronts the dangers of radiation exposure, particularly the risk of birth defects, depicting three infants with glowing, distorted bodies, complete with extra limbs.

[1] Newmarch Gallery, “The History of Public Art in Prospect”, 2022, accessed 27 March 2025, <https://www.newmarchgallery.com.au/public-art > .

Ann Newmarch, born Adelaide 1945, died Adelaide 2022, Women hold up half the sky!, 1978, Prospect, South Australia, colour screenprint on paper, 91.5 x 65.0 cm (sheet); South Australian Government Grant 1981, Art Gallery of South Australia, Adelaide, Courtesy the artist.

Considered one of Newmarch’s most iconic works, the screenprint Women hold up half the sky! (1978) emerged from the broader social and political movements of the 1970s, a decade defined by significant feminist activism in Australia. During this period, the second-wave feminist movement was gaining momentum, advocating for gender equality, reproductive rights, workplace reform, and the recognition of women's contributions across all areas of society. The rise of the Women's Liberation Movement further challenged traditional gender roles and fought for systemic change in both public and private life.

Women hold up half the sky! directly engages with these feminist concerns, visually affirming the crucial role of women in shaping the world. Drawing from both personal experience and her commitment to feminist ideology, Newmarch reimagined an old photograph of her aunt Peggy lifting her husband, transforming it into a powerful symbol of strength and optimism for all women.[1] The phrase itself originates from a Chinese proverb later popularised in Maoist writing, underscoring the significance of women's labour and societal value.[2] By reframing this slogan through a feminist lens, Newmarch’s poster became a striking declaration of solidarity and empowerment, reflecting the era’s ongoing fight for recognition, rights, and representation.

[1] Julie Robinson, "Ann Newmarch" in N Bullock, K Cole, D Hart & E Pitt (eds), Know My Name, National Gallery of Australia, Canberra, 2020, pp 274–275.

[2] Ibid.

Ann Newmarch, born Adelaide 1945, died Adelaide 2022, 'Our fathers cleared the bush', 1976, Prospect, Adelaide, screenprint, synthetic polymer paint on paper, 63.5 x 89.0 cm (sight); Gift of the family of Ann Newmarch 2024, Art Gallery of South Australia, Courtesy the artist, photo: Stewart Adams.

Newmarch’s Our fathers cleared the bush (1976) critiques environmental destruction by juxtaposing colonial land clearing with contemporary consumer culture. The print’s title references the settler narrative of “clearing” the land, a process that often led to environmental destruction and the displacement of Indigenous communities.[1] The inclusion of big-name brands in the print, like KFC, Hungry Jacks and Coca Cola, serve as a potent symbol of globalisation, corporate exploitation, and the degradation of both natural and cultural landscapes. Fast-food chains like KFC were rapidly expanding in Australia during the 1980s, representing the increasing dominance of multinational corporations and the prioritisation of profit over sustainability. By placing the logos within the context of deforestation and land misuse, Newmarch draws a connection between historical environmental destruction, framed as progress, and the modern consequences of unchecked consumerism.

[1] Towards Truth, “Land Clearing:1788-present”, accessed 28 March 2025, <https://www.towardstruth.org.au/themes/country/custodianship/1-land-management/sub0498-land-clearing >.

Ann Newmarch, born Adelaide 1945, died Adelaide 2022, Maralinga: poisoned rations, 1988, Adelaide, oil on canvas, 168.0 x 182.8 cm; Gift of the artist through Art Gallery of the South Australia Contemporary Collectors 2021, Art Gallery of South Australia , Art Gallery of South Australia, Adelaide, Courtesy the artist.

Listen

  • Julie Robinson discusses the work of Ann Newmarch

Australian Curriculum Connections – Geography (Year 10)

Knowledge and Understanding

The human-induced changes that challenge the sustainability of places and environments (AC9HG10K01)

Australian Curriculum Connections – History (Year 10)

Knowledge and Understanding

  • The significant events, individuals and groups in the women’s movement in Australia, and how they have changed the role and status of women. (AC9HH10K12)
  • The continuing efforts to create change in the civil rights and freedoms in Australia, for First Nations Australians, migrants and women. (AC9HH10K13)
  • Changing social, political, economic, cultural, environmental and technological conditions, and the causes of a major global influence in Australia. (AC9HH10K17)
  • Continuities and changes in perspectives, responses, beliefs and values that have influenced the Australian way of life. (AC9HH10K18)

Skills

  • Compare perspectives in sources and explain how these are influenced by significant events, ideas, locations, beliefs and values. (AC9HH10S06)
  • Analyse different and contested historical interpretations. (AC9HH10S07)
Australian Curriculum Connections – Civics and Citizenship (Year 9)

Knowledge and Understanding

  • The influence of a range of media, including social media, in shaping identity and attitudes to diversity. (AC9HC9K06)

Skills

  • Analyse information, data and ideas about political, legal or civic issues to identify and evaluate differences in perspectives and interpretations. (AC9HC9S03)
  • Create descriptions, explanations and arguments using civics and citizenship knowledge, concepts and terms that incorporate evidence. (AC9HC9S05)
Think and Discuss
  • How can art be a form of activism?
  • If you had to explain one of Newmarch’s pieces to someone who had never seen her work, how would you describe it in a way that captures its meaning and impact?
Responding
  • How does Newmarch’s use of vibrant colours and bold imagery impact the viewer’s interpretation of her political messages? What emotions or thoughts do these visual choices evoke? Compare this work to Richard Bell. How are they similar or different.
  • Investigate another artist who uses screen printing as a medium for social commentary. How does their work compare to Newmarch’s in terms of content, style, and message?
  • Research the role of political posters in the 1970s. How does Newmarch’s Babies alive fit into the tradition of politically charged artwork from that era?
  • Find works of art made by Aboriginal or Torres Strait Islander artists that address themes of land rights or cultural survival. How do they engage with similar themes, and what unique perspectives do they offer? Start by looking at the work of Richard Bell, Julie Gough or Yhonnie Scarce.
  • Research the history of Australian feminist movements. How does Newmarch’s art reflect or respond to the issues raised by these movements?
  • If Newmarch were to create a work of art addressing modern-day issues like climate change or gender inequality, what themes do you think she would explore?
  • Research the impact of colonialism on Australia’s land and Indigenous populations. How does Our fathers cleared the bush speak to this history, and what message does it send about Australia’s environmental and social legacy?
  • If you could add a new element to one of Newmarch’s works of art, what would it be, and how would it enhance the message of the piece?
  • How do you think Newmarch’s work influences young people today? What lessons can be learned from her art in terms of creativity and making a difference?
Making
  • Work collectively as a class to design a mural that represents community concerns, fostering dialogue and awareness.
  • Research a historical event or issue in Australian history that has been overlooked or misrepresented. Design a protest poster that raises awareness about this issue, using bold imagery, slogans, and text to communicate your message. Think about how citizens can advocate for historical truth and justice.
  • Inspired by Our fathers cleared the bush create a work of art that reflects current environmental concerns.

The Gallery’s Learning programs are supported by the Department for Education.

This education resource has been developed by Lauren Wallis, (MA. Curatorial and Museum Studies, BA. Teaching/Arts)