More from Old Parliament House

I wandered through the (very narrow) corridors, poking in rooms, past clocks, telephones and typewriters – so much ritual belonging to a bygone era. All the volumes of Parliamentary debates from the House of Representatives and Senate are collected – hmm, I’ll bet they make for fascinating reading...

The speechwriters' office

The Country Party Rooms have an exhibition about various members including Tim Fischer, from Barra Creek, who joined the Narrandera branch of the Young Country Party. The Country Party became the National Country Party which morphed into the National Party and is now simply the Nationals. Apparently, ‘The Country Party was formed to represent the interests of people living on the land and in country towns’, which explains a lot.

Fischer was deputy PM to John Howard – he held the party together during the 1990s with the threat from One Nation dividing the rural support base, and was pivotal to the success of the anti-gun legislation of 1996. There are cabinets full of gifts from firms and communities acknowledging his support (as trade minister) for the growth of Australia’s export markets.

The place is like a labyrinth with rooms opening off corridors. One holds an architectural model of Parliament House in 1927 and 1988. Another is dedicated to the Queen’s royal tour of 1954 when she opened the Federal and State Parliaments and wore a golden ball gown with sprays of wattle (this symbolism began her Coronation dress, which was the first time her white dress had been embroidered with colour; decorative flower emblems represented every country in the Commonwealth).

 

Many of the doors have frosted glass with the names etched upon them. The government whip and opposition whip’s offices back onto each other across the Speaker’s Walk at the back of the Chamber of the House of Representatives. The rooms were divided to create more space, for receiving members like naughty schoolchildren making excuses for not doing their homework. Politicians gave the whip some imaginative reasons for missing a Division, which was very serious: legislation can be defeated or motions lost for the lack of a single vote.

 

The Senate Opposition Party Room operated as a sort of gentleman’s club from 1927-37. There was (was??!) little entertainment in Canberra, so here the senators, regardless of which party they were in, talked, read, wrote letters, drank wine, and enjoyed film nights together. It had amenities such as mail boxes and sound-proof telephone booths for senators who didn’t have offices.

The building has little kitchens and bathrooms which are very 70s but were probably considered flash at the time: brown wood and tiles, square furniture and straight lines date the place. Furthermore, the narrow corridors and low ceilings give it the feel of a bunker, trapped and sealed in time.

Susan Ryan, who was a Cabinet Minister in the Hawke Government wrote, “At the beginning of our administration, the standard snacks consisted of white bread sandwiches and lamingtons, the latter very popular with our team, especially the leader. Sometimes during extended meetings party pies and sausage rolls appeared. When we met at weekends the attendants did not come in, and we were left to our own devices.

"Distracted from affairs of state by hunger pangs, one Sunday evening we tried to rustle up a meal. Nothing doing: no local eateries were inclined to provide take-away to the Cabinet of Australia. In the end one of our Comcar drivers, typically down to earth, located a few pizzas and brought them in to us. As we ripped the messy strips of fat and carbohydrate off the cardboard to which they had congealed, we agreed that it was pretty flash being in Cabinet.”

John Smith Murdoch, the building’s architect, also designed much of the furniture, of which there is an exhibition in Suites Seats and Suits. The functional furniture is of the Stripped Classical style – simple lines with limited decorative features – and constructed of Australian timbers, such as Queensland maple or Tasmanian oak and Australian Blackwood.

I like the Blackwood reading slopes for reading papers and the octagonal tables (a departure from the usual strict discipline of right angles and circles) for displaying periodicals – cut off from the outside world in Canberra, this was the only way many politicians could keep in touch with their constituents. There’s also a room of signs – strictly members only etc. – which echoes the bold design and geometric precision, even reflected in the coat and hat stand, and the solid, square bins.

 

The Senate Government Party Room (with record player and Mozart records) features a hexagonal table representing the original six senators from each of the six states. The brushed aluminium light fittings in this room replaced the original glass fittings in the 1940s.

A couple of politicians are highlighted in displays. Dorothy Tangney became the first female senator in 1943 and served for 25 years, concentrating on social issues and Labour principles such as the needs of returned servicemen, war widows and war brides. Meanwhile, Neville Bonner was the first Aboriginal senator in 1971. He strongly believed that Aboriginal people should work within the parliamentary system to achieve their rights.

The members’ dining room was closed as it was being prepared for a function, but the nearby courtyards are a nice touch, affording glimpses of trees, grass, light and air. Along the carpeted hallways (a natty blue design) are cabinets containing special crockery with a parliamentary crest and a tea service including a set of tongs resembling emu feet. 


The Illuminations by Wendy Fairclough

The halls are lined with information and quotes – this one is telling:

“Throughout Provisional Parliament House there is a very interesting incongruity between the glamour of the seat of power and a concern to be seen as not wasting money on luxuries for members. Despite the refurbishment of the Members Bar in 1974, a member in 1978 described it as looking like a ‘second rate hotel’. There are very few photographs of the Members Bar and even fewer of members patronising it – apparently members did not wish to publicise this image of themselves.”

Portrait Gallery - Part Two

The 'Australia Now' gallery features those of current importance, figures in leadership, business, sport, science, medicine, literature, performing arts, film arts, and visual arts.



Fred Hollows by Kerrie Lester

Fred Hollows' portrait by Kerrie Lester is a fabulous image of oil on hand-stitched canvas. The bold, cheerful colours and sharp creases befit someone so instrumental in the treatment of eye disease and improvement of sight.

Jane Campion by Peter Brew-Bevan

The photograph of Jane Campion by Peter Brew-Bevan (1969) really stands out as she sits in front of a bookcase, and her image is reflected in a shiny table, looking at us twice over.

Keith Urban by Peter Brew-Bevan



Peter Brew-Bevan is also responsible for the 2007 photograph of Keith Urban. This is another classic, depicting him slouching against the wall, hands in pockets and looking down as though slightly self-conscious by the celebrity side of musicianship.

David Campese II by Paul Newton

In contrast, Paul Newton's portrait of David Campese (2000) is astonishingly direct. Also dressed in casual black shirt and jeans, he leans against a wall with his arms folded. It's a similar pose to the one adopted tby Keith Urban, but he looks straight at the viewer and, although not arrogant, he seems very confident and comfortable.



Neil Armfield by Adam Cullen

 In Adam Cullen's portrait of Neil Armfield (2010) the theatre, film and opera director is rendered in vibrant oils against a sage green canvas. The vivid colours of his bright pink flesh, blue jacket and yellow dog drip down the canvas as though anxious to escape their artistic confines. Although they are both sitting, it is not comfortably.

Angry Anderson by Sally Robinson

Angry Anderson by Sally Robinson (2006) is an intriguing acrylic on canvas. Although wearing a black singlet and covered in tatoos, he is smiling and looks far from angry. His flesh (both the painted/ inked variety and his naked bald pate) is comprised of coloured dots like an example of pointillism or a pixellated version of an identity-supressed subject, while conversely featuring him in microscopic detail.

Robert Drewe (In the Swell) by Nicholas Harding

Robert Drewe in the Swell by Nicholas Harding (2006) is a fantastic work of oil on Belgium linen. The author is painted in slithers of pastel paints like gelato, looking good enough to lick.

Glen McGrath by Sally Robinson

Glen McGrath by Sally Robinson (2003) is made up of stripes and dashes of synthetic polymer paint on canvas conveying an attitude of movement and deceptive motion as he strokes the ball almost imperceptibly with two long fingers.

Cathy Freeman by Kerrie Lester

Cathy Freeman's portrait by Kerrie Lester (1999), rendered in oil on harnd-stitched canvas, is almost naïf art in style with the black outlinesserving to enhance the power and the strength in the long limbs. Smiling and stretching against a chain-link fence, there is a suggestion of explosive speed and wild spirit wild spirit about to be unleashed.

Eddie Mabo by Gordon Bennet

Newspaper print and aboriginal symbols against a skyline of modern buildings make the perfect background for Eddie Mabo's portrait by Gordon Bennet. The passion of the land rights decision with all its inherent shame, hurt and justice is evident in this synthetic polymer paint on canvas.

Senator Neville Bonner by Robert Campbell Junior

Senator Neville Bonner was Australia's first indigenous parliamentary member. In this 1990 portrait by Robert Campbell Junior, he is surrounded by stylistic depictions of animals with the red, black and gold flag of the aboriginal people.



Patrick White by Brett Whitley

The 'star' of the show is a featured exhibition of portraits of author Patrick White by artist Brett Whiteley to coincide with the one-hundredth anniversary of White's birth. There was an artistic and ideological stoush between the pair, which gives this exhibition a particular edge.