On 2 December, our fellow blogger Will Owen
died unexpectedly in his sleep at his Chapel Hill North Carolina home. He was
just 63. We had never met in person, but I felt that I knew him.
Will and I first interacted back in June
2007 when he commented on a post I had written on the Howard-Brough Aboriginal
intervention in the Northern
Territory , I hadn’t seen his blog, Aboriginal Art and
Culture: an American eye, although by then it had been established for over
two years. I looked, and it became one of my regular reads.
Later I nominated some of his posts for
consideration by Club Troppo/On-line Opinion for the best independent Australian
blog posts of 2008. There was some doubt as to his eligibility, but I thought
that Will’s focus should make him eligible. I was pleased, and so was he, when
his Basedow's photographs
made the list. Later still, and rightly, the blog was selected for permanent
retention as part of the National Library’s Pandora Archive.
While I knew of Will through his work on
Aboriginal art, his main professional role was as a librarian. He began work at
the University of North Carolina (UNC) Library in 1976 as a student assistant
in the collection development department. At the time of his death, he was
Associate University Librarian for Technical Services and Systems, a position
he had held since 2011. He had also served since July as the Library’s interim
Director of Human Resources.
In a tribute, Sarah Michalak, University
Librarian and Associate Provost for University Libraries (UNC is a networked
multi-campus institution) said that with Will’s passing, the Library and the
field hade lost “one of the greats of librarianship and a leader whose
accomplishments embody the best of the profession”.
Will believed that libraries should provide
the broadest possible access to scholarly information. At a time when many
questioned the value of the library catalog, he empowered his team instead to
develop it as a sophisticated tool that would facilitate customized searching
and would lead researchers directly to primary source material from the library
collections.
At the time that Will became one of the
Library’s first computer administrators in 1985, there were just a few
computers in campus libraries, said David Romani, UNC Library’s lead systems
administrator. “It was the two of us doing all of the technology,” he recalled,
even to the point of removing ceiling panels and running cable for the first
system of networked computers in Davis Library.
As technology became an increasingly
prominent part of library work, Will became UNC’s first systems librarian and
then head of the systems department. His guiding principle was always that the
technology—and the technology department—should be a solid and reliable support
that makes it possible for colleagues to focus on their primary mission of
carrying out the work of the library.
It is clear from the many tributes that
Will not only applied this principle in practice but was also an effective
guide and mentor. “People valued his mentoring,” said Michalak, “because of the
clear way he expressed himself. You knew that he really cared and that
everything came from a grounding of integrity.”
Outside his professional work, Will was a man many of many interests. He already had an abiding interest in contemporary
American art before seeing the “Dreamings The Art of Aboriginal Australia.” exhibition
at the Asia Society in New York City
in 1988.
The paintings, with their arrays of small
dots, elaborate patterns in startling colors and puzzling iconography, took the
lifelong art lover by surprise. “This is the first we knew it existed. I had no
idea Australia’s Aboriginal people made art, much less crazy, beautiful art
like this,” he said.
In 1990 Will and his long standing partner Professor
Harvey Wagner (they had been together for 34 years at the time of Will’s death)
visited Australia
almost by accident.
Will had intended to use frequent flier
miles for a European Christmas vacation with his partner. But by the time they
made reservations at Thanksgiving, every seat was long since booked. Frustrated,
they asked what was left. “I can get you on a plane to Sydney ,” the agent offered. The surprise
destination led the pair directly to a passion for Aboriginal art that has
drawn them back again and again to Australia .
It was a day trip to the country west of Alice Springs that brought everything together. Piled
into a Land Cruiser with five other passengers, Will listened, captivated, as
their guide described Aboriginal culture and the complicated relationship at
its heart between the people and the land. “It was so alien, so unlike anything
that I’d encountered before,” he said. “I wanted to try to solve the puzzle, to
understand these minds that saw the world in such a different way.”
He and Harvey began purchasing art,
ultimately building one of the world’s largest private collections of
Aboriginal art. This painting is by Kenny Brown, Tiwi Islands ,
Jilamara (Good Design), 2001. The image derives from ceremonial designs that
mourners paint on their bodies.
Insatiably curious, Will began to read up
on anthropology, history and art, seeking to understand. Eventually, he came to
see his research and writing as a continuation of the efforts of the Aboriginal
people themselves to explain their lives and their world.
“For more than 200 years, these people in Australia
have been held up as the exemplar of the most primitive people on Earth,” he
said. “In fact, their art – which is extremely popular, which the government
has appropriated as a symbol of Australia – is the way in which these people
have reached out across the racial divide, against bigotry, condescension and
hatred to share what is theirs with the rest of us.
“Living in extreme conditions means that
you have to share or else you die. Their art is the way they’ve chosen to share
their culture with us.”
“Aboriginal people don’t own the land,” he explained.
“The land owns them.” Each individual is tied to a particular piece of land –
known as one’s country – by virtue of being born there, having family or family
history there, or having ancestors buried there.
For Aboriginal people, the country is a
living, sentient being. When they are away from it, “they worry for the country
and the country worries for them,” he said. The paintings that had so intrigued
Will were, in fact, the outpouring of a great deal of worry.
Will began blogging in 2005 as a way of keeping
track of all he was learning. The posts covered not just art, but also history
and culture. In addition to blogging, Will used various mechanisms to promote
Aboriginal art, artists and culture speaking at events and providing expert
advice.
He was among the contributors to Beyond Sacred: recent paintings from Australia 's
remote Aboriginal communities, edited by Colin and Elizabeth Laverty
(Hardie Grant Books, 2008). Then in 2009 and 2011, Will and Harvey gave their entire
collection to the Hood Museum of Art at Dartmouth College .
This made the Museum a centre for the study of Australian Aboriginal art in the
US
and provided a base for a major exhibition in 2012.
Truly, Will’s life was one worth living
with multiple contributions across fields My commiserations to Harvey Wagner and Will's many friends.
Sources:
In Memoriam: Will Owen
Librarian, long-time art lover finds new passion in Aboriginal artSources:
In Memoriam: Will Owen
.