Age, Biography and Wiki
Pamela Crawford (Pamela Mary Seeman) was born on 1921 in Brisbane, Australia, is a Stage designer (1921-1997). Discover Pamela Crawford's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 76 years old?
Popular As |
Pamela Mary Seeman |
Occupation |
Artist, stage designer |
Age |
76 years old |
Zodiac Sign |
|
Born |
1921, 1921 |
Birthday |
1921 |
Birthplace |
Brisbane, Australia |
Date of death |
1997 |
Died Place |
N/A |
Nationality |
Australia
|
We recommend you to check the complete list of Famous People born on 1921.
He is a member of famous designer with the age 76 years old group.
Pamela Crawford Height, Weight & Measurements
At 76 years old, Pamela Crawford height not available right now. We will update Pamela Crawford's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
Physical Status |
Height |
Not Available |
Weight |
Not Available |
Body Measurements |
Not Available |
Eye Color |
Not Available |
Hair Color |
Not Available |
Who Is Pamela Crawford's Wife?
His wife is James Crawford
Family |
Parents |
Not Available |
Wife |
James Crawford |
Sibling |
Not Available |
Children |
Not Available |
Pamela Crawford Net Worth
His net worth has been growing significantly in 2023-2024. So, how much is Pamela Crawford worth at the age of 76 years old? Pamela Crawford’s income source is mostly from being a successful designer. He is from Australia. We have estimated Pamela Crawford's net worth, money, salary, income, and assets.
Net Worth in 2024 |
$1 Million - $5 Million |
Salary in 2024 |
Under Review |
Net Worth in 2023 |
Pending |
Salary in 2023 |
Under Review |
House |
Not Available |
Cars |
Not Available |
Source of Income |
designer |
Pamela Crawford Social Network
Instagram |
|
Linkedin |
|
Twitter |
|
Facebook |
|
Wikipedia |
|
Imdb |
|
Timeline
Pamela Mary Crawford (née Seeman, 1921–1997) was an Australian artist and stage designer married to the English-born Australian dramatist, James Crawford.
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 Barjai.
In 1942, Crawford entered the Central Technical College 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 Industrial Drawing under John Appleyard.
Barjai magazine described itself as 'a meeting place for youth'.
Crawford was also involved in the establishment of the Miya Studio.
Barjai was the Aboriginal word for 'meeting place'.
The aim of the Barjai was to allow adolescents to express themselves about experimental art and literature.
However, Headmaster Waddle prohibited the newspaper from the school; Reid sold the Barjai on the path outside.
The magazine continued outside of school and by 1944, the Barjai group held fortnightly meetings in the Australasian Catholic Assurance building at Queen Street, Brisbane.
By this stage the Barjai group had grown considerably.
Artists, such as, Pamela Seeman, Joy Roggenkamp and Laurence Hope also joined the magazine.
This group was further joined by associate writers, Judith Wright, James Devaney, Jack McKinney and Val Vallis.
The Barjai had an audience of around three hundred people and more than fifty people contributed poetry, stories, essays and artworks.
Crawford was still attending some classes in 1945; however, she left college before she was awarded her diploma.
The Miya Studio 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 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.
The Miya Studio operated between 1945 and 1949 and had grown out of the Barjai group.
Studio members organised art exhibitions and other events, such as, public lectures held by emerging intellectuals and writers of the day.
Crawford became the secretary-treasurer for the Miya Studio in March, 1946.
The first major exhibition was in 1946, held at the Banquet Hall of Hotel Canberra.
The artworks from the exhibition included Crawford's paintings Ivory Tower and Shadow Partners.
The Miya artists' style was loosely based on Expressionism.
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.
Her nude study, alongside Laurence Collinson's antiwar painting drew police attention at Finney's Gallery in 1948.'
In 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.
In 1988, she donated a large collection of artworks from the Miya Studio to the University of Queensland.
Joanne Watson's brief history of the Barjai group, published in Overland (2004) records Crawford as saying: '"Most Modern art was regarded by the art establishment as an unlovely aberration that would go away if ignored."