Shirley 'Mum Shirl' Smith AO OBE (1921–1998), humanitarian, was a Wiradjuri woman. Born near Cowra, NSW, she was brought up by her grandfather, who taught her to 'first love yourself, then spread it around'. Severely epileptic, she never went to school, or learned to read or write, although by the end of her life she spoke many Aboriginal languages. In the mid-1930s her family moved to Sydney, and one of her brothers was jailed. She began to visit him in prison, and when he came out she continued to visit others, encouraging them, finding their families and helping them to regain health. Soon she began acting as support for Aboriginal people in court, and assumed responsibility for countless children. Living in Redfern, where she cared for hundreds of alcoholics and homeless people, she was one of the founders of the Aboriginal Medical Service and the Aboriginal Legal Service. Over time she was involved in the establishment of the Foundation for Aboriginal Affairs, the Aboriginal Children's Service, the Aboriginal Housing Company and the struggle for land rights.
In 2003 the National Portrait Gallery exhibited Juno Gemes' solo show Proof: Portraits from the Movement 1978–2003. This photograph of Mum Shirl was taken at the Invasion Day March for Justice and Hope at Sydney Town Hall on 26 January 1988.
Gift of the artist 2004. Donated through the Australian Government's Cultural Gifts Program.
© Juno Gemes/Copyright Agency, 2024
Juno Gemes (22 portraits)
On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves.
Well behaved women seldom make history, as the saying goes, and the National Portrait Gallery, consequently, is full of awesome Australian women who refused to conform to narrow ideas about their place and their worth.
Drawn from some of the many donations made to the Gallery's collection, the exhibition Portraits for Posterity pays homage both to the remarkable (and varied) group of Australians who are portrayed in the portraits and the generosity of the many donors who have presented them to the Gallery.
