Showing 298 items
matching arts and culture
-
Federation University Art CollectionPainting, Adam Rish, Anjing Gila, 2007
Adam RISH (1953-) Sydney based artist Adam Rish completed a BA (Hons) in Fine Art at MFA and has exhibited in Australia since 1975. He has been the recipient of a Visual Arts Board Studio Residency in 1981 and 1984 and an Asialink Residency in Indonesia in 1997. He is interested in cross-cultural collaboration as 'world art' to affirm indigenous culture and regional diversity.Timber Sculpture of a dog like firm.available, adam rish, sculpture -
Bendigo Historical Society Inc.
Document - MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO PROJECT AND FINAL REPORTS, 1995
MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO Project and Final Reports 3858.13 PDF File 11th August 1997 - three pages From: Merle Hall, Secretary Arts Bendigo To: Mike (final Media Release probably the Bendigo Advertiser) Content: Media Release two pages and a poem read out by Mosaic Artist Maery Gabriel (Hall) 'Reflections from Rosalind Park' Date Unknown: First invitation mail-out for C.V.T. Presentation and notes. Invitations to Felicity Kingerlee, Rod, Orr, Jane Cleary, Ian Stewart (Flora Hill Secondary College), Marion Stewart (White Hills Secondary College), Marion Wright, G. Maddams (& staff), Frank Ham, Tony Morris (Astronomy chap), Trevor Tonking (Cont. Ed.), Bernard smith and others at City of Bendigo, All A.B. Committee. Included are handwritten notes. Date Unknown: Two page document entitled: Enhancing the livable environment. Document contains details of the project, aims etc. 14th March 1995 To: The Greater City of Bendigo From Arts Bendigo Content: Two pages, a formal proposal for the involvement of the City of Greater Bendigo in the Creative Village project of the V.A.C. It contains information on Background, Concept,Implementation,Expected outcomes, Summary, Appendix 1 and 2 (Examples of the work of the artist). Date Unknown From John L. Content: one page of notes on similar projects and involvement by Arts Bendigo. The title of the document is Creative Village - Enhancing the Livable Environment. 5th Septemberh 1995 To: Members of the community who contributed ideas and suggestions From Arts Bendigo Ann Buzza and Merle Hall. Content: Invitation to attend a meeting with the Creative Village Team to view the Team's full report and explanation of designs etc. 9-10 June To: Participants in the Maery Hall Workshop From Arts Bendigo Ann Buzza and Merle Hall. Content: Location - ceramic department, Fine Arts building, Latrobe University Bendigo; acces information and what to bring to the workshop. Date Unknown To: City of Greater Bendigo Content: Arts Bendigo committment to the guidelines discussed with the relevent Council officers. Date Unknown To: City of Greater Bendigo From Arts Bendigo Content: Title - Historic Mining Mosaic Pavement at rosalind Park Poppet Head. A report on the project so far. Typed and ewritten notes. 28 July To: Public From Arts Bendigo Merle Hall. Content: Public invite to mark the completion of the project. June 1997 To: Public Content: A copy of Bendigo Heritage Mosaic City of Greater Bendigo plaque. 2nd September To: Attention Leanne McDonnell, Bendigo Advertiser From Arts Bendigo Merle Hall. Content: Media Release on 'The Laying Begins' Date Unknown To: Potential Donors From Arts Bendigo Merle Hall, sponsorship committee. Content: Description of the project titled 'Exciting Addition to Bendigo's Central Area. Date Unknown To: Potential Donors From Arts Bendigo Merle Hall, sponsorship committee. Content: Description of the project titled 'Exciting Addition to Bendigo's Central Area. Date Unknown List of LEAP team members for the project. Date Unknown To: Emma Power From Arts Bendigo Secretary Merle Hall. Content: three pages of information on the project (1. Intoduction 2. Small leaflet, prepared for visitors to the team 3. General outline of the project and the background on the Creative Village Team. 19-21 July To: All schools of the Bendigo area From: Merle Hall Secretary Arts Bendigo Content: An invitation for staff and students to visit the Creative Village Team during their time in Bendigo, at the Central Library on 19-21 July 19-21 July To: The Public From: Merle Hall Secretary Arts Bendigo Content: An invitation for staff and students to visit the Creative Village Team during their time in Bendigo, at the Central Library on 19-21 July 5th October 1995 To: Mr Peter Seamer, Chief Executive Officer, City of Greater Bendigo. From Merle Hall Secretary Arts Bendigo Content: RE 'Creative village team report and ongoing plans' 14 March 1996 To: Committee of Arts Bendigo From: Ann Buzza Content: Two pages hand-written report on visit of Maery Hall ot Bendigo 14/3/96 Date Unknown To: Bernard Smith, City ogf Greater Bendigo From: Merle Hall, Secretary Arts Bendigo Content: A list of urgent requirements needed by May 24th, material list from council stock. 27 June 1996 To: The Professionals, 54 Mitchell Street Bendigo, Attention Stephen Carter From: Merle Hall, Secretary Arts Bendigo Content: Account for use of shop in Allan's walk and cheque. 2nd July 1996 To: Cr Megan Weston Mayor, city of Greater Bendigo, copy to Bernard Smith. From: Merle Hall, Secretary Arts Bendigo Content: Thank you for $3500 to match the Arts Bendigo sponsorship. 2 June 1996 To: James C donnelly and associates, 5 School Lane, Wangi Wangi. From: Merle Hall, Secretary Arts Bendigo Content: Draft cover letter including a one page draft letter and a two page submission. James Donnelly was a parent of one of the LEAP workers who were helping on the project. James donnelly had suggestions for approaching mining companys for potential sponsorship. 1st October 1996 To: Mr D. Goldsworthy, City of Greater Bendigo From: Merle Hall, Secretary Arts Bendigo Content: Historic mining Mosaic Project, Rosalind Park Poppet Head. A formal submission for the council for some essential provisions for the extension of work on this project. 1st October 1996 To: Cr M. Weston, Mayor, City of Greater Bendigo. From: Merle Hall, secretary arts Bendigo Content: Three pages including a listing of income and costs to the project. 28th October 1996 To: Arts Bendigo From: Maery Hall Artist Content: two page report on the status of the project and problems that have been faced. 19th To: Leanne (maybe the Bendigo Advertiser) From: Merle Hall, secretary arts Bendigo Content: two pages on the finished project (Bendigo's Newest attraction) 19th March 1997 To: Steve From: Merle Hall, secretary arts Bendigo Content: Asking for rough quotes for printing of brochures. Date Unknown To: The Bendigo Bank From: Merle Hall, secretary arts Bendigo Content: two pages seeking a sum of $1000 to complete the project. 28th April 1997 To: Suzi Birthisel, Sponsorship Coordinator, Bendigo bank, Fountain Court, Bendigo From: Merle Hall, secretary arts Bendigo Content: Asking for a small sum for production of coloured brochures Date Unknown To: Committee From: Merle Hall, secretary arts Bendigo Content: Suggested invitation list from 'Arts Victoria' to the Committee re the opening on 28th July of the Bendigo Heritage Mosaic. 28 July 1997 From: City of Greater Bendigo and Arts Bendigo to public Content: Invitation to a brief ceremony to mark the occasion of the completion of The Bendigo Heritage Mosaic at the Poppet Head Lookout, Rosalind Park on Monday 28 July 1997. 5th August 1999 From: Merle Hall, Secretary Arts Bendigo To: Cr. B. Ackerman, Mayor, City of Greater Bendigo. Content: A brief note from the committee of Arts Bendigo, in appreciation of your attendance and speech at the 'completion ceremony, last week. 30th October 1997 From Merle Hall, Secretary Arts Bendigo To: the National Community links Awards, Category 1 - Arts and Culture Content: Included were Nomination Form, Written Statement as required under (5), a written reference from the mayor of the City of Greater Bendigo, two pages of photographs of the project, and five copies of a brochure printed to publicise the project. 2nd Feb 1998 From Merle Hall, Secretary Arts Bendigo To: Mrs. S. Parain, President, Regional Arts Fund Content: Regional Arts Fund Application, Sections 1 to 4 requesting a grant of $5197.00 -
Merri-bek City CouncilMarker and pastel on paper, Adrian Lazzaro, Untitled, 2018
Primarily working across painting and digital art, Lazzaro’s artworks are characterised by figures of wrestlers, vampires, zombies, toys and subjects from imaginary worlds. Often using gouache, acrylic and paint pen, Lazzaro’s imagery blends sinister interpretations with a quirky sense of humour. Lazzarro’s works usually depict historical figures, pop-culture icons or people he has met or seen. This work depicts two women holding hands. Lazzaro has been a regular studio artist at Arts Project Australia since 2004. Arts Project Australia supports artists with intellectual disabilities through their studio and gallery, promoting artists’ work and advocating for their inclusion in contemporary art practice. -
Nillumbik Shire CouncilPrint (Lithograph) Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin. Pugh's Gate, before the Fire, / Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate, fire, lithograph -
Nillumbik Shire CouncilPrint (Lithograph) Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Sunlight, / Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, sunlight, lithograph -
Nillumbik Shire CouncilPrint (lithograph) Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, Pugh's Garden, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) detailing Clifton Pugh's garden at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, lithograph -
Nillumbik Shire CouncilAlice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Print Studio, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting the Print Studio at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, studio, lithograph -
Nillumbik Shire CouncilPrint (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Artist's Gallery, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph -
Nillumbik Shire CouncilPrint (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Gate 1, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her Mother took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin.Lithographic print in black and white depicting Gate # 1 at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate 1, lithograph -
Nillumbik Shire CouncilPrint (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Pond Reflecting Pugh, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph -
Nillumbik Shire CouncilPrint (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Evening at Pugh's Garden, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph -
Nillumbik Shire CouncilPrint (Lithograph): Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, Interior Pugh's House, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph -
Nillumbik Shire CouncilPrint (Lithograph): Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, My Cottage, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph -
Federation University Art CollectionPainting - Artwork, Loris Button, 'Drawing The Signs: 1998 Self Portrait', 1998
Loris BUTTON (27/02/1951- ) Born Melbourne Dr Loris Button grew up in Melbourne, completing undergraduate studies in painting and drawing at the Phillip Institute of Technology, followed by a Master of Fine Arts degree at the University of Tasmania. Her PhD thesis employed self portraiture as a means for reflecting on the self, time and ageing in contemporary culture. From 1981 – 1986 Loris lived and studied in Hobart before returning to Melbourne. She lectured at the University of Ballarat Arts Academy from 1987. Since 1990 she has lived and worked in Ballarat and the nearby town of Creswick. Loris retired from an academic career at the Arts Academy, University of Ballarat (now Federation University) at the end of 2010. Loris has continued a post-retirement association with the Arts Academy through her role as an Honorary Research Fellow. Working with prints, paintings and drawings on handmade paper, her work is regularly shown in both solo and group exhibitions throughout Australia and overseas. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Self portrait of artist.art, artwork, loris button, self portrait, alumni, available -
Federation University Art CollectionPainting, Loris Button, 'Hand III' by Loris Button, 2004
Loris BUTTON (27/02/1951- ) Born Melbourne Dr Loris Button grew up in Melbourne, completing undergraduate studies in painting and drawing at the Phillip Institute of Technology, followed by a Master of Fine Arts degree at the University of Tasmania. Her PhD thesis employed self portraiture as a means for reflecting on the self, time and ageing in contemporary culture. From 1981 – 1986 Loris lived and studied in Hobart before returning to Melbourne. She lectured at the University of Ballarat Arts Academy from 1987. Since 1990 she has lived and worked in Ballarat and the nearby town of Creswick. Loris retired from an academic career at the Arts Academy, University of Ballarat (now Federation University) at the end of 2010. Loris has continued a post-retirement association with the Arts Academy through her role as an Honorary Research Fellow. Working with prints, paintings and drawings on handmade paper, her work is regularly shown in both solo and group exhibitions throughout Australia and overseas. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Oil painting on paper depicting a hand holding an egg, mounted on wooden panel.art, artwork, loris button, button, hand, egg, available -
Federation University Art CollectionPrint - Printmaking - linoprint, Loris Button, 'Fragments of Time' by Loris Button, 2002
Loris BUTTON (27/02/1951- ) Born Melbourne Dr Loris Button grew up in Melbourne, completing undergraduate studies in painting and drawing at the Phillip Institute of Technology, followed by a Master of Fine Arts degree at the University of Tasmania. Her PhD thesis employed self portraiture as a means for reflecting on the self, time and ageing in contemporary culture. From 1981 – 1986 Loris lived and studied in Hobart before returning to Melbourne. She lectured at the University of Ballarat Arts Academy from 1987. Since 1990 she has lived and worked in Ballarat and the nearby town of Creswick. Loris retired from an academic career at the Arts Academy, University of Ballarat (now Federation University) at the end of 2010. Loris has continued a post-retirement association with the Arts Academy through her role as an Honorary Research Fellow. Working with prints, paintings and drawings on handmade paper, her work is regularly shown in both solo and group exhibitions throughout Australia and overseas. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Twenty Five unique state linoprints on handmade abaca and cotton rag papers mounted together with insect pins. This work formed part of the Artist's PhD research.art, artwork, loris button, printmaking, linoprint, doctorate, alumni, handmade paper, linocut -
Bendigo Historical Society Inc.Book - HELEN MACPHERSON SMITH TRUST ANNUAL REPORT 2007
Forty-four page dark red covered report with a red shaded photo/drawing of a young man on a skateboard, titled Storm Sequence (2000) by Shaun Gladwell. In the front of the book is a loose letter mentioning the 2007 annual Report, covering their activities of the Trust for the year. Titles in the book are: About Our Founder and Her Legacy; Trustee's Report; Grants Overview; Grants Approved in 2006-2007, which are Aged Care, Arts, Culture & Heritage; Community Support; Disability Care & Support; Education; Employment & Vocational Training; Environment; and Health; Investments and Grants - An historical perspective, Financial Summary and An Historical Insight: The Smiths in Australia. Most chapters have information.Helen Mcpherson Smith Trust Annual report 2007helen macpherson smith trust annual report 2007, helen macpherson schutt (nee smith), darvell m hutchinson am, j barry hutchins oam, frances h awcock am, keith b smith, anthony baird, darren mcconnell, liz gillies, sarah bartak, pamela beech, lonia catalano, beolite village, bundji bundji, odyssey house victoria, macpherson smith community alliance, brotherhood of st laurence, dolphin research institute, howard florey institute, the jean hailes foundation for women's health, historical insight - the smiths in australia, shaun gladwell -
Eltham District Historical Society IncPhotograph, Liz Pidgeon, Meeting at Eltham Local History Centre, 4 December 2014
Meeting of the Combined Nillumbik Heritage Groups, network which meets four times a year. Local History Centre, (Eltham District Historcal Society) 728 Main Road, Eltham L-R: Jim Connor (EDHS), Russell Yeoman (EDHS), Noel Withers (Greensborough Historical Society), Martha Wike (Andrew Ross Museum), Dennis Ward, Maureen Jones (EDHS), Sue Law (EDHS) and Michelle Zemancheff, Arts and Culture Coordinator Shire of Nillumbik. Photographed by Liz Pidgeon, Local and Family History Librarian, Yarra Plenty Regional LibraryThis photograph illustrates the interior of EDHS's Local History Centre at 728 main Road, Eltham prior to renovation and re-organisation in 2017. It also provides a snapshot of active volunteers and supporters in the Local History community within the Shire of Nillumbik in 2014Born Digitaleltham district historical society, greensborough historical society, jim connor, russell yeoman, dennis ward, noel withers, maureen jones, sue law, combined nillumbik heritage groups, local history centre, volunteers, supper, network -
![Artwork - Painting, [AMuir] by Josh Muir, 2014](/media/collectors/530576742162ef0fa09a2288/items/573d58e72162f11db090a2a8/item-media/5b67adc321ea6d034478bf31/item-fit-380x285.jpg)
Federation University Art CollectionArtwork - Painting, [AMuir] by Josh Muir, 2014
Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship -
![Artwork, other - artwork, Josh Muir, [Portrait] by Josh Muir, 2014](/media/collectors/530576742162ef0fa09a2288/items/5a583f9321ea6811d47e173d/item-media/5b67ad2d21ea6b0344f6a8e0/item-fit-380x285.jpg)
Federation University Art CollectionArtwork, other - artwork, Josh Muir, [Portrait] by Josh Muir, 2014
Josh MUIR (1991- ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.A computer generated artwork on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship -
![Artwork, other - Artwork, Josh Muir, [Eye] by Josh Muir, 2014](/media/collectors/530576742162ef0fa09a2288/items/5a58423321ea6811d480bfdf/item-media/5b67ace421ea6a0344f0061b/item-fit-380x285.jpg)
Federation University Art CollectionArtwork, other - Artwork, Josh Muir, [Eye] by Josh Muir, 2014
Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.Digital print on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship -
Federation University Art CollectionArtwork - Painting, [Welcome] by Josh Muir, 2014
Josh MUIR (1991- 2022) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. Computer generated image on canvas.josh muir, aboriginal, artwork, artist, hutchinson indigenous fellowship -
Federation University Art Collection
Work on paper - Artwork - Printmaking, 'Built for Comfort' Rodney Forbes, 2008
The Gippsland Art School collects examples of limited edition prints to use as a teaching collection. The collection is largely unframed and comprises works from the Print Council of Australia, staff members and former students. Rodney FORBES (1951- ) Born Melbourne Rodney Forbes' work is figurative narrative painting and uses autobiographical and incident-as-metaphor methods to explore wider issues of knowing and belonging in oral traditions such as working class, children’s and artisan subcultures. His practice draws on pop, cartooning and joke narrative structures within contemporary culture. (http://www.australiangalleries.com.au/artists/rodney-forbes/, accessed 07 April 2017) Influential in gippsland visual arts circles, Rodney Forbes was Director of the Gippsland Centre for At and Design and Switchback Gallery.Unframed lithograph5/11churchill, gippsland campus, gippsland printmaking teaching collection, rodney forbes, printmaking, gippsland centre for art and design, staffmember -
Federation University Art CollectionWork on paper - Printmaking - Screenprint, Lin Onus, 'Garkman' by Lin Onus, 1991
Lin ONUS (1948-1996) Lin Onus was integral to the recognition of Aboriginal art in the contemporary Australian art landscape. His work expresses the dynamism of living culture; Onus was a prominent figure in renegotiating the history of colonial and Aboriginal Australian. An early influence of this dedication was his father, who was the founder of the Aboriginal Advancement League in Victoria and a maker of artefacts. As a young boy Onus was subsequently exposed to visiting Aboriginal artists and assisted his father in decorating artefacts. His painting Barmah Forest won the Aboriginal Heritage Award in 1994; Onus also received a Member of the Order of Australia “for service to the arts as a painter and sculptor and the other promotion of Aboriginal artists and their work.” (https://www.portjacksonpress.com.au/artists/lin-onus)Unframed colour screenprint with a limited edition of 60.lin onus, frogs, aboriginal, screenprint, printmaking, gippsland campus, print council australia -
Federation University Art CollectionArtwork, other - Handcut & Collaged maps on paper, 'Survey Vessel I' by Carole Wilson, 2008
Carole WILSON (1960- ) Born Canberra, Australia Carole Wilson undertook undergraduate studies at the Canberra School of Arts and Phillip Institute of Technology. She completed a Graduate Diploma in Education at the University of Ballarat in 1987, and a Doctor of Philosophy in 2000. She has chosen central motifs in her work, which she incorporates throughout a series. The urn has been a unifying motif in Wilson's map work and testifies to the way in which function drives form across cultures. Carole's work is held in many public collections including the National Gallery of Australia, the Powerhouse Museum, State Library of Victoria and a number of regional Victorian galleries. Her posters are in museum collections in Finland, Moscow and Poland. In 2001 Dr Wilson was awarded a Doctor of Philosophy (Visual Art) from the University of Ballarat (Now Federation University). She graduated with a Graduate Diploma in Education from University of Ballarat in 1987, and a Diploma of Art from the Phillip Institute of Technology (RMIT) in 1984. Carole Wilson lectures at Federation University Australia: 2010- Senior Lecturer in Visual Arts, Honours and Research Degrees Co-ordinator 2009-2011 Lecturer in Studio Practice and Postgraduate Co-ordinator 1999-2008 Lecturer in Visual Arts (Sessional) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Donated through the Australian Government's Cultural Gifts Program by Anne M. Drum, 2011art, artwork, carole wilson, maps, urn, alumni, available, staffmember -
Federation University Art CollectionPrint, 'Collagraph 3' by Carole Wilson, 2007
Carole WILSON (1960- ) Born Canberra, Australia Carole Wilson undertook undergraduate studies at the Canberra School of Arts and Phillip Institute of Technology. She completed a Graduate Diploma in Education at the University of Ballarat in 1987, and a Doctor of Philosophy in 2000. She has chosen central motifs in her work, which she incorporates throughout a series. The urn has been a unifying motif in Wilson's map work and testifies to the way in which function drives form across cultures. Carole's work is held in many public collections including the National Gallery of Australia, the Powerhouse Museum, State Library of Victoria and a number of regional Victorian galleries. Her posters are in museum collections in Finland, Moscow and Poland. In 2001 Dr Wilson was awarded a Doctor of Philosophy (Visual Art) from the University of Ballarat (Now Federation University). She graduated with a Graduate Diploma in Education from University of Ballarat in 1987, and a Diploma of Art from the Phillip Institute of Technology (RMIT) in 1984. Carole Wilson lectures at Federation University Australia: 2010- Senior Lecturer in Visual Arts, Honours and Research Degrees Co-ordinator 2009-2011 Lecturer in Studio Practice and Postgraduate Co-ordinator 1999-2008 Lecturer in Visual Arts (Sessional) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Carole Wilson lectures at Federation University Australia: Framed collograph by Carole Wilson. art, artwork, wilson, carole wilson, available -
Federation University Historical Collection
Book, John Mawurndjul: I am the Old and the New, 2018, 2018
Hardcovered book with an image of a crocodile with rarrk design. The book is a catalogue for an exhibition developed and co-presented by the MCA and the Art Gallery of South Australia (AGSA), in association with Maningrida Arts & Culture, this exhibition presents the work of one of Australia’s leading contemporary artists – master bark painter John Mawurndjul. Bringing forth a tradition shared by generations of Kuninjku artists, Mawurndjul is celebrated for his mastery of rarrk (cross-hatching) and his depiction of djang (sacred sites). Bark paintings and sculptures made over a thirty five year period, from private and public collections, and chosen by the artist, will introduce audiences to the concepts that shape Kuninjku culture and the significant ancestral locations in Central Arnhem Land. Born in 1952, Mawurndjul is a Kuninjku elder and artist. He lives and works in Milmilngkan and Maningrida in Central Arnhem Land. Since his first exhibition in 1982, he has become one of Australia’s most widely recognised artists. In 1989 he was included in the landmark exhibition Magiciens de la Terre at the Centre Pompidou and Grande Halle de la Villette in Paris, and his works have been included in numerous solo and group exhibitions in Sydney, New York, Paris and Japan. Following the presentation of this exhibition at the MCA, it will be presented at AGSA from 26 October 2018 until 28 January 2019 as part of TARNANTHI Festival of Contemporary Aboriginal and Torres Strait Islander Art.(https://maningrida.com/exhibition/john-mawurndjul-old-new/, accessed 05 November 2018) non-fictionjohn mawurndjul, bark painting, exhibition catalogue, rarrk -
![Painting - Artwork - Painting, [Boost It] by Josh Muir, c2014](/media/collectors/530576742162ef0fa09a2288/items/573d58712162f11db090922b/item-media/5b67ae0d21ea6e0344f91cc6/item-fit-380x285.jpg)
Federation University Art CollectionPainting - Artwork - Painting, [Boost It] by Josh Muir, c2014
Josh MUIR (14 August 1991- 05 February 2022 ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. iN 2014 Josh Muir was THE Australian Indigenous Mentoring Experience'S (AIMe) Program Manager Assistant at Federation University Australia in Ballarat.Australian Indigenous Mentoring Experience Z In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.Signed lower right "jmuir"josh muir, artwork, artist, aboriginal, hutchinson indigenous fellowship -
Eltham District Historical Society IncJournal, Peter Doughtery, ArtStreams: News in arts and cultural heritage; Vol. 3, No. 4, Aug-Sep 1998, 1998
Vol. 3, No. 4, Aug-Sep 1998 CONTENTS THE GREAT DAREBIN MUSIC EXPO Celebrating cultural diversity 3 THE FINAL TOUCH Dangers of inappropriate picture framing 6 BOOK REVIEW Michele Lonsdale reviews Raymond Gaita's Romulus May Father 9 A NEW FACE IN ELTHAM ARTS From Brown's Town, Jamaica, to Eltham Wiregrass 10 BANYULE YOUTH ART AWARDS Young artists throw down the gauntlet 12 CD REVIEWS Authentic and Get A Handle On It 14 PHOTOGRAPHY John Fitzgerald's first exhibition 16 SHORT STORY Girl in a Yellow Sweater by Morag Kirk 18 POETRY REVIEW Ray Liversidge reviews Ian McBryde 22 THEATRE Carolyn Pickett at Heidelberg Theatre company 23 DAG HOUSE ON HIGH STREET New home for Darebin Arts Action Group 24 SIGMUND JORGENSEN DINES OUT Food and wine as culture 25 POETRY Sandy Jeffs' Poems From the Madhouse 27 RAY MOONEY PLAY REVIEW 27 THEATRE Alabaster Youth Theatre and Daniel Kahans at La Mama 28, 29 WINING, DINING & ENTERTAINING 30 PICASSO AND TUCKER AT HEIDE 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/06) art streams, john fitzgerald, annie keil-taggart, just add water, melanie shanahan, darebinn music expo, ruby hunter, cretan brotherhood dance academy, tim nikolsky, margaret leighton, paper moon, alfie massoud, conga pa gozar, neville crawford, framing, dymocks booksellers, raimond gaita, michelle lonsdale, eltham wiregrass gallery, charmaine sheppard, banyule young artists award, brett wood, rebecca james, saramcfarland, michael hebden, heath warwick, michelle wood, victoria ashton, pietro ristorante grossi, la mama theatre, robbie greig, nerida kirov, george kirov, mathew arnold, john skinner, jeff buckland, laurie strickland, eltham high school, montsalvat, eltham library community gallery, alan marshall short story award, morag kirk, dynamic vegies, jenni mitchell, ruth johnstone, la trobe university art museum, ian mcbryde, ray liversidge, heidelberg thearte company, carolyn pickett, darebin artists action group, sigmund jorgensen, sandy jeffs, la piazza restaurant bar & cafe, adams of north riding, llobex image wizards, yarra valley country club, daniel kahans, bulleen art & garden centre, museum of modern art at heide, monty deli & catering services, albert tucker, volumes -
Federation University Art CollectionArtwork, other - Artwork, "West Park Proposition' by Ash Keating, 2013
Ash KEATING Among fifteen finalists this artwork won the 2012 Guirguis New Art Prize, a prestigious national acquisitive biennial art prize administered by Federation University Australia. The Guirguis New Art Prize (GNAP) is a national acquisitive $20,000 contemporary art prize which presents a selection of Australia's most exciting contemporary artists with works that explore and embrace new ways of artistic expression, utilising existing mediums and new technologies in innovative ways. Initiated and generously supported by local Ballarat surgeon Mr Mark Guirguis, this prestigious art prize is administered by the Federation University Australia (FedUni). As a local philanthropist and art collector, in developing the Prize, Mark Guirguis' aims were to celebrate the significance of the arts to communities and to Ballarat, emphasising contemporary art and 'living' culture, and to highlight FedUni's Arts Academy. Artist Ash Keating works across a conceptual, site-responsive and often collaborative art practice that incorporates painting, sculpture, installation, video, performance and public interventions, and has referenced a wide range of social and environmental issues within his art. Frequently working beyond the gallery, and often harnessing community narrative and energy, his work also draws upon myth, ritual and ceremony. 'West Park Proposition', 2012, is a three channel and screen video installation, utilising multiple camera video documentation of an endurance painting intervention undertaken on the morning of 01 September 2012 on the east facing wall of a newly built tilt-slab industrial building, situated on the direct edge of the current urban and rural boundary in Truganina, Victoria. The multi-screen work documents an endurance guerilla-style action painting intervention and ritualised painting performance in which a symbolic violence is enacted against a storehouse of commodity production and consumption. Upon winning the award artists Ash Keating said; “The work was made near Ballarat on the Deer Park bypass. It is an aesthetic comment about the way these new tilt-slab industrial buildings spring up without caring for the environment." The work, which took eight hours to create, was about reclaiming the space from “cost-effective architecture” without any aesthetics. The inaugural judge for the Prize, Jason Smith, Director, Heide Museum of Modern Art (MoMA) said, "Selecting the winner of this inaugural GNAP was exhilarating and excruciating: exhilarating because the seriousness of each artist's enterprise, and their uncompromising resolution of concepts, has created an inaugural exhibition of exceptional power. This first GNAP is a survey of some of the most poetic and provocative imaginations working in Australia today. Selecting one winner from such a show in which each of these artists has in some way transformed my thinking about the world was the excruciating part. Ash Keating's work West Park Proposition, 2012 kept drawing me back in the several hours I spent viewing the works. It simultaneously affirms the political and critical role of the artist as a key agent of change and action, and someone who reminds us of the beauty and resilience of humanity and nature in the face of unrelenting change. As a work combining performance, collaboration and hope, Keating's West Park Proposition is a work of immense and compelling poetry."artist, artwork, keating, ash keating, guirguis, guirguis new art prize, gnap, gnap13
