This portrait is of Dr Walter Thompson, former President of ANZCA from 2006 - 2008 was commissioned by ANZCA to commemorate Dr Thompson's presidential term. The painting was unveiled on 17 April 2009. The artist Ben Joel is a Western Australian artist, well known for his commissioned portraits and contemporary artworks in most media. Joel's artworks are represented in national private and public art collections Oil on canvas portrait of Dr Walter Thompson wearing the Presidential gown and medal. The sitter's hands are clasped in front of him and he is casually seated in front of a plain background coloured in black and red imitating a second frame/window. The painting is set in a plain gold and maroon frame.[ lower right hand side] BEN JOEL '08painting, anzca president, thompson, walter, joel, ben

The Australian and New Zealand College of Anaesthetists (ANZCA) began as a faculty at the Royal Australasian College of Surgeons (RACS). Separation was achieved in 1992, when the faculty became a college in its own right. The relationship between ANZCA and RACS has been strong ever since, and on opening the new building at the rear of the property in 2002, RACS gifted this painting to ANZCA.Mixed media abstract on square canvas. The painting is an orange, grey, green and white background, with an abstracted landscape in black to the centre.Handwritten in blue permanent marker on reverse: -RETURN TO FOREVER- / T MCNAMARAHandwritten on white sticker adhered to frame: TREVOR MCNAMARA / "RETURN TO FOREVER" / 160 X 160 / MIXED MEDIA / W: 3862 BTY ZAW

Its called the Silent Service. The Royal Australian Navy is not always in the news or in the spotlight, or sought out by the news, as are the other military services of this great country of ours, us matloes or sailors tend to be the most effective and efficient in times of war as well as peace over the horizon - away from the media.cruisers (warships) - australia - history, vietnam war, 1961-1975 - naval operations, hmas sydney (aircraft carrier), the vung tau ferry, royal australian navy, australia. royal australian navy

This menorah has 7 candle holders joined in a horizontal row, on thin rod stands. The circular holders sit on two flat silver strips that are attached to silver rectangles on either side of the holders, creating a shield-like form on either side of the holder. The stand on which this construction is propped up, is made up of rods that stand vertically on either side of the holders and behind the shields. The rods are intersected by other rod 'lines' that visually weave horizontally across the top half of the stand. Each point of intersection of lines and rod stands is marked by a circular shape. Artist's statement: In terms of the Jewish diaspora, the variety and flexibility of approaches within Judaism has enabled the culture to endure and nurture ever stronger connections despite physical distance. This notion of an enriched connectedness was one of the two central ideas which contributed to the development of this piece. The second was the idea of light and its cultural significance. Light is about both practical illumination and spiritual expression. While revealing and manipulating material and form, light has also come to stand for the triumph of goodness over evil for many cultures, Of utmost importance in Jewish ritual, light and its media are also recognised symbols of connection and interaction for Jewish people throughout the world. (1999, Blessed Be the Work, Australian Contemporary Design in Jewish Ceremony II)

This item is part of a series of media photographs taken of Tony Barbar, Sale of the Century?sale of the century; game show; tony barber; australia; television; suburbia

This item is part of a series of media photographs taken of Tony Barbar, Sale of the Century?tony barber; australia; television; suburbia; game show

This item is part of a series of media photographs taken of Tony Barbar, Sale of the Century?tony barber; australia; suburbia; television; game show

Boyd argues that the Australian cultural split between what he perceives to be cultured tastes and artistic achievements and the tastes of ordinary Australians is wider and more polarised than in other countries. He derides commercial radio, popular women's magazines, public commercial streets etc - elements of the Australian ugliness. He praises the growth of local contemporary art, literary magazines and architecture, whilst calling for the development of community pride amongst leaders of commerce and industry, and government control of the ugliness of popular culture. This may have been published in "Walkabout" magazine.Typewritten (c copy), quarto, 11 pagesart, egalitarianism, sidney nolan, australian painting, pop art, phil may, dyson, low, media, cartoons, australian literature, radio, california cultural heritage board, commercial advertising, robin boyd, manuscript

Darkness and a little light: ?Race? and sport in Australia Colin Tatz (AIATSIS & Australian National University) and Daryl Adair (University of Technology Sydney) Despite ?the wonderful and chaotic universe of clashing colors, temperaments and emotions, of brave deeds against odds seemingly insuperable?, sport is mixed with ?mean and shameful acts of pure skullduggery?, villainy, cowardice, depravity, rapaciousness and malice. Thus wrote celebrated American novelist Paul Gallico on the eve of the Second World War (Gallico 1938 [1988]:9-10). An acute enough observation about society in general, his farewell to sports writing also captures the ?clashing colors? in Australian sport. In this ?land of the fair go?, we look at the malice of racism in the arenas where, as custom might have it, one would least want or expect to find it. The history of the connection between sport, race and society - the long past, the recent past and the social present - is commonly dark and ugly but some light and decency are just becoming visible. Coming to terms: ?Race?, ethnicity, identity and Aboriginality in sport Colin Tatz (AIATSIS & Australian National University) Notions of genetic superiority have led to some of the world?s greatest human calamities. Just as social scientists thought that racial anthropology and biology had ended with the cataclysm of the Second World War, so some influential researchers and sports commentators have rekindled the pre-war debate about the muscular merits of ?races? in a new discipline that Nyborg (1994) calls the ?science of physicology?. The more recent realm of racial ?athletic genes?, especially within socially constructed black athletic communities, may intend no malice but this search for the keys to their success may well revive the old, discredited discourses. This critical commentary shows what can happen when some population geneticists and sports writers ignore history and when medical, biological and sporting doctrines deriving from ?race? are dislocated from any historical, geographic, cultural and social contexts. Understanding discourses about race, racism, ethnicity, otherness, identity and Aboriginality are essential if sense, or nonsense, is to be made of genetic/racial ?explanations? of sporting excellence. Between the two major wars boxing was, disproportionately, a Jewish sport; Kenyans and Ethiopians now ?own? middle- and long-distance running and Jamaicans the shorter events; South Koreans dominate women?s professional golf. This essay explores the various explanations put forward for such ?statistical domination?: genes, biochemistry, biomechanics, history, culture, social dynamics, the search for identity, alienation, need, chance, circumstances, and personal bent or aptitude. Traditional games of a timeless land: Play cultures in Aboriginal and Torres Strait Islander communities Ken Edwards (University of Southern Queensland) Sports history in Australia has focused almost entirely on modern, Eurocentric sports and has therefore largely ignored the multitude of unique pre- European games that are, or once were, played. The area of traditional games, especially those of Aboriginal and Torres Strait Islander peoples, is an important aspect of the cultural, social and historical experiences of Indigenous communities. These activities include customs of play that are normally not associated with European notions of competitive sport. Overall, this paper surveys research undertaken into traditional games among Indigenous Australians, as well as proposals for much needed further study in this area. Culture, ?race? and discrimination in the 1868 Aboriginal cricket tour of England David Sampson As a consequence of John Mulvaney?s important historical research, the Aboriginal cricket and performance tour of Britain in 1868 has in recent decades become established as perhaps the most famous of all public events in contact history involving Aborigines, white settlers and the British metropolis. Although recognition of its importance is welcome and significant, public commemorations of the tour have enveloped the tour in mythologies of cricket and nation. Such mythologies have obscured fundamental aspects of the tour that were inescapable racial and colonial realities of the Victorian era. This reappraisal of the tour explores the centrality of racial ideology, racial science and racial power imbalances that enabled, created and shaped the tour. By exploring beyond cricketing mythology, it restores the central importance of the spectacular performances of Aboriginal skills without which the tour would have been impossible. Such a reappraisal seeks to fully recognise the often trivialised non-cricketing expertise of all of the Aboriginal performers in 1868 for their achievement of pioneering their unique culture, skills and technologies to a mass international audience. Football, ?race? and resistance: The Darwin Football League, 1926?29 Matthew Stephen (Northern Territory Archive Service) Darwin was a diverse but deeply divided society in the early twentieth century. The Commonwealth Government introduced the Aboriginals Ordinance 1911 in the Northern Territory, instituting state surveillance, control and a racially segregated hierarchy of whites foremost, then Asians, ?Coloureds? (Aborigines and others of mixed descent) and, lastly, the so-called ?full-blood? Aborigines. Sport was important in scaffolding this stratification. Whites believed that sport was their private domain and strictly controlled non-white participation. Australian Rules football, established in Darwin from 1916, was the first sport in which ?Coloured? sportsmen challenged this domination. Football became a battleground for recognition, rights and identity for all groups. The ?Coloured? community embraced its team, Vesteys, which dominated the Northern Territory Football League (NTFL) in the 1920s. In 1926, amidst growing racial tension, the white-administered NTFL changed its constitution to exclude non-white players. In reaction, ?Coloured? and Chinese footballers formed their own competition - the Darwin Football League (DFL). The saga of that colour bar is an important chapter in Australia?s football history, yet it has faded from Darwin?s social memory and is almost unknown among historians. That picture - Nicky Winmar and the history of an image Matthew Klugman (Victoria University) and Gary Osmond (The University of Queensland) In April 1993 Australian Rules footballer Nicky Winmar responded to on-field racist abuse by lifting his jersey and pointing to his chest. The photographic image of that event is now famous as a response to racial abuse and has come to be seen as starting a movement against racism in football. The racial connotations in the image might seem a foregone conclusion: the power, appeal and dominant meaning of the photograph might appear to be self-evident. But neither the fame of the image nor its racial connotation was automatic. Through interviews with the photographers and analysis of the use of the image in the media, we explore how that picture came to be of such symbolic importance, and how it has remained something to be re-shown and emulated. Rather than analyse the image as a photograph or work of art, we uncover some of its early history and explore the debates that continue to swirl around its purpose and meaning. We also draw attention to the way the careful study of photographs might enhance the study of sport, race and racism. ?She?s not one of us?: Cathy Freeman and the place of Aboriginal people in Australian national culture Toni Bruce (University of Waikato) and Emma Wensing (Independent scholar) The Sydney 2000 Olympic Games generated a national media celebration of Aboriginal 400 metre runner Cathy Freeman. The construction of Freeman as the symbol of national reconciliation was evident in print and on television, the Internet and radio. In contrast to this celebration of Freeman, the letters to the editor sections of 11 major newspapers became sites for competing claims over what constitutes Australian identity and the place of Aboriginal people in national culture. We analyse this under-explored medium of opinion and discuss how the deep feelings evident in these letters, and the often vitriolic responses to them, illustrate some of the enduring racial tensions in Australian society. Sport, physical activity and urban Indigenous young people Alison Nelson (The University of Queensland) This paper challenges some of the commonly held assumptions and ?knowledges? about Indigenous young people and their engagement in physical activity. These include their ?natural? ability, and the use of sport as a panacea for health, education and behavioural issues. Data is presented from qualitative research undertaken with a group of 14 urban Indigenous young people with a view to ?speaking back? to these commentaries. This research draws on Critical Race Theory in order to make visible the taken-for-granted assumptions about Indigenous Australians made by the dominant white, Western culture. Multiple, shifting and complex identities were expressed in the young people?s articulation of the place and meaning of sport and physical activity in their lives. They both engaged in, and resisted, dominant Western discourses regarding representations of Indigenous people in sport. The paper gives voice to these young people in an attempt to disrupt and subvert hegemonic discourses. An unwanted corroboree: The politics of the New South Wales Aboriginal Rugby League Knockout Heidi Norman (University of Technology Sydney) The annual New South Wales Aboriginal Rugby League Knockout is so much more than a sporting event. Involving a high level of organisation, it is both a social and cultural coming together of diverse communities for a social and cultural experience considered ?bigger than Christmas?. As if the planning and logistics were not difficult enough, the rotating-venue Knockout has been beset, especially since the late 1980s and 1990s, by layers of opposition and open hostility based on ?race?: from country town newspapers, local town and shire councils, local business houses and, inevitably, the local police. A few towns have welcomed the event, seeing economic advantage and community good will for all. Commonly, the Aboriginal ?influx? of visitors and players - people perceived as ?strangers?, ?outsiders?, ?non-taxpayers? - provoked public fear about crime waves, violence and physical safety, requiring heavy policing. Without exception, these racist expectations were shown to be totally unfounded. Research report: Recent advances in digital audio recorder technology provide considerable advantages in terms of cost and portability for language workers.b&w photographs, colour photographs, tablessport and race, racism, cathy freeman, nicky winmar, rugby league, afl, athletics, cricket, digital audio recorders

The Little Red Yellow Black Book is an accessible and highly illustrated pocket-sized guide. It's an invaluable introduction to Australia's rich Aboriginal and Torres Strait Islander histories and culture. It takes a non-chronological approach and is written from an Indigenous viewpoint. The themes that emerge are the importance of identity, and adaptation and continuity. If you want to read stories the media don't tell you, mini-essays on famous as well as everyday individuals and organisations will provide insights into a range of Australian Indigenous experiences.maps, b&w photographs, colour photographsindigenous history, culture, art, sport, health, education, employment, reconciliation, resistance, governance

A series of studies of aspects of language and culture in different parts of Aboriginal Australia. It includes ?language ownership?, historical aspects and how Aboriginal languages are now being used in media and education.Maps, word listssociolinguistics, linguistics, social history

Maps, word listsbunuba, ndjebbana, kugu nganhcara, south kimberley region, western australia, central arnhem land, cape york peninsula, north queensland, language programs, bilingual education, language in media

Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze

The Australian National Tartan was designed by Betty J Johnston and registered with the Tartan Register in 2003 (no.2742). Its colours portray Australia as a nation. It was produced in Scotland from Australian wool. See attached media.W7213 An information card about the Australian National Tartan from The House of Tartans. Online entry for Australian National Tartan registration no.2742. Accessed 11/09/2009.textile, the house of tartans, tartan, samples, canberra, australian capital territory

The first Emerging Writers’ Festival was held at the Victoria Hotel in Little Collins Street in January, 2004. The inaugural festival developed out of Express Media's Make It Up zine fair. It brought together the offerings of 68 writers from across Australia in a two-day series of panels, readings, performances and workshops. Express Media ‘s Artistic Director Richard Watts was the driving force behind the ground breaking initiative that was to become the Emerging Writers’ Festival. It was clear to him through the success and the demand of the Make It Up zine fair, which had its origins in 2000, that writing and writers were in the process of radical change and needed a new environment to grow. In response, Express Media formed a partnership with the Victorian Writers’ Centre and held the first Emerging Writers’ Festival with the tagline, the best Australian writers you haven’t heard of yet. The beginnings were humble but the foundations strong. In those early years the festival found its feet, its independence and a loyal and passionate audience.An eight page, stapled program for the 2004 Emerging Writers' Festival printed in black, white and three shades of orange."Featuring the best Australian writers / you haven't heard of (yet) including new, young and / emerging poets, zinesters, short story / writers, spoken word performers, novelists, / screenplay writers / and playwrights, and a range of panels, / readings, workshops as well as an / independent publishers' trade fair."2004 emerging writers' festival, richard watts, express media, literary programming, the wheeler centre, emerging writers', literary, festival, melbourne

One of a collection of 56 knitting pattern books donated by Mrs Hilma Carruthers. These books had been used by Mrs Carruthers, her mother and her two daughters. This book was produced by Patons and Baldwins and contains patterns for women's garments knitted in Patons 'Fuzzy Wuzzy Angora' knitting wool (a wool-angora mix).No. 426 / Patons / KNITTING / BOOK / No. 426 / PATONS / FUZZY WUZZY / ANGORA / P&B / WOOLS / 1'6handicrafts - history knitting, patons and baldwins (australia) ltd, handicrafts - history, knitting

This quilt was produced by Wooltara (Australia) Pty Ltd for the Sydney Olympic and Paralympic Games in 2000. Over 24,000 similar quilts were distributed throughout the athletes village and given away to athletes, international media and officials.Quilt, wool, single bed size. Quilted cotton cover in various shades of blue, filled with wool. Housed in a white cotton drawstring satchel printed with logos.Wording: SYDNEY 2000 / WOOLMARK; Method: Printed; Location: Frontwoolmark company wooltara (australia) pty ltd, sport, sydney 2000 olympic games, quilt, wooltara, athletes

This cap was part of a media kit produced by Melba Industries, part of the Austrim Textiles Group. The kit was given away at a media launch to publicise the production of an Australian made, nylon wool pack called 'Jumbuck'. The packs will be made at the former Valley Mill in Geelong. This launch occurred on 21 July 2000 and was attended by Andrew Moritz, National Wool Museum Director, who collected this media kit for the museum collection.Part of media kit for launch of 'Jumbuck', Australian made nylon wool packs produced by Melba Industries (part of the Austrim Textiles Group) in Geelong.JUMBUCK / AUSSIE-MADE WOOL PACKS Melba Industries 80% WOOL / 20% VISCOSE / ONE SIZE FITS ALL / HAND WASH ONLY / MADE IN CHINAblack, mr lindsay - melba industries (an austrim nylex ltd company) austrim nylex ltd valley worsted mill, jumbuck wool pack

This bag contained a media kit produced by Melba Industries, part of the Austrim Textiles Group. The kit was given away at a media launch to publicise the production of an Australian made, nylon wool pack called 'Jumbuck'. The packs will be made at the former Valley Mill in Geelong. This launch occurred on 21 July 2000 and was attended by Andrew Moritz, National Wool Museum Director, who collected this media kit for the museum collection.Contained media kit from the launch of 'Jumbuck', an Australian made nylon wool pack produced by Melba Industries (part of the Austrim Textiles Group) in Geelong.JUMBUCK TM / AUSSIE-MADE WOOL PACKS FILDESFAST / LABELS BAGS PRINTING / Tel: 1800 351 185black, mr lindsay - melba industries (an austrim nylex ltd company) austrim nylex ltd valley worsted mill, jumbuck wool pack

This media kit was produced by Melba Industries, part of the Austrim Textiles Group. It contains three photographs, as well as other company information. The photos depict Mr Alan Jackson, the chairman of Austrim, Mr Tom Quick, the general manager of technical textiles at Austrim, and a shot of the new packs being made in the old Valley Mill. The kit was given away at a media launch to publicise the production of an Australian made, nylon wool pack called 'Jumbuck'. The packs will be made at the former Valley Mill in Geelong. This launch occurred on 21 July 2000 and was attended by Andrew Moritz, National Wool Museum Director, who collected this media kit for the museum collection.Media kit from launch of 'Jumbuck', Australian made nylon wool packs made by Melba Industries (part of the Austrim Textiles Group) in Geelong. Contents of media kit produced for the launch of 'Jumbuck', Australian made nylon wool packs made by Melba Industries (part of the Austrim Textiles Group) in Geelong.Media Kit / JUMBUCK TM / AUSSIE-MADE WOOL PACKS / The Aussie-Made Pack / For A Cleaner Clipblack, mr lindsay - melba industries (an austrim nylex ltd company) austrim nylex ltd valley worsted mill, jumbuck wool pack, jackson, mr alan ao - austrim nylex ltd quick, mr tom - austrim nylex ltd

Produced by The Corowa District Historical Society with a Cultural Grant from Royal Australian Historical Society.Beige coloured booklet, with numerous black and white illustrations, featuring the Federation Flag on the front cover.corowa, birthplace of federation, corowa district historical society

Produced by The Corowa District Historical Society with a Cultural Grant from Royal Australian Historical Society.Beige coloured booklet, with numerous black and white illustrations, featuring the Federation Flag on the front cover.corowa, birthplace of federation, corowa district historical society

CD - Interview with Joseph Karlick in October 2006 by Meladie Farr. Joseph came from Hungary because he didn't want to fit in with the Communists after the Second World War. He emigrated to Australia in 1949 on a 10 Pound sterling deal.emigration, karlik, joseph, hungarians in australia, oral history migration program