Showing 348 items
matching aboriginal australians -- history.
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Federation University Art Collection
Work on paper - Printmaking - Screenprint, Lin Onus, 'Garkman' by Lin Onus, 1991
... to the recognition of Aboriginal art in the contemporary Australian art... figure in renegotiating the history of colonial and Aboriginal ...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 Collection
Sculpture - Artwork, 'The More Bones the Better' by Yhonnie Scarce, 2016
... the lives and histories of Aboriginal Australians. Hand blown glass... the lives and histories of Aboriginal Australians. Hand blown glass ...Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal -
The Mrs Aeneas Gunn Memorial Library
Book, Oxford University Press, A short history of Australia, 1937
Outline of Australian history to the outbreak of the First World War ; includes refererences to Governor George Arthur's "Black line" and George Robinson's work among Aboriginal Tasmanians.Index, bib, ill, maps, p.374.non-fictionOutline of Australian history to the outbreak of the First World War ; includes refererences to Governor George Arthur's "Black line" and George Robinson's work among Aboriginal Tasmanians. australia - history, australia - social life and customs -
The Mrs Aeneas Gunn Memorial Library
Book, Ernest Scott, Australian discovery by by land, 1929
Reproduces journals and first-hand accounts of explorers & navigators, including, Blaxland, Evans, Oxley, Cunningham, Hume & Hovell, Lockyer, Sturt, Mitchell, Eyre, Burke & Wills, Stuart. Many brief references to meetings with Aboriginal peoples.Ill, maps, p.422.non-fictionReproduces journals and first-hand accounts of explorers & navigators, including, Blaxland, Evans, Oxley, Cunningham, Hume & Hovell, Lockyer, Sturt, Mitchell, Eyre, Burke & Wills, Stuart. Many brief references to meetings with Aboriginal peoples.australia - history, australia - discovery and exploration -
The Mrs Aeneas Gunn Memorial Library
Book, T. Nelson and sons, Australia : a general account - history, resources, production, social conditions, 1929
Outline of geography, European exploration and settlement, economic development, social condition, flora and fauna; includes a brief general account of Aboriginal culture.Index, Ill, maps, p.272.non-fictionOutline of geography, European exploration and settlement, economic development, social condition, flora and fauna; includes a brief general account of Aboriginal culture.australia - social life and customs, australia - history -
Canterbury History Group
Book, Public Record Office of Victoria et al, 'My heart is breaking' : a joint guide to records about Aboriginal people in the Public Record Office of Victoria and the Australian Archives, Victorian Regional Office, 1993
Part 1 is a Guide to relevant holdings about aboriginal people of the PRO and Australian Archives. Part 2 is a compilation of material to illustrate the "richness and variety of the surviving record as well as the complementary nature of the two holdings".191 pages; Includes black and white photographs, indexes and bibliographynon-fictionPart 1 is a Guide to relevant holdings about aboriginal people of the PRO and Australian Archives. Part 2 is a compilation of material to illustrate the "richness and variety of the surviving record as well as the complementary nature of the two holdings".aboriginal peoples, australian archives -
Tarnagulla History Archive
News clipping: Name Is Gaelic - Not Aboriginal, Name Is Gaelic - Not Aboriginal, September 15, 1981
Murray Comrie Collection. A double page from the Castlemaine Mail newspaper of September 15, 1981 with article about the origins of place names in the district. Claims that Tarnagulla, Bealiba, Bet Bet, Waanyarra and Laanecoorie are Aboriginal but Tarrengower is Gaelic. Written by non-Indigenous historian John J. Alderson. Discusses Indigenous history of the region. tarnagulla, waanyarra, laanecoorie, bet bet, central victoria, dja dja wurrung, djadjawurrung, indigenous australians, indigenous history, traditional owners, names, naming -
Tarnagulla History Archive
News clipping: The Local Aborigines, The Local Aborigines, July 21, 1981
Murray Comrie Collection. Two copies of a single page of The Advertiser (Maryborough) newspaper of July 21, 1981 with article titled 'The Local Aborigines' by non-Aboriginal historian John J. Alderson. central victoria, dja dja wurrung, djadja wurrung, djadjawurrung, indigenous history, indigenous australians, traditional owners -
Ringwood RSL Sub-Branch
Document
Poster - history of Australian flags. Covering histories of the following flags. New South Wales, Victoria, Queensland, South Australia, Australian Aboriginal, Australian Red Ensign, Western Australia, Tasmania, Northern Territory, Norfolk Island, Governor General, Royal Australian Navy, Royal Australian Air Force and Her Majesty's the Queen Personal Flag for Australia -
Wodonga & District Historical Society Inc
Book - The Australian Army - A Brief History, Austin, Brigadier M and Lever, Major Geoff, 2001
A revised short history of the Australian Army beginning with Aboriginal resistance to settlement; through an examination of the service of colonial forces in the Sudan and Boer Wars; both World Wars, Korea, Vietnam and Afghanistan. It contains a detailed section explaining the history and traditions of the Australian Army including patches, badges, the slouch hat and the Rising Sun badge.A bound volume of 96 pages featuring an image of an Australian soldier carrying an injured child on the cover. This publication includes 11 maps in colour as well as black and white and colour illustrations.A revised short history of the Australian Army beginning with Aboriginal resistance to settlement; through an examination of the service of colonial forces in the Sudan and Boer Wars; both World Wars, Korea, Vietnam and Afghanistan. It contains a detailed section explaining the history and traditions of the Australian Army including patches, badges, the slouch hat and the Rising Sun badge.australian military, military history -
Wodonga & District Historical Society Inc
Booklet - 100 YEARS AT S.S. 2222 BARANDUDA: a centenary history, Rosemary Boyes, 1980
This booklet tells the story of Baranduda State School 2222 and was produced to celebrate its centenary. It also includes information about the history of the district and some of its pioneer families. Baranduda pastoral run was taken up in 1845 and it is thought that the name was derived from an Aboriginal expression relating to a swamp or a water rat. A few kilometres south-west there is the beginning of the Baranduda Range, of which the summit is Mount Baranduda. Baranduda was a rural hamlet with numerous German farm selectors, who came from South Australia. Beginning with the grazing of cattle and later dairying and sawmilling were added, serving markets in Wodonga and providing timber sleepers for railway construction. The primary school was opened in 1880.non-fictionThis booklet tells the story of Baranduda State School 2222 and was produced to celebrate its centenary. It also includes information about the history of the district and some of its pioneer families. Baranduda pastoral run was taken up in 1845 and it is thought that the name was derived from an Aboriginal expression relating to a swamp or a water rat. A few kilometres south-west there is the beginning of the Baranduda Range, of which the summit is Mount Baranduda. Baranduda was a rural hamlet with numerous German farm selectors, who came from South Australia. Beginning with the grazing of cattle and later dairying and sawmilling were added, serving markets in Wodonga and providing timber sleepers for railway construction. The primary school was opened in 1880.baranduda state school, education victoria, community history baranduda -
Wodonga & District Historical Society Inc
Book - Wodonga Over River and Plain, Alan J. Dunlop, 1976
A great local history of the Wodonga area. Starts with discussion of the Aboriginal inhabitants of the region and early contacts with European explorers and settlers. Explains the establishing of a customs post with its twin city Albury on the other side of the Murray River. The town grew subsequent to the opening of the first bridge across the Murray in 1860. Originally named Wodonga, its name was changed to Belvoir then later back to Wodonga.non-fictionA great local history of the Wodonga area. Starts with discussion of the Aboriginal inhabitants of the region and early contacts with European explorers and settlers. Explains the establishing of a customs post with its twin city Albury on the other side of the Murray River. The town grew subsequent to the opening of the first bridge across the Murray in 1860. Originally named Wodonga, its name was changed to Belvoir then later back to Wodonga.victoria. wodonga, settlers wodonga, indigenous australians wodonga -
Melbourne Legacy
Photograph - Photo, Legacy Week 1988, 1988
A photo of Professor Geoffrey Blainey speaking at a the public launch of Legacy Week at the ANZ Pavilion at the Victorian Arts Centre. The date is 23 August 1988. Also a photo of John Lady and Terry Hawksley. The attached label says: " Melbourne Legacy held its first official public launch - a luncheon for Melbourne's leading business community at the ANZ Pavilion at the Victorian Arts Centre to highlight 'Legacy Week'. Professor Geoffrey Blainey, AO, addressed the guests and was joined by Legacy's 1988 personality, Australia's first under 4 minute miler, John Lady." They were in a folio of photos from 1988. (see also 001042 to 01049) From Wikipedia: "Geoffrey Norman Blainey AC, FAHA, FASSA (born 11 March 1930) is an Australian historian, academic, philanthropist and commentator with a wide international audience. Biographer Geoffrey Bolton argues that he has played multiple roles as an Australian historian: He first came to prominence in the 1950s as a pioneer in the neglected field of Australian business history....He produced during the 1960s and 1970s a number of surveys of Australian history in which explanation was organized around the exploration of the impact of the single factor (distance, mining, pre-settlement Aboriginal society).... Blainey next turned to the rhythms of global history in the industrial period.... Because of his authority as a historian, he was increasingly in demand as a commentator on Australian public affairs." From the name badges the attendees included: 1. Geoffrey Blainey. 2. John Landy and Terry Hawksley. 3. A girl and L/ Geoff Swan. 4. L/ David Millie and Jim Madden. 5. John ? and L/ Colin Bannister. 6. Patsy Adam-Smith (?) and artist Geoffrey Mallett. 7. ? and Jim Dickson. 8. Peter Prior and Abe Birmingham. 9. President Chas Wilks speaking. 10. President Chas Wilks and Rupe Thomas.A record of celebrities being involved in promoting Legacy Week in 1988 and an official launch at Victorian Arts Centre.Colour photo x 10 of public launch of Legacy Week in 1988.Yellow paper label explaining the event in black type.legacy week, legacy promotion, speakers -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Invasion (UFO Possums), 2016
Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Invasion (Giant Birds), 2016
Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi -
Wyndham Art Gallery (Wyndham City Council)
Painting, Tony Albert, Interior Composition (with Appropriated Aboriginal Design Vase) IX, 2022
Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation -
Wyndham Art Gallery (Wyndham City Council)
Painting, Tony Albert, Interior Composition (with Appropriated Aboriginal Design Vase) VII, 2022
Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation -
Wyndham Art Gallery (Wyndham City Council)
Painting, Tony Albert, Interior Composition (with Appropriated Aboriginal Design Vase) X, 2022
Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation