Showing 5032 items
matching 2011/2012
-
Horsham Regional Art Gallery
Photograph, Steven RHALL, Gathering place (Taungurung, Broadford), 2012
Purchased through the Horsham Art Gallery Trust Fund, 2013 -
Horsham Regional Art Gallery
Sculpture, Barbara HEATH, Land race 1: Apple, Land race 2: Briar, Land race 3: Aloe, 2012
Land race 1: Apple purchased through the Horsham Art Gallery Trust Fund with the assistance of the Horsham Gallery Trustees, 2014. Land race 2: Briar and Land race 3: Aloe both donated through the Australian Government's Cultural Gifts Program by Barbara Heath, 2014. -
Horsham Regional Art Gallery
Photograph, Eliza HUTCHISON, Heart of glass, Prince Alfred, 2012
Purchased through the Horsham Art Gallery Trust Fund, 2014 -
Horsham Regional Art Gallery
Photograph, Janina GREEN, Pink vase, 1990 (printed 2012)
Gift of the artist, 2015 -
Horsham Regional Art Gallery
Photograph, Zoë CROGGON, Untitled #6, 2012
Purchased through the Horsham Art Gallery Trust Fund, 2016 -
Horsham Regional Art Gallery
Photograph, Zoë CROGGON, Untitled #3, 2012
Purchased through the Horsham Art Gallery Trust Fund, 2016 -
Stawell Historical Society Inc
Book, R F (Bob) Roberts, Family Papers of the Roberts & Anderson – Ararat Great Western and Stawell, 2012
stawell -
Nillumbik Shire Council
Sculpture, Ghost, 2012
The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize -
The 69 Collective
Photograph, Aneta Bozic, After Life: Mouse, 2012
This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Colour digital print of a dead mouse. Image is a cropped detail of the animal's hind legs and tail.aneta bozic, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, photography, colour photography, animal photography, death in art, www.anetabozic.com -
The 69 Collective
Painting, Liza Posar, Together We Mix, 2012
This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Painted using acrylics, ink and charcoal on canvas. This abstract image features what looks like two figures merged into one against a red background with sprays of black paint. liza posar, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, graffiti -
The 69 Collective
Painting, Amy Mills, Over Mountains Of Mist, 2012
This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Acrylic on canvas. Stylistic depiction of mountains in blue tones, set under a golden sky.amy mills, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, www.amymills.com.au -
Nillumbik Shire Council
Photograph: Jessie IMAM, Jessie Imam, Untitled #3 (fox bones - ordered), 2012
This work forms a pair with Untitled #4 (fox bones – pattern) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series. This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an orderly fashion according to size and shape / Beige/neutral in colour / Blonde timber frame.No signatures / no personal markings / no framers identified. digital print / fox / bones / ordered / photograph / laughing waters / birrarung / imam / death -
Nillumbik Shire Council
Photograph: Jessie IMAM, Jessie Imam, Untitled #4 (fox bones - pattern), 2012
This work forms a pair with Untitled #3 (fox bones – ordered) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series.This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - A digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an outward circular pattern. Beige/neutral in colour / Blonde timber frame. No signatures / no personal markings / no framers identified.digital print / fox / bones / pattern / photograph / laughing waters / birrarung / imam / death -
Nillumbik Shire Council
Drawing: Tim RYAN, Tim Ryan, Queenscliff 1,2 and 3, 2012
“Queenscliff (three black and white boat/ship themed set), is a depiction of a trio of sailing vessels, and a typical example of Tim Ryan’s process and style / It illustrates three images from separate editions of National Geographic – a much-loved and constantly revisited source of inspiration / Tim has reduced his subject matter to minimal line, managing to capture the form and character of the scene and the people within with delicacy and sensitivity / As is also a common trait, Tim has discarded the idea of a using a title describing the actual scenes in favour of one that holds much greater personal significance / Queenscliff is the site of his family holiday home, hence a place evoking decades of memories connected with water, horizon and water-based activity and interaction.Tim Ryan has worked within the Studio Art Program at Araluen for almost a decade / Araluen is based in the north eastern suburbs of Melbourne (Nillumbik region), that provides accommodation and day services for adults with an intellectual disability / Creating and sharing artwork is one way Araluen participants express their thoughts, personalities and abilities. The art program allows them to develop a sense of achievement and access society as equal and valued participants / Tim puts a great deal of effort into selecting his subject and arranging his page / He immerses himself in the image, studying it thoroughly and sometimes tracing over it with his finger before commencing / He focuses on the different elements and relationships that inspire, bringing out the lines, colours and shapes most fitted for translation into the picture / Favourite references are photo-laden books and magazines covering topics as broad as nature, history, archaeology, exotic foreign lands and all forms of transport.Three black and white drawings of boats/ships in Queenscliff made using watercolor, ink, fine liner, pencil and acrylic on paper. All drawings are black and white in colour with one drawing rendering a boat in warm red/orange and yellow colours. None shown, catalogue label on backdrawings / black & white / ink / boats / ships / queenscliff / araluen / ryan / disability -
Nillumbik Shire Council
Sculpture: Pamela IRVING (b.1960), Pamela Irving, Green Wedge Larry, 2012
Pamela Irving (born 1960) is a prominent Australian visual artist specialising in bronze, ceramic and mosaic sculptures as well as printmaking and copper etchings. Irving's early art was influenced by artists including Arthur Boyd, John Brack, Noel Connihan, Mirka Mora, Sidney Nolan and John Perceval. In recent years, Irving has been influenced ″by the honest and direct expressiveness of ‘outsider art’ (the art of self-taught or ‘naive artists’) and the craft of ‘memoryware’″ Significantly, this interest grew following Irving's visit to Nek Chand's Rock Garden in Chandigarh, India.Green Wedge Larry - dog sculpture reminiscent of the iconic Larry LaTrobe located at Melbourne City Square. The dog is constructed from Italian Bisazza glass tiles, using a Mapei adhesive system. The theme for his 'coat' is the flora from the local surrounds of Nillumbik, drawing from the 'Live Local Plant Local' Nillumbik plant directory.green wedge, larry, dog, sculpture, mosaic, indigenous flora, irving -
Nillumbik Shire Council
Print (lino): Kate HUDSON (b.UK - a.1990 AUS), Kate Hudson, Wattle and Circle Vase, 2012
Kate Hudson's highly patterned and decorative prints reflect her love of Australian birds and flowers from her immediate environment, as well as oriental art and her training in textile design. Her work is influenced by the Australian artist (printmaker) Margaret Preston and the vases depicted in her prints are based on the ceramic works of her husband Stephen Hudson. The wattle depicted is the Acacia Terminalis (Sunshine Wattle), a shrub or small tree that grows to six meters in height. It’s an Australian native commonly found in New South Wales, Victoria and Tasmania.A reduction coloured lino print. A ceramic vase with a black and white target print at its' centre holds a bunch of Acacia Terminalis (Sunshine Wattle). The vase rests on an orange table cloth decorated in white stylised flowers. The background is light pink. Hand written in pencil: low left '8/26'; bottom centre ' Wattle and Circle Vase'; low right 'Kate Hudson' hudson, linocut print, sunshine wattle, acacia terminalis, still life, margaret preston, ceramics, textiles, orient -
Nillumbik Shire Council
Public Art: Lasting Memories Mosaic GROUP, Lasting Memories Mosaic Seat (Location: St.Andrews Hall, 1 Proctor Street, St. Andrews), 2012
The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires. For most women being part of the Lasting Memories Mosaic Group was a way of reconnecting to the area, friends and neighbours. As the months went by, the idea of creating a gift to the community together was born. The women wanted to artistically express their memories of what they had experienced. Creating a mosaic seat in the heart of St Andrews allowed the group to be 'in control' of building something from the ground up - a symbol of hope, recovery and renewal. All of their experiences and memories have been included into the seat design, which makes it so special. This mosaic seat is proudly positioned outside the St Andrews Hall, which is also the site for the St Andrews market held every Saturday throughout the year.The Lasting Memories Mosaic group began this piece just after the Black Saturday fires in 2009. After the horrific fires ravaged through St Andrews and the surrounding areas, a group of bushfire affected ladies bravely came back to St Andrews to begin their healing in an artistic way. Each woman created something beautiful and meaningful, using remnants of crockery, glass, tiles and bricks salvaged from their own properties. This artworks identifies who they are and tells their personal 'life journey' and family heritage and memories of what they had experienced before, during and beyond Black Saturday. It is also an expression of their love for the St. Andrews area and the nature and people within it. A large concrete seat in the style of an organic chaise lounge covered in mosaic (broken tiles, glass, crockery and ceramics of all shapes and colour). The pieces have been placed to form pictures, words and patterns that tell and recount stories and memories of reflection, hope and love of a group of people who experienced the Black Saturday bushfires. (Click on links to view details of the seat) black saturday, mosaic, art, lasting memories, st andrews, tiles, glass, fire, concrete, cement, chris reade, ekphrasis2017 -
Nhill & District Historical Society Inc.
Book - Flyers of Time by Kevin O'Reilly, Kevin Michael O'Reilly, Pioneer Aviation in Country Victoria The First Fifty Years A Collection, 01-10-2012
This publication is a collection of aviation reportings and memorabilia of pioneer aviation in country Victoria and the Riverina. It contains records and photographs from 1910 to 1960, covering both World War periods and the efforts of those who struggled and endeavoured to introduce aviation as a viable method of transport and enjoyment for all.Flyers of Time by Kevin O'Reilly; 400 pages with B/W illustrationsnon-fictionThis publication is a collection of aviation reportings and memorabilia of pioneer aviation in country Victoria and the Riverina. It contains records and photographs from 1910 to 1960, covering both World War periods and the efforts of those who struggled and endeavoured to introduce aviation as a viable method of transport and enjoyment for all. wwii, raaf base, nhill - aviation - history, western victoria, aerospace & air transport industries -
Beechworth Honey Archive
Book, Plants and planting plans for a bee garden, 2012
-
Beechworth Honey Archive
Publication, Australian Bee Journal. (Victorian Apiarists' Association). Newstead, VIC, 1982-2014, 1973-2012
australian, bee, journal, victorian apiarists' association, beechworth honey -
Tatura Irrigation & Wartime Camps Museum
Book, Australian War Memorial. Treasures from a Century of Collecting, 2012
Tells the story of one of the most significant military history collections in the world. Covers Gallipoli to the jungles of Vietnam, from two world wars to peacekeeping operations and current conflicts. Written by Nola Anderson.Book: Dark mustard hard cover book with title done in white print on front; side has title, author and Australian War Memorial emblem. Dust cover is white thick card with title and author printed in white on a back drop of the memorial plaque and poppies. Side has same background and same print as on book; back cover has 3 paragraphs of writing in white, Australian War Memorial emblem. 612 pages.australian war memorial, second world war, war in the pacific, korea, vietnam, australia's peacekeeping commitments, conflict in the middle east -
Tatura Irrigation & Wartime Camps Museum
Book, Transit Lounge Publishing et al, Exile. The Lives and Hopes of Werner Pelz, 2012
Story of Werner Pelz and his escape from Nazi Germany for being a Jew.Paperback book, 367 pages.Sketch of back of man in front of the side of a hut. Title and author on front along with paragraph about Werner Pelz. Written by Roger Averill.werner pelz -
University of Melbourne, Burnley Campus Archives
Document, [Safety Bulletins], 2004-2012
Various notices and advice about safety at Burnley Campusburnley campus, safety -
University of Melbourne, Burnley Campus Archives
Document, Edna Walling, 1981-2012
Notes, bibliography, newspaper cuttings, etc. female students, edna walling -
University of Melbourne, Burnley Campus Archives
Document, John Frederick Bailey, 1917-2012
Articles on his appointment as Director of Adelaide Botanic Gardenjohn frederick bailey, adelaide botanic garden -
University of Melbourne, Burnley Campus Archives
Document, The garden at Dalvui, 2012
Written by Anne Vale for the AGHSanne vale, aghs, gardens, dalvui -
Port Fairy Historical Society Museum and Archives
Magazine - Newsletter, Andrea Lowenthal, Port Fairy Post, October 2012
Newsletter of the Port Fairy Historical Society in September -October 2012.Digital non-fictionNewsletter of the Port Fairy Historical Society in September -October 2012. robert mereweather, narapumalap, jackie herrmann, jackie hindle, tower hill -
Victorian Aboriginal Corporation for Languages
Conference proceedings, Gina Cantoni, Stabilizing Indigenous Languages, 2012
Contains the proceedings of two symposia held in November 1994 and May 1995 at Northern Arizona University. These conferences brought together language activists, tribal educators and experts on linguistics, language renewal and language teaching to discuss policy changes, educational reforms and community initiatives to stabilise and revitalise American Indian and Alaska Native Languages.language policy, families and communities, education -
Victorian Aboriginal Corporation for Languages
DVD, David Grubin, Language matters with Bob Holman, 2012
Looks at the Welsh Language.DVDbob holman, linguistics, welsh language, language maintenance -
Victorian Aboriginal Corporation for Languages
Sue Atkinson, Bartja and Mayila, 2012
When Bartja's best friend Mayila plans to leave the forest they live in to visit the ocean, Bartja wants to find her the perfect parting gift. With some advice from Uncle Ambrose and the forest animals, Bartja creates a gift that Mayila will treasure. Bartja and Mayila written by Sue Atkinson (Yorta Yorta) and illustrated by Annette Sax (Taungurung). This is the first book in the YSS series, giving young children insight into Indigenous Victorian culture. The Yarn Strong Sista series is supported by background notes and ideas for related activities.