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National Vietnam Veterans Museum (NVVM)
Book, Mount, Frank, Wrestling with Asia: A Memoir, 2012
Follow Frank through the war zones of Vietnam, Laos and Cambodia, guerilla-infested areas of Thailand, Malaysia and the Philippines and the exotic capitals of the region.Follow Frank through the war zones of Vietnam, Laos and Cambodia, guerilla-infested areas of Thailand, Malaysia and the Philippines and the exotic capitals of the region.vietnam, laos, cambodia -
National Vietnam Veterans Museum (NVVM)
Book, Hoang, Van Thai. Gen, How South Vietnam was Liberated: Memoirs of War
The great victory of Spring 1975 brought an end to the long resistance war of the Vietnamese people against US imperialist invasion.The great victory of Spring 1975 brought an end to the long resistance war of the Vietnamese people against US imperialist invasion.vietnam, vietnamese people -
Wangaratta RSL Sub Branch
Memorabilia - Framed newspaper articles photos and flags
The Battle of Sunda Strait was a naval battle which occurred during World War II in the Sunda Strait between the islands of Java, and Sumatra. On the night of 28 February – 1 March 1942, the Australian light cruiser HMAS Perth and the American heavy cruiser USS Houston faced a major Imperial Japanese Navy task force. After a fierce battle of several hours duration, both Allied ships were sunk. The sinking of HMAS Perth at the Battle of Sunda Strait 28 February -1 March 1942 cost 357 Australian lives. A further 324 crewmen fell into enemy hands. Two and a half years of brutal captivity claimed the lives of 106 of these men - 53 on the Thai Burma Railway alone.Framed cuttings of newspaper articles,13 photographs and 7 flags As Portrayed to the Australian Public 1942-1945 BATTLE OF JAVA SEA & SUNDA STRAIT 27 FEB - 1 MAR 1942 The first and only battle fought by a combined American Australian British and Dutch Naval Force against the Japanesesunda strait, hmas perth -
National Vietnam Veterans Museum (NVVM)
Book, Hutchinson, Garrie, Not going to Vietnam: Journeys Through Two Wars
Not Going To Vietnam begins in 1968, telling the story of the boy dho didn't go to war, before taking the road with the Australians who did - both in 1942 in Singapore, Malaya and up the Thailand-Burma Railway, and later Vietnam.Not Going To Vietnam begins in 1968, telling the story of the boy dho didn't go to war, before taking the road with the Australians who did - both in 1942 in Singapore, Malaya and up the Thailand-Burma Railway, and later Vietnam.vietnamese conflict, 1961-1975 - conscientious objector, 1939-1945 - participation. australia -
Merri-bek City Council
Ceramic - Ceramic, acrylic paint, gold lustre and mix media, Bundit Puangthong et al, FLESH, 2018
In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex. -
Merri-bek City Council
Ceramic - Ceramic, acrylic paint, gold lustre and mix media, Bundit Puangthong et al, FOOD, 2018
These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists