BookA collection of essays by art critics, historians and journalists exploring 12 individual and group practices of activist art making. An overview of the dynamic exhibitions, events, happenings and cultural practices engaged in creating social change.public art, collective, interdisciplinary, body, racism, durational art, social practice, museology, feminism, collaboration

Booknon-fiction500 works of art by 500 Australian women from colonial times to 1955 with images and commentaries on each work prepared by by 200 curators, critics, family member or the artists herself. Includes images of many works which may never have been reproduced. A biographical section comprises concise entries on these artists.colonial art, craft, competitions, portraiture, furniture, sculpture, indigenous art, museology

BookStudy commissioned by Arts Queensland and the Australia Council in 1994 to address the lack of published information on women's involvement in the arts.regionalism, cultural industraies, equity, professional recognition, indigenous women, multiculturalism

Booknon-fictionArising from research for an exhibition of the same name, which toured Australia 1981- 1982 the book covers the work of 45 amateur and professional photographers and their lives as innovators and travellers. Many of the works come from private collections and have not been previously published.self portraiture, self-portraiture, pictorialism, home magazine, studio photography, melbourne society of women painters and sculptors, olive cotton, ruth hollick

non-fictionEssays on feminist art, art history, criticism and museum practices in 1990s Australia by writers, academics, artists.indigenous art, political art, gender, represenation, museology, photography, installation, graphic design, collaborative practices

BOOKnon-fictionDocuments every event in the volunteer-run Women's Gallery, which ran June 1988 until December 1995, in bohemian Brunswick Street Melbourne and showed 119 solo and group exhibitions, and hosted book launches, music and theatre performances, seminars and poetry readings.solo and group exhibitions, spiritual art, political art, portraiture, iwd exhibitions, collaborative prectice, collective practice

non-fictionAn illustrated survey of the work of the Guerrilla Girls with interviews, an essay by Whitney Chadwick, and four pull-out postcards by the Guerrilla Girls. feminist art, political art, urban art, street art, activism, posters

A4 typed sheet Memorandum to all female Registry staff. Has a list of what is "Not Suitable" and what is "Suitable" office attire.Signed by K. D. Marshall, Industrial Registrarclothes, women, australian public service

The blouse was made in Greece about 1945. The method used to create this fine embroidery was to copy a design from a cross stitch embroidery book guided by fine white tapestry threads tacked onto the yolk; when the design was finished, the embroiderer would pull out each fine white tapestry thread until only the embroidery remained around the yolk of the blouse.Throughout the centuries and up until the 1970s-80s, the women of Ithaca spun, wove, embroidered and knitted. Mothers prepared their daughters' 'glory boxes' trousseau (prikia), weaving bedspreads, rag mats (koureloudes) for everyday use, finer wool rugs for formal use, as well as linen sheets, pillowcases, blankets, towels and tablecloths. Linen was also woven to make the mattress that the young brides would take to their future homes. Mothers also wove and embroidered the fabric for their daughters' underwear and petticoats, nightgowns, etc. Sewing of the garments was also done by hand. The girls embroidered handicrafts using various stitches, they crocheted lace, netted pillows and even linen carpets. The handicrafts were usually embroidered by hand in cross-stitch using linen and cotton fabric. At the time there were merchants who travelled to the villages to sell machine made goods for the trousseaus, but most of the dowries consisted of the beautifully crafted work of the women. In the 30's the SINGER Company came to Ithaca and taught the girls sewing on the machine. A handwoven silk blouse. Colour - ecru. Hand embroidered, hand sewn, very fine white tapestry was tacked round the yolk; a gusset was sewn under each short puff sleeve at the armpit; two-tone hand made silk thread cords were passed through the hollow border of the sleeves and neckline.

From the outset the Ithacan Philanthropic held at least one family picnic a year. They either took place at a popular seaside locations or at popular picnic sites in the nearby hills around Melbourne. The first annual picnic was held in 1918. The Ithacan Greeks worked long hours in family food and restaurant businesses in Melbourne. On Sundays the shops were closed so it was seen as an opportunity to relax outdoors away from the city. The Ithacan Philanthropic Society continues this tradition holding an annual picnic in late summer.A black and white panoramic photograph of a large picnic group of men, women and children standing in an open area with trees around the perimeter. Eight children are sitting on the ground in front of the adults and a group of ladies are sitting on a bench to the left of the group. Some of the party are holding long walking sticks which must have been used when they went on a hike or walk.families, picnics, leisure time.

From its earliest days, the Ithacan Philanthropic Society has conducted an annual family picnic held at country towns on Melbourne's urban fringe. For many years Bacchus Marsh was a popular venue where this picnic group was photographed. Women would prepare delicious traditional Greek food and families would group together to enjoy a wonderful picnic spread. The annual Ithacan Picnic has been a very important event on the society's social calendar. In the early days, as many of the families ran family businesses such as fruit shops, fish shops and cafes, Sunday was the only break they had away from their work. The picnic gave them a chance to relax and to catch up with extended family and friends. Today the picnic continues to be an extremely popular day for the members where generations of Australian Ithacans get the opportunity to reunite. A black and white photograph of a large group at a picnic standing and sitting around and enjoying a picnic meal which has been spread out on the ground. Three cars are parked in the background under the trees.

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade. This series of photographs show events and people from the Churchill Island precinct and the enormous amount of collaboration and work that went into the development of the heritage area and making it accessible and interactive for visitors of all ages. Black and white photograph of two women standing on the front stairs of Amess House looking at the camera. White border.Catalogue number in pencil on reversechurchill island, photograph, amess house

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph includes Valda Treadwell.Sepia photograph white narrow white border of two women sitting amongst the grass and trees on Churchill Island, one looking at the camera Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, valda treadwell

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in January 1940 and shows the owner of Churchill Island, Harry Jenkins, with two women.Sepia photograph white narrow white border of three people on a two wheel carriage being pulled by a horse with a wooden fence to one side. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, harry jenkins

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in January 1940 and shows Esther Grant and Valda Treadwell.Sepia photograph white narrow white border of two women sitting and lounging on sun chairs in front of Amess House. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, esther grant, valda treadwell

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in January 1940 and shows the son of the owner of Churchill Island, Ted Jenkins.Sepia photograph white narrow white border of a group of four women wearing white dresses standing in a pasture with a horse, a man in a wheelchair in front of a group of trees. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, ted jenkins

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph is of Ginger pulling a cart with Sister Margaret Campbell and Alice Jenkins riding along. Sister Campbell was Ted Jenkins' carer, and managed the daily running of the Island, eventually inheriting it after his death. Alice was the mother of Harry Jenkins - the owner of the Island.Black and white photograph with a white border of a stationary horse hitched to a cart with two women sitting in it. The group are centred in the frame and a dam is visible in the background on the left hand side. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, harry jenkins, alice jenkins, margaret campbell, working horse

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in December 1939 and shows Ted Jenkins - the son of the owner of Churchill Island, Harry Jenkinsblack and white photograph with white border showing a man in a wheelchair beside two seated women. The photographer's shadow is visible in the frame, and appears to be taken on the northern side of Amess house. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, ted jenkins

Churchill Island Heritage Farm has a large photograph collection dating from the nineteenth century to the present.Black and white photograph of two women in a whaleboat with a hessian sack and a man at the stern in the water.Catalogue number written in pencil on the reverse. Handwritten on reverse in pen 'The long boat - on loan Taken over superphosphate Sister Campbell with oar - other two were couple who worked on island for a while. around 1940'churchill island

Index, bibliography, notes, ill, p.349.non-fictionSurprisingly, as we near the 100th anniversary of the legendary Gallipoli campaign, this is the first book solely dedicated to one of its key battles - that at Lone Pine, where Australian and Turkish soldiers fought an ultimately futile battle that claimed thousands of lives in incredibly close quarters. Seven Victoria Crosses were earned by Australia's Anzacs in the intense four days of fighting, in pursuit of a flawed strategy to distract Turkish forces from larger incursions, which themselves failed. David W. Cameron has pulled together first-hand accounts from the men and women involved (including from the Turkish army) to detail what transpired and to follow some of their personal stories throughout the ordeal. By including the stories of non-combatants, such as engineers, nurses, sappers, commanders and more, he not only gives due credit to those who labored in support of the troops, but provides a wider understanding of the mammoth undertaking of such warfare. Many Australians travel to the Lone Pine Memorial and Cemetery each year to commemorate Anzac Day and remember the fallen - this work of popular history highlights the fate of those who fought on the very ground where they gather. Most Australian have heard of Lone Pine. Too few know why. Over four days in August 1915, Australians and Turks were thrown into some of the fiercest fighting of the war, on a small plateau in Gallipoli known as Lone Pine. Thousands of lives were lost. Seven of Australia's nine Gallipoli VCs were earned during brutal hand-to-hand combat in dark tunnels and in trenches just metres apart, bombarded by terrifying volleys of grenades. The Battle for Lone Pine is the first book devoted to this cornerstone of the Anzac legend, drawing on unforgettable first-hand accounts scratched into diaries and letters home. The stories of the diggers, as well as the engineers, nurses, sappers, commanders and more, provide an invaluable record of the battle and serve as moving testimony to their courage in appalling conditions. Today, pine trees are planted in remembrance around Australia. In Gallipoli, the Lone Pine Cemetery and Memorial attracts large crowds to commemorate Anzac Day. David W. Cameron's absorbing history reveals the fate of those who fought on the ground where they gather. 'David Cameron not only leads the way for the battalions of books on Australia in World War I to come in the next six years, he sets a standard for authors to emulate'world war 1914-1918 - campaigns - gallipoli, gallipoli campaign - battles - lone pine

Index, bibliography, ill, maps, p.302.non-fictionWorking as a journalist at the Adelaide Advertiser in 1966, Jean Debelle yearned to be involved in the biggest story of the decade - the Vietnam War. But only male journalists in Australia were being sent to cover the escalating conflict. Instead, she volunteered to work in Vietnam for the Red Cross to tend to the non-medical welfare of the sick and wounded ANZAC forces. Jean had planned to report on the war in spare moments - but there were none. For one year she lived in the spotlight: a young Australian woman among 5,000 men. This intimate personal account is told from the rare and compassionate perspective of a young woman living close to the battlefront. Jean tells of the resilience of the soldiers in the face of daily atrocities and of the international medical personnel fighting to save lives and to rebuild shattered bodies and minds. It is also the story of the Vietnamese, struggling to maintain not just their traditions but their very lives in the face of brutal hardship. With infectious humour, Jean tells of striving to be like a sister to the men when sex was in the very air they breathed. But she experienced stark terror when she faced a crazed gunman, had a close call in a minefield and was caught in the midst of a Vietnamese skirmish. Jean also offers an unvarnished look at the Australians' worst battle in Vietnam, Long Tan, and their worst landmine disaster. With unblinking candour, she writes of the harsh realisation that after nine months in Vietnam she had grown cold to the unrelenting horror of war. From diaries, letters and Red Cross reports, Jean Debelle Lamensdorf has researched and written a story not only of tragedy but also of hope and humour. It is a compelling adventure story - and one of love. vietnam war 1961-1975 – australian involvement, vietnam war 1961-1975 - red cross - women

Everylady's Journal from August 6, 1916. Price 7 pennies, the magazine has 65 pages. On the cover a drawing of a lady in red dress and a child. at the top: a beautiful Fleur-de-Lis doyley given in this issue. These pattern free: no. 1 and 3 enclosed; No. 2 and 4 by coupon, also directions for working this beautiful doyley ( a picture of the doyley is underneath. A the bottom: Playing big sister to the wounded soldiers: by Notable people. Some of the articles are: Brief impressions of men, women and events - The queen breeder - Playing the big sister to the wounded - The song of the skylark - Keeping ourselves young and beautiful - teaching little children to be useful - Pretty work for dainty fingers - Common disorders of infants - The girl of the sunny south - The other woman's problem.books, magazines, women's magazine

As the Yarra became unsuitable as a source of water, several attempts were made to find alternative sources for the growing population of Melbourne. It was not until 1891 that the efforts to sewer Melbourne came to fruition with the setting up of the Melbourne Metropolitan Board of Works (MMBW), now known as Melbourne Water. From 1891 until 1992, it was the responsibility of the MMBW to safeguard public health by providing a sewerage system and a safe water supply system. In 1992, The MMBW merged with a number of smaller urban water authorities to form Melbourne Water. As the MMBW employed men to undertake secretarial work within the first few decades of operation, it wasn't until 1912 when the first female 'typiste' was employed. This photograph, showing a group of typists employed by the Board, is historically significant as it represents the kinds of jobs that women were employed in during the 1970s. Colour Photograph melbourne water, mmbw, melbourne metropolitan board of works, typists, women, administration

As the Yarra became unsuitable as a source of water, several attempts were made to find alternative sources for the growing population of Melbourne. It was not until 1891 that the efforts to sewer Melbourne came to fruition with the setting up of the Melbourne Metropolitan Board of Works (MMBW), now known as Melbourne Water. From 1891 until 1992, it was the responsibility of the MMBW to safeguard public health by providing a sewerage system and a safe water supply system. In 1992, The MMBW merged with a number of smaller urban water authorities to form Melbourne Water. Born on the 5th of August,1926, Margaret Gwen Hardy was the very first Commissioner of the Melbourne Metropolitan Board of Works (MMBW) and was appointed in 1975, a major victory for women at the time. This was the first time in the 84 year history of the organisation. Hardy had also been a Lilydale Councillor and went on to become the first female Shire President. Along with her work commitments as part of the Board, Hardy was the wife of Dr. Bill and had three children, two sons and a daughter. Next door to her home in Mt Evelyn was her husband’s surgery, where Hardy also worked part-time as a Manager. Hardy was also involved with the Lilydale High School Mother’s Club, she was the President of the Mt. Evelyn Environment Protection and Progress Association, on the Advisory Council of Monbulk High School and was the Secretary of the Lilydale Citizens Advisory Service at the time. This staff newsletter highlights the historically significant achievement of Cr. Gwen Hardy becoming the first female commissioner to work at the Board in 84 years. This captured achievement highlights women's career advancement at the MMBW and within the Victorian public service, whilst having historic and social associations with the many women's rights movements in the 1970s.comissioner, melbourne water, mmbw, melbourne metropolitan board of works, woman, staff, newsletter

As the Yarra became unsuitable as a source of water, several attempts were made to find alternative sources for the growing population of Melbourne. It was not until 1891 that the efforts to sewer Melbourne came to fruition with the setting up of the Melbourne Metropolitan Board of Works (MMBW), now known as Melbourne Water. From 1891 until 1992, it was the responsibility of the MMBW to safeguard public health by providing a sewerage system and a safe water supply system. In 1992, The MMBW merged with a number of smaller urban water authorities to form Melbourne Water. Denine Moloney made history at the MMBW as the Board’s first female apprentice gardener, at the young age of 16. Denine was part of a team that cultivated and distributed up to 140,000 plants a year from the nursery complex that was housed on Warrigal Road, in Moorabbin. The large trees, shrubs and various other plants were all used in Board beautification projects. At the time, Denine lived with her parents and rode her bicycle to and from work each day while she attended Oakleigh Technical College one day a week as part of her apprenticeship. Denine’s ambition was to become a professional landscape gardener after her apprenticeship was completed, and four years later was in fact appointed as head gardener at Jells Park in 1983. Denine was not the last woman to work as a gardener at the Board, bringing with her two female assistants at Jells Park in caring, maintaining and distributing the Board’s horticulture. This staff newsletter highlights the significant achievement of Denine Moloney, becoming the first female gardener to work at the Board. This captured achievement highlights women's career advancement at the MMBW and within the Victorian public service, whilst having historic and social associations with the many women's rights movements of the 1970s.gardener, woman, melbourne metropolitan board of works, mmbw, staff, newsletter, 1970s

Book. Harry Biggs Collection. Fourteenth Annual Summary of the National Trust of Australia (Victoria) 1969 - 1970. Paper with a card cover. The cover has a black & white photo of the interior of the 3 tier cell block, Old Melbourne Gaol before it's restoration. The back has a photo of the Grand Staircase of The Mansion, Barwon Park, Winchelsea. This is the Chairman's 14th Annual Report 1969 - 1970. Ruskin Press, 39 Levesun St. North Melbourne. It also contains a report of the Women's Committee.organisation, union, charity, harry biggs collection, the national trust of australia (victoria)

Photograph showing two women, both wearing aprons and a man in a three piece suit and a bowler hat standing at the front gate of a late Victorian home. Bow windows in front are partially obscured by greenery and there is ornate iron lace work on the veranda. A lady with her face deliberately obscured is holding a kitten. The name 'Yareena' is on a plate attached to the lace work on the veranda,buildings, house, yareena, yareena

Photograph of a horse drawn cart with one man and five women seated on the cart, the women are all in costume with large bonnets. There is a large model of a tomato sauce bottle on the back of the cart, the sides and front are decorated with crepe paper flowers, with the letters CB worked in on the right hand side (left in photo). Written on the back in blue pen is ' Swan Hill Show Exhibit 1951'organization, business, show exhibit, cohn brothers, swan hill show