Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, community, radio, youth club

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, hordern vale

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, hospital, nursing

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, farming, killala rd

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, fishing

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, community radio

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, pubs

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, golf course, surf lifesaving club

A chance viewing of a headstone just south of Anzac Cove in a well-kept lawned cemetery of Australian digger's headstones prompted the research into Stephen James Sweetland of Box Hill and other local diggers and resulted in this book.A chance viewing of a headstone just south of Anzac Cove in a well-kept lawned cemetery of Australian digger's headstones prompted the research into Stephen James Sweetland of Box Hill and other local diggers and resulted in this book.Front page: stamped: DONATION FROM/ BLACKBURN RSL SUB BRANCH/ 2 DIGGERS WAY/ BLACKBURN VIC 3130(mr) stephen james sweetland, world war, 1914-1918, gallipoli, anzac cove, military history, army

Dr Unice (Una) Beatrice Porter, OBE, CBE (1900 - 1996) Una Porter was the youngest daughter of Frederick John Cato and his wife Fanny (née Bethune). She had 3 sisters and 4 brothers. Her father was of course the prominent businessman and co-founder of the Moran & Cato grocery company who was known for his generosity and commitment to the Methodist Church. Given this background it is not surprising that Una inherited a deep and lasting Christian faith that would become the driving force behind her own career and philanthropic activities. Una was educated at Methodist Ladies College and the English boarding school "Farringtons" however her formal education ended at the age of 14 due to ill health. By the outbreak of the First World War her sisters were married and her brothers enlisted. Una became very close to her father and assisted him in establishing hospitals and missions in Arnhem Land, Fiji and India. Una returned to formal study and matriculated at the age of 30. A niece with diabetes was the catalyst which led Una to study medicine. She enrolled at the University of Melbourne in 1933 and subsequently specialised in psychiatry with training at Prince Henry's Hospital, the Royal Park Mental Hospital and the Children's Hospital. In 1946 she took a post at the Ballarat Mental Hospital. Here she was the first female member of staff, overseeing 512 female patients. She later worked in private practice and was instrumental in the establishment of a psychiatric clinic at the Queen Victoria Hospital. Throughout her life, Una maintained a strong link with the Young Women's Christian Association (YWCA) and in 1963 was elected as the World President of this organisation and in 1964 she was elected Woman of the Year. Una's philanthropic work was extensive. In addition to administering the F.J. Cato Charitable and Benevolent Trust and later the James and Una Porter Trust Fund, she made substantial personal donations to hospitals, universities and community organisations including the University of Melbourne, Monash University, Epworth Hospital, Methodist Ladies College, Cato College, Queen Victoria Hospital and the YWCA. It is estimated that she gave over $1 million to various hospitals and institutions. Some of her projects included establishing a scholarship for rural female students to attend university, a Chair in Psychiatry, and extensive research into early childhood development. Una B. Porter was appointed O.B.E. (1961) and C.B.E. (1968) in recognition of her services to the community. At the age of 46 Una married James Roland Porter, an ex-RAAF squadron leader and a lifelong friend. Until this time, Dr Porter had lived at the Cato family home, ‘Kawarau’ at 192-198 Tooronga Road, Hawthorn (later Stephanie’s restaurant). In spite of having qualified as a doctor and with all her philanthropic activities, at age 43 the electoral rolls give her status as ‘home duties’! Dr Porter’s connection with Surrey Hills came after her marriage. In 1948 she and her husband bought 8 Kent Road. A black and white photograph of a screened image of a lady sitting in a winged-back chair. She is wearing a knee length dress with three-quarter length sleeves, and beads around her neck and wrist.psychiatrist, philanthropist, queen victoria hospital, mont albert, surrey hills, 8 kent road, dr una porter, mr james porter, dr unice beatrice porter, mr frederick cato, miss unice beatrice cato, mrs fanny cato, miss fanny bethune, young women's christian association, fj cato charitable and benevolent trust, james and una porter trust fund, methodist ladies college

Part of a collection of books, manuals, photographs, letters and clothing relating to the working life of Stuart Ascough. Stuart's career in the wool industry spanned over 43 years from 1960 to 2003 in various roles including Topmaking Plant Manager at Courtaulds Ltd. in Spennymore, U.K., Operations Manager at Port Phillip Mills in Williamstown Victoria, Marketing Executive, Early Stage Wool Processing at the International Wool Secretariat Melbourne, Australia and General Manager of Victoria Wool Processors Pty. Ltd. in Laverton North, Victoria. Throughout his career Stuart travelled extensively, and in the 1990s worked at many topmaking mills in China on quality improvement projects. He also provided technical advice and training at mills in India, Ukraine, Lithuania, Kyrgyzstan, Russia, Latvia, Byelorussia and other parts of Europe and Asia.Folded world map showing statistics, images and graphics relating to wool in the 1990's.front: World Wool Map / Rabobank / International / Rabobank International / Food & Agricultural Research / Croeselaan 18 / 3521 CB Utrecht / The Netherlands / Telephone +31 (0) 30 2161178 / Fax +31 (0) 30 2161920 / E-mail: [email protected] / Web-site:www.rabobank.com/far / Map produced by G-O graphics / Wijk bij Duurstede, The Netherlands / www.g-o-graphics.nlstuart ascough, international wool secretariat, victoria wool processors, port phillip mills pty ltd, topmaking, career, wool industry, training, technical advice, mills, map

Wesley PEMBERTHY (1920- ) Born Broken Hill, New South Wales Wesley Pemberthy spent his childhood in Adelaide, South Australia. As an adult he lived in Bendigo, Ballarat, Clunes, Creswick, Daylesford and Perth. While in Perth he studied at Perth Technical School (1933-1937), followed by studies under the tutorship of Norman Lindsay in New South Wales (1938-1941). After service during World War Two Wes Pemberthy became the first Rehabilitation student at the National Gallery School, Victoria, undertaking research into the techniques of the Old Masters. He was the winner of the Sulman Award in 1955. The Sulman Prize is awarded for the best subject painting, genre painting or mural project by an Australian artist.Framed painting showing a number of brightly dressed people in a treed landscape. artists, artwork, wes pemberthy, wesley pemberthy, aborigines, aboriginal

Deborah KLEIN (1951- ) Born Melbourne, Victorian Deborah Klein grew up in the inner southern suburb of St. Kilda and lived and worked in London from 1973 - 1980. The experience of living in both of these places was to have a significant and enduring influence on her work. She gained degree and post degree qualifications from Chisholm Institute of Technology, Melbourne and Gippsland College of Advanced Education, and a Research MA from Monash University, Gippsland. Since 1988 Deborah Klein has held regular solo exhibitions and participated in group exhibitions in Australia and internationally. Her work is represented in public and university museum collections throughout Australia. This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed, handcoloured linocut depicting a butterly with a female head with braided hair.Edition 2/36artist, artwork, deborah klein, klein, butterfly, insect, animal, printmaking, linocut, parallel prints, alumni

Articles in annual report include: Office bearers of the institute/officers, President's report - 100 years, Residence nursery and school for blind children - in 1866 first nine blind children were accommodated in temporary premises in Commercial Road Prahran, the budget was $822 pounds, now the facility in Burwood can house 70 children and the, budget is $160,000, New found confidence after rehabilitation, Blind welfare work increases, Our factory now serves industry, Employ opportunities are widening, Our loyal auxiliaries and other supporters, What of the future, Income and expenditure, Where there's a will there's a way to help blind people. Events that occurred in 1966 : Millet broom making was discontinued and mat and industrial brush making and packing and assembly began, the Governor of Victoria and Lady Delacombe brought their dog to visit the children at the school, the Institute began two vital new projects - providing a residential geriatric facility and to establish the RVIB foundation for research and education.1 volume of print and illustrationsannual reports, royal victorian institute for the blind

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

(1) Concept and Drawing by Steve Mullany, Lec turer V.C.A.H. Burnley 9 Dec 1988. Handdrawn. 1 coloured, 2 copies and 4 tracing paper sketches. (2) Landscape Plan by Steve Mullany 3 Feb 1989. Handdrawn. Includes Plant Plan. 2 copies on tracing paper. 3 copies original on paper with some additional notation. (30 Project Eden, Swan Street, Richmond - Landscape Plan LA2 Project No 682 by Mark McWha Pty Ltd Nov 1997. Photocopy. Includes Irrigation and Plant Schedule. (4) Swan St Frontage Planting Scheme by P. Tulk for AMRAD. Coloured. 19/2/1998.

Josh MUIR (1991-05 February 2022) Yorta Yorta/Gunditjmara/Barkinjl Born Ballarat, Victoria Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on Aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. He was also a Telstra National Indigenous and Torres Strait Islander Youth Art Award winner. The Koorie Heritage Trust, the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of the Northern Territory and Federation University Australia all own his work. Digital output on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.A computer generated artwork on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.Digital print on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Dr Lisa ANDERSON (1958- ) Dr Anderson’s research questions environmental issues that impact on the social structures of communities and their mapped or metaphysical borders. She develops projects around ways of understanding the effects of climate change. These include work with folklore, legends and religions that tell stories of coping with weather, forced migration of animals and people and coping with difference. She has undertaken international residency programs and exhibitions in the Arctic, Iceland, Paris, Norway, London and China, and she was the first Artist in Residence at the Australian Museum. These unique opportunities continue an extensive art practice of installation work, video, photography and sculpture. Anderson has an extensive record of exhibitions in Australia and overseas with work included in both private and corporate collections. Her exhibitions include Journeys: Due North, a large installation work that includes work created over a 10-year period of engagement in expedition and science work North of the Arctic Circle. Beneath the Beauty of Architecture, an exhibition at her London Gallery, Bicha, used images created in China, Nunuvut Territory in Canada and the Antarctic while working with the migration stories of survival. Dr Anderson has created many large scale artworks that challenge notions of occupation of the City, including Writing the City, a three-year program of installation works to shift the use of Sydney to being a city of public space in its pre-Olympic development. Singing up Stones celebrated the people who created and use the Opera House and the Quay for performance and ideas. This included the first image projection onto the Sydney Opera House, a projection onto the Sydney Harbour Bridge and a ballet of cruise liners with the sound simulcast on the local radio station. Two digital prints with acrylic on metal and bullet holes. This work is the result of research on the hidden voice of landscape undertaken by Dr Lisa Anderson while an Honorary Professor at Federation University Australia. lisa anderson, available