Abdul-Rahman describes his practice as exploring a sense of identity that emerges from cultural heritage that is both Muslim and seventh generation Australian.Bronze sculpture of a young man boxing his own reflection. The sculpture, Big Jihad explores the meaning of "the greater jihad", which in Islam is the internal struggle with one's Nafs (the ego or commanding self). Abdullah describes this concept as the recognition of one's humanity forming the basis of their relationship to Islam. sculpture, bronze, jihad, ego

Carving of a large male head made by a patient of Mayday Hills Asylum. The sculpture has been roughly hewn from a single piece of wood.Mayday Hills Asylum was one of the three largest psychiatric hospitals in Victoria, and played an important role in the treatment of mental health illnesses from its establishment in 1867 to its closure in 1995. As part of prescribed treatment, many patients participated in craft activities were they were able to create an array of objects. A limb of a tree roughly carved into the shape of the man's face featuring heavy eyebrows, moustache and beard.beechworth, burke museum, mayday hills asylum, carving, wooden sculpture

Bronze sculpture of a group depicting Sailor Airman Nurse Soldier whit out streched hands to two childrenIN Safe Hands bu William FEEZ

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. "Three Discs (The Man)" Sculpture, Expo '67, Montreal, Canada. (Architect: Alexander Calder.)Made in Australia / 3 / MAY 67M6expo 67, montreal, robin boyd, slide

Pamphlet, used as mock-up for guide to sculpture exhibition. Refer to paper catalogue. Scanned (1 document of 5)exhibition

Maggie BARNES -OAKE (1942 - ) Born Essex England Arrived Australia 1981 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. Maggie Barnes-Oake is a past student of the University of Ballarat, Arts Academy, who studied under Neville French and Mary Rasmussen. Maggie won the University Acquisitions Prize in 2002 and completed or Diploma of Arts in 2003.'Ishna' fantasy sculpture. Made from Raku slab with oxides and Raku fired. Artist is Maggie Barnes-Oakeart, artwork, barnes-oake, ceramics, maggie barnes-oake, art acquisition award, available, alumni, dvc art acquisition award, raku

Two photographs showing the City of Kew Crest of the exterior of the Kew Civic Hall, as well as a sculpture attached to the wall.city of kew, kew town hall, kew civic centre, crest, cresco

Two photographs showing the City of Kew Crest of the exterior of the Kew Civic Hall, as well as a sculpture attached to the wall.city of kew, kew town hall, kew civic centre, crest, cresco

Two photographs showing the City of Kew Crest of the exterior of the Kew Civic Hall, as well as a sculpture attached to the wall.city of kew, kew town hall, kew civic centre, walking stick

Commissioned by State Bank to produce 5 copper bas-reliefs for 73 Percy Street, Portland. Spoke with Miss Betty Vivian (Member of the Portland Historical Society) re Portland's history. Commonwealth Bank stored objects in Melbourne (c.1991). Negotiations between Portland Historical Society and Commonwealth Bank of Australia led to gift of works to People of Portland. Stored at Council depot c.1998, retrieved for Maritime Discovery Centre display.Copper bas-relief depicting two horses pulling a plow, which a man is walking behind and guiding. Three birds are flying close to the ground in the foreground, and there is a stylized sunburst (a partial circular form with radiating lines) depicted in the background. More abbreviated bird forms are depicted against the sun and sky.sculpture, bas-relief, copper

Chris WHITE Chris White is a sculptor and installation artist 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.Welded metal sculture.art, artwork, sculpture

Made from a large, heavy, irregular shaped piece of stone. One fascia has been cut lengthwise at an oblique angle & polished. On this face are 2 bronze medallions. One shows 2 hands and the other, 'Braille Book of the Year' is written in Braille. This award was presented for the first time at a presentation dinner on the 3rd May 1974 to Mr. Keith Dunstan. Mr. Barrett Reid of State Library, Dr. Stephen Murray - Smith from Melbourne University and Mr. Lloyd O'Neil, publisher formed the literary panel.1 stone block with 2 bronze medallions, one inlaid with hands and the other with BrailleBraille Book of the Year (in Braille)braille and talking book library, awards, sculpture

Something new has happened in Kylie Stillman’s work. It is not a departure. Perhaps a better way of explaining it would be an inward looking, a reflection on process and purpose. In the twelve small book stacks that make up this series, we find not birds or trees – the forms that have become familiar tropes in Kylie’s art – but a stroke, a scribble, a loop, a weave. In Kylie’s words these are: 'the basic structural elements and gestures that make things things - the stroke that makes a painting, the scribble that makes a pen work, the notation that makes writing, the intertwining of wool that makes a garment, the weave of fibres that make furnishings'. - Chloe Watson (2013)Paperback books and timber baseaustralian art, sculpture, female artist

australian art, sculpture, female artist

australian art, sculpture, female artist

“The Cat has been an important and ongoing subject in my work for a number of years. As the Community Centre is surrounded by three schools, my aim was to make a sculpture that would engage and speak to one of the main users of the building, the children. My humorous and oversized interpretation of the cat draws inspiration from ancient Egyptian art as well as childhood and adult memories of many amusing encounters with these thought provoking creatures”. Dean Bowen public art, sculpture, australian sculpture

Covered Person, combines my ambition to create objects possessing an enigmatic and engaging physical presence with an interest in histories of repetitive labour and the compulsive patterning found in various art and design traditions. This work draws from medieval carvings representing chain mail armour but carried references to contemporary preoccupations with personal security, safety and insularity. public art, sculpture, australian art

Two page catalogue and information about the Shona Sculpture made by the Shona people in the heart of Zimbabwe. The auction was held at the Shamrock Hotel on Sunday 28th June, '98 by Curnow Dyett, Auctioneers of Bendigo. A picture of two giraffes is on the front page. The second page has information about the Sculptures and Steve Davies who procured the art directly from the Shona people. There are pictures of the sculptures on this page. Page 3 has the lot numbers and their name. Page 4 is a yellow copy of page 1.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction - rock art international, curnow dyett, ian dyett, shona sculpture, steve davies, rock art international, rockefellers, rothschilds, prince charles, bob hawke, janet jackson

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork

The Ballarat Technical Art School boasted a well-stocked Antique Room replete with plaster copies of classical, Renaissance and Gothic sculptural examples, which were used as drawing props by students. The school inherited some casts from its predecessor institutions, and further consignments were purchased during the 1920s, including full length, bust and relief figures, as well as dozens of ornamental and architectural casts. Unfortunately, much of the collection was lost or destroyed in the late 1950s. This is one of the few surviving pieces. The foot came into the school’s collection prior to 1920 as it appears in a photo in the SMB Annual Report. There are two possibilities where these sculptures may have originated, either Victorian and Albert Museum or the British Museum. There is a reference to the purchase of plaster casts from the Victoria and Albert Museum in the 1918 School of Mines Ballarat Minute Book. This plaster cast of a foot is of local significance as only one of a few remaining teaching pieces from the substantial collection of sculptures used in the art school. The foot also has significance as an interpretive tool complementing the complete art folio of Edith Alice Watson who was a student from 1930-1933.Plaster cast of right foot including ankle. Made from plaster of Paris. Mainly white in colour with grey patches around metatarsels, flecks of blue and green paint and pale brown paint (possibly shellac) and on top of ankle. Measurements suggest a size 11 man's right foot.plaster cast, foot, drawing aid, art school, smb, edith alice watson, 1931, 1931-33, 1918, 1920, plaster of paris, sculpture, ballarat technical art school number 10, drawing from the antique, drawing the human figure from cast

Newspaper clipping from Issue 92 of November 2013, Docklands News, titled "Tribute to a Melbourne icon", on the launch of a public art sculpture on the corner of Flinders and Spencer St, by artist David Bell. features a photo of the work and David. See also the December 2013 issue of Bellcord. Work known as "Raising the Rattler pole", tram 1040, full scale model, about 3/4 of the length. See also Reg Item 5666 for another newspaper cutting.trams, tramways, melbourne, sculpture, art works, flinders st, spencer st, tram 1040

Lusterware is a type of pottery or porcelain with a metallic glaze that gives the effect of iridescence. The technique on pottery was first developed in Mesopotamia (modern Iraq) in the early 9th century. It is produced by metallic oxides in an overglaze finish, which is given a second firing at a lower temperature in a "muffle kiln", or a reduction kiln, excluding oxygen. The Lusterware effect is a final coating applied over the ceramic glaze, and fixed by a light second firing, applying small amounts of metallic compounds (generally of silver or copper) mixed with something to make it paintable (clay or ochre). This is then fired in a reducing atmosphere at a temperature high enough to "soften" the glaze from the first firing, and break down the metallic compounds, leaving a very thin ("perhaps 10 or 20 atoms thick") layer that is fused with the main glaze, but is mainly metal. Lusterware normally only uses one colour per piece, and the range is limited a "gold" derived from silver compounds was historically the most common. The process has always been expensive and rather unpredictable, always requiring two firings, and often the use of expensive materials such as silver and platinum. The very thin layer of luster is often delicate, and many types of Lusterware are easily damaged by scratching removing the metallic layer, or by contact with acids. Lusterware has therefore always been for display and occasional use, although by the 19th century it could be relatively cheap. Many pieces show the luster effect only working correctly on parts of the surface, or not at all. An item probably made in Staffordshire UK where this type of pottery was popular in the late 19th century by unknown pottery as the subject item has no marks. The teapot at this time cannot be associated with a historical event, person, or place, provenance regards manufacture is unknown, item assessed as a collection asset given it was produced before 1950.Teapot ceramic ornate copper lusterware abstract floral design handle has a protruding sculptured bird for thumb grip. Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, teapot, tea set, kitchen ware, ceramic, lusterware, pottery, staffordshire uk, pottery finishes

Glass sculpture with world globe on top. Given in memory of 12 year collaboration between the University of Ballarat and Shenzhen Polytechnic In Memory of 12-year collaboration between the University of Ballarat and Shenzhen Polytechnicresin, trophy, shenzhen polytechnic, university of ballarat, collaboration

Article on the replacement of war memorial chainsaw sculptures in Greensborough War Memorial Park, and ceremonial cremation of old sculptures. The new sculptures will be known as the Homefront Project.1 p. text and col. photographsgreensborough war memorial park, homefront project, homefront sculptures, chainsaw sculptures

Digger Three. This chainsaw sculpture is one of a series of chainsaw sculptures in Greensborough War Memorial Park, sculpted by Leigh Conkie in 2003. The trees surrounding the park were removed when disease made them unsafe, and the sculptures were created from the stumps. These original sculptures were removed in 2017 and replaced with a new series of chainsaw sculptures called Homefront.A tribute to locals who served in the armed forces for Australia.2 Colour digital photographs.greensborough war memorial park, leigh conkie, chainsaw sculptures, war memorials greensborough

The grandfather that never was. This chainsaw sculpture is one of a series of chainsaw sculptures in Greensborough War Memorial Park, sculpted by Leigh Conkie in 2003. The trees surrounding the park were removed when disease made them unsafe, and the sculptures were created from the stumps. These original sculptures were removed in 2017 and replaced with a new series of chainsaw sculptures called Homefront.A tribute to locals who served in the armed forces for Australia.2 Colour digital photographs.greensborough war memorial park, leigh conkie, chainsaw sculptures, war memorials greensborough