Showing 532 items
matching aboriginal peoples
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Truganina Explosives Reserve Preservation Society Inc (TERPS)
Digitised Oral History – Truganina Explosives Reserve - Tape 8 Annette Xibarras and Bill Nicholson Jnr, 2018
The interviews were recorded in 2000 by Bronwen Gray and Alan Young for the production of Unreserved, Stories from Truganina Explosives Reserve, animated stories from past residents, workers and interested people of the Reserve (subject to copyright 2004). Annette Xibarras and Bill Nicholson Jnr discuss the indigenous significance of the Truganina Explosives Reserve. At the time of the interview Annette was the manager of the Kulin Nations Cultural Heritage Organisation. Bill, a Wurundjeri Elder, was a Wurundjeri Cultural Officer. They discussed their childhood, aboriginal customs, connection with the land and the locating of aboriginal remains at the Museum of Victoria and the re-burial at the site where they were found. A primary source of information on memories of the Truganina Explosives Reserve and Altona,VictoriaDigital copy of original cassette recorded in 2000 and digitised in 2018julia jones, princess balam balam, archaeological survey, middens, wurundjeri, kulin nations, coranderrk, braybrook, sacred sites, mt william, bunurong, museum victoria, altona, martha nicholson -
Truganina Explosives Reserve Preservation Society Inc (TERPS)
Digitised Oral History – Truganina Explosives Reserve - Tape 10 Hugh Basset, 2018
The interviews were recorded in 2000 by Bronwen Gray and Alan Young for the production of Unreserved, Stories from Truganina Explosives Reserve, animated stories from past residents, workers and interested people of the Reserve (subject to copyright 2004). As the then President of the Inner West Branch of the National Trust, Hugh was unaware of the Truganina Explosives Reserve until contacted by Nessie Hardy about the proposed sale of the site by the State Government. He was struck by the industrial, environment and indigenous significance of the site A primary source of information on memories of the Truganina Explosives Reserve and Altona,VictoriaDigital copy of original cassette recorded in 2000 and digitised in 2018nessie hardy, cheetham salt works, migratory birds, explosives reserve, explosives, point gellibrand, national trust, tin fence, sand ridges, altona skipper butterfly, middens, aboriginal occupation, judy hindle -
Friends of Ballarat Botanical Gardens History Group
Work on paper - "From little things big things grow", The Planting of Cook Island or Caledonia Pines, 2007
It was reported in the City of Ballarat Community Magazine, September 2007 that the Victorian Governor planted two Caledonia Pines and that banners of aboriginal paintings were hung in the Robert Clark Conservatory.These trees add to the Ballarat Botanical Gardens collection as they are planted near the Robert Clarke Centre where nearly all the trees are deciduous. Also, the Aboriginal banners on display feature the platypus used by Ballarat's Aboriginal community to signify unity.One page of black newsprint on a white sheet.None.john garner, doctor, ballarat botanical gardens, city of ballarat community magazine, friends of ballarat botanical gardens, cook island pines, caledonia pines, araucaria species, victorian governor, professor david de kretser, wathaurong peoples, john garner collection, gardens, ballarat -
City of Whittlesea Art Collection
Mixed media - Woodburning with acrylic pigments on pine, Frances Gallagher, Nature
Aunty Frances Gallager is a respected Elder who was born in Bendigo in 1926 and is proudly from the Gunditjmara people of Western Victoria. Aunty Frances studied at RMIT and received her Diploma at the age of 87. She has her work represented in numerous public collections.aboriginal, gunditjmara -
City of Kingston
Photograph - Colour, Paul Tresize, 1998
The name Mordialloc was derived from the name Moody Yallock, which comes from the Bunurong language. The Bunurong Peoples are the Traditional Owners of this area. The name means “high water” or “high creek”. In 1839, colonial authorities declared the mouth of the creek, and an additional 830 odd acres as an Aboriginal Reserve, although this proclamation was never gazetted. The reserved land included part of the Carrum Carrum Swamp which was abundant with wild life and natural resources. Regular encroachments, including land sales which began in 1863, were made on the land until 1878 when the Reserve was declared closed, and the land was opened up to land sales. Market gardening and suburban house lots quickly began to develop, and Mordialloc became a renowned picnic and holiday site. Mordialloc Creek is a popular bay side destination for local and visitors, and is a site for boating, kayaking, fishing and swimming, along with many other activities.Colour photograph of Mordialloc Creek, looking out to the bay. Many small fishing and leisure craft are moored on either side of the banks of the creek. To the right hand side can be seen parklands, while the left hand side has a small inlet in which more small crafts are moored.mordialloc, bunurong, traditional owners, suburbs, boats, fishing, waterways -
City of Kingston
Photograph - Colour, 1998
The name Mordialloc was derived from the name Moody Yallock, which comes from the Bunurong language. The Bunurong Peoples are the Traditional Owners of this area. The name means “high water” or “high creek”. In 1839, colonial authorities declared the mouth of the creek, and an additional 830 odd acres as an Aboriginal Reserve, although this proclamation was never gazetted. The reserved land included part of the Carrum Carrum Swamp which was abundant with wild life and natural resources. Regular encroachments, including land sales which began in 1863, were made on the land until 1878 when the Reserve was declared closed, and the land was opened up to land sales. Market gardening and suburban house lots quickly began to develop, and Mordialloc became a renowned picnic and holiday site. Mordialloc Creek is a popular bay side destination for local and visitors, and is a site for boating, kayaking, fishing and swimming, along with many other activities.Colour photograph of Mordialloc Creek, looking inland.Small fishing and leisure boats are moored on either side of creek, with a view of the Mordialloc Bridge Hotel in the background.mordialloc, bunurong, traditional owners, suburbs, boats, fishing, waterways, hotel -
City of Kingston
Photograph - Colour, Paul Tresize, 1998
The name Mordialloc was derived from the name Moody Yallock, which comes from the Bunurong language. The Bunurong Peoples are the Traditional Owners of this area. The name means “high water” or “high creek”. In 1839, colonial authorities declared the mouth of the creek, and an additional 830 odd acres as an Aboriginal Reserve, although this proclamation was never gazetted. The reserved land included part of the Carrum Carrum Swamp which was abundant with wild life and natural resources. Regular encroachments, including land sales which began in 1863, were made on the land until 1878 when the Reserve was declared closed, and the land was opened up to land sales. Market gardening and suburban house lots quickly began to develop, and Mordialloc became a renowned picnic and holiday site. Mordialloc Creek is a popular bay side destination for local and visitors, and is a site for boating, kayaking, fishing and swimming, along with many other activities.Colour photograph of Mordialloc Creek, looking inland. Boats are moored on either side of the creek and the Bridge Hotel is visible in the background.mordialloc, bunurong, traditional owners, suburbs, boats, fishing, waterways, hotel -
City of Kingston
Photograph - Colour, Paul Tresize, 1998
The name Mordialloc was derived from the name Moody Yallock, which comes from the Bunurong language. The Bunurong Peoples are the Traditional Owners of this area. The name means “high water” or “high creek”. In 1839, colonial authorities declared the mouth of the creek, and an additional 830 odd acres as an Aboriginal Reserve, although this proclamation was never gazetted. The reserved land included part of the Carrum Carrum Swamp which was abundant with wild life and natural resources. Regular encroachments, including land sales which began in 1863, were made on the land until 1878 when the Reserve was declared closed, and the land was opened up to land sales. Market gardening and suburban house lots quickly began to develop, and Mordialloc became a renowned picnic and holiday site. Mordialloc Creek is a popular bay side destination for local and visitors, and is a site for boating, kayaking, fishing and swimming, along with many other activities.Colour photograph of Mordialloc Creek with boats moored on both sides of the street and Pompei's boat yard visible on the right hand side of the creek., Main Street and St Brigid's Catholic Church are visible in backgroundmordialloc, bunurong, traditional owners, suburbs, boats, fishing, waterways, hotel, church -
City of Kingston
Photograph - Colour, Paul Tresize, 1998
The name Mordialloc was derived from the name Moody Yallock, which comes from the Bunurong language. The Bunurong Peoples are the Traditional Owners of this area. The name means “high water” or “high creek”. In 1839, colonial authorities declared the mouth of the creek, and an additional 830 odd acres as an Aboriginal Reserve, although this proclamation was never gazetted. The reserved land included part of the Carrum Carrum Swamp which was abundant with wild life and natural resources. Regular encroachments, including land sales which began in 1863, were made on the land until 1878 when the Reserve was declared closed, and the land was opened up to land sales. Market gardening and suburban house lots quickly began to develop, and Mordialloc became a renowned picnic and holiday site. Mordialloc Creek is a popular bay side destination for local and visitors, and is a site for boating, kayaking, fishing and swimming, along with many other activities.Colour photograph of Mordialloc Creek with boats moored on both sides of the street and Pompei's boat yard visible on the right hand side of the creek., Main Street and St Brigid's Catholic Church are visible in background.mordialloc, bunurong, traditional owners, boats, fishing -
Canterbury History Group
Book, Don Gibb et al, Canterbury: a history, 2022
Canterbury: A History covers the history of the suburb of Canterbury, Victoria from its Aboriginal history as part of the country of the Wurundjeri people to its completed development as a middle-class suburb by the late 1950s. The book had been a labour of love by esteemed historian, Don Gibb, for many years. Don’s sudden death in late 2017 left the manuscript uncompleted. The Canterbury History Group and the Royal Historical Society of Victoria, together with Don’s family, were determined to see Don’s book completed and published. Jill Barnard contributed the final two chapters dealing with the inter war and post-World War II decades.187 pages : illustrations, maps, portraits, facsimilesnon-fictionCanterbury: A History covers the history of the suburb of Canterbury, Victoria from its Aboriginal history as part of the country of the Wurundjeri people to its completed development as a middle-class suburb by the late 1950s. The book had been a labour of love by esteemed historian, Don Gibb, for many years. Don’s sudden death in late 2017 left the manuscript uncompleted. The Canterbury History Group and the Royal Historical Society of Victoria, together with Don’s family, were determined to see Don’s book completed and published. Jill Barnard contributed the final two chapters dealing with the inter war and post-World War II decades.canterbury, canterbury history, residential development, maling road, gibb> don -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Sunil Gupta, The New Pre-Raphaelites #7, 2008
Sunil Gupta is a British/Canadian citizen, (b. New Delhi 1953) MA (RCA) PhD (Westminster) who lives in London and has been involved with independent photography as a critical practice for many years focusing on race, migration and queer issues. A retrospective was shown at The Photographers’ Gallery, London (2020/21) and The Image Center, Toronto. He is a Professorial Fellow at UCA, Farnham. His latest book is “We Were Here: Sexuality, Photography, and Cultural Difference, Selected Writings by Sunil Gupta”, Aperture New York 2022. His work is in many private and public collections including; the Tokyo Museum of Photography, Philadelphia Museum of Art, Royal Ontario Museum, Tate, Metropolitan Museum of Art and the Museum of Modern Art. His work is represented by Hales Gallery (New York, London), Materià Gallery (Rome), Stephen Bulger Gallery (Toronto) and Vadehra Art Gallery (New Delhi).Part of Queer PHOTO (Midsumm x PHOTO 2024) photography, british photography, queer photography, race, migration, portrait -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Aliment), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Nature Morte (Flora), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Colonisation), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Invasion (UFO Possums), 2016
... the Australian continent when European people appeared on Aboriginal... the Australian continent when European people appeared on Aboriginal ...Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Invasion (Giant Birds), 2016
... the Australian continent when European people appeared on Aboriginal... the Australian continent when European people appeared on Aboriginal ...Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Veiled Bird), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Blackbird), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Merri-bek City Council
Work on paper - Charcoal and pages from Aboriginal Words and Place Names, Jenna Lee, Without us, 2022
... -Indigenous] people pleasant sounding Aboriginal words to name...-Indigenous] people pleasant sounding Aboriginal words to name ...Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork -
Federation University Historical Collection
Photograph - Collection of Slides, Koorie Art and Design, 1994
These are most likely student works from Koorie Art and Design course, 1994. Please note, scanned images are for archive reference only. Images may appear flipped or rotated, and colours may not be accurate.Series of 11 35mm mounted slides, from Koorie Art and Design classes, 1994. university of ballarat, federation university australia, graphic design, art, koorie, aboriginal art, indigenous art, first peoples, bill, rubina, kylie, abraham -
Clunes Museum
Book, WESTON ARTHUR BATE, LUCKY CITY - THE FIRST GENERATION AT BALLARAT: 1851 - 1901
IN 1854, ATTRACTED TO THE AREA BY WORLD FAMOUS GOLD DISCOVERIES, A EUROPEAN ARTIST SKETCHED AND ABORIGINAL AT WORK I THE FOREST AT WARRENHEIP NEAR BALLARAT...GREEN FABRIC COVER WITH GOLD LETTERING ON SPINE, COMPLETE WITH DUST COVER WHICH DISPLAYS A COLOURED ENGRAVING OF NINE PEOPLE IN A LANDSCAPE OF HILLS AND STREETSCAPE IN THE DISTANCE (AN ILLUSTRATION OF BALLARAT FROM BLACK HILL) non-fictionIN 1854, ATTRACTED TO THE AREA BY WORLD FAMOUS GOLD DISCOVERIES, A EUROPEAN ARTIST SKETCHED AND ABORIGINAL AT WORK I THE FOREST AT WARRENHEIP NEAR BALLARAT...the first generation of ballarat 1851-1901, gold fields of central victoria -
Federation University Historical Collection
Photograph - Canoe, Aboriginal Canoe
Scanned from "Australia, her heritage, her future"Three people on a bark canoe.aborigines, aboriginal, canoe, bark canoe