Loris BUTTON (27/02/1951- ) Born Melbourne Dr Loris Button grew up in Melbourne, completing undergraduate studies in painting and drawing at the Phillip Institute of Technology, followed by a Master of Fine Arts degree at the University of Tasmania. Her PhD thesis employed self portraiture as a means for reflecting on the self, time and ageing in contemporary culture. From 1981 – 1986 Loris lived and studied in Hobart before returning to Melbourne. She lectured at the University of Ballarat Arts Academy from 1987. Since 1990 she has lived and worked in Ballarat and the nearby town of Creswick. Loris retired from an academic career at the Arts Academy, University of Ballarat (now Federation University) at the end of 2010. Loris has continued a post-retirement association with the Arts Academy through her role as an Honorary Research Fellow. Working with prints, paintings and drawings on handmade paper, her work is regularly shown in both solo and group exhibitions throughout Australia and overseas. 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.Self portrait of artist.art, artwork, loris button, self portrait, alumni, available

Lin ONUS (1948-1996) Language: Wiradjuri / Yorta Yorta Lin Onus played a pivotal role in the recognition of Aboriginal art as an expression of a contemporary and dynamic living culture. Prior to his premature death at just 47 years of age he was a prominent, strident, yet non-confrontational agent in renegotiating the history of colonial and Aboriginal Australia. His father, Bill Onus, was the founder of the Aboriginal Advancement League in Victoria and a prominent maker of artefacts in Melbourne. As a young Koori growing up, Lin lived in a cultural environment that included exposure to visiting Aboriginal artists, including Albert Namatjira. He began his artistic life assisting his father in decorating artifacts, went on to develop skills working with metal and painting with air brush as a panel beater; and by 1974 he was painting watercolors and photo-realist landscapes. In the 1970's he completed a set of paintings on the first Aboriginal guerrilla fighter Mosquito, which holds pride of place on the walls of the Advancement League in Melbourne, to this day. Lin Onus was a largely self-taught artist. Particularly important in his development was his visits to Garmedi (Arnhem Land) starting in 1986. Jack Wunuwun, the Yolngu artist, introduced him into the Murrungun-Djinang clan and gave him permission to use some of traditional images in his paintings. His cultural education on the Aboriginal side was also provided by visits to Cummeragunja with his father, and stories told by his uncle Aaron Briggs, known as 'the old man of the forest' who gave him his Koori name - Burrinja, meaning 'star'. They would sit on the banks of the Murray River within view of the Barmah Forest, Lin's spiritual home, the subject of many of his later paintings and his final resting place. Lin's father had been of the Yorta Yorta people from the Barmah Forest country, and Lin also used images from this area in his paintings. The images in his works include haunting photorealist portrayals of the Barmah red gum forests of his father's ancestral country, and the use of rarrk cross-hatching-based based painting style that he learned (and was given permission to use when in Arnhemland). His painting Barmah Forest won Canberra's national Aboriginal Heritage Award in 1994. (http://www.cooeeart.com.au/aboriginal_artist/lin_onus/A, accessed 18 May 2015) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition silkscreen.Signed 'Onus' lower right (posthumously by Tiriki Onus) Edition 68/80art, artwork, lin onus, onus, printmaking, screenprint, aboriginal, dreaming, frogs, available

Marley SMITH A Gundijtmara woman, Marley Smith has lived in Ballarat all of her life and has strong ties with family. Marley Smith completed the Ballarat Schoo of Mines Koori Art Course in 1995. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.This painting depicts the spirit of the Australian INdigenous education Conference held at the university in 2004. The central circle represents a meeting place. "It's all about ... coming together and to understand and educate one another on everyone's culture - if you have no understanding, then there's no way of learning. [Marley Smith]art, artwork, marley smith, smith, indigenous, aboriginal, alumni

Loris BUTTON (27/02/1951- ) Born Melbourne Dr Loris Button grew up in Melbourne, completing undergraduate studies in painting and drawing at the Phillip Institute of Technology, followed by a Master of Fine Arts degree at the University of Tasmania. Her PhD thesis employed self portraiture as a means for reflecting on the self, time and ageing in contemporary culture. From 1981 – 1986 Loris lived and studied in Hobart before returning to Melbourne. She lectured at the University of Ballarat Arts Academy from 1987. Since 1990 she has lived and worked in Ballarat and the nearby town of Creswick. Loris retired from an academic career at the Arts Academy, University of Ballarat (now Federation University) at the end of 2010. Loris has continued a post-retirement association with the Arts Academy through her role as an Honorary Research Fellow. Working with prints, paintings and drawings on handmade paper, her work is regularly shown in both solo and group exhibitions throughout Australia and overseas. 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.Oil painting on paper depicting a hand holding an egg, mounted on wooden panel.art, artwork, loris button, button, hand, egg, available

Carole WILSON (1960- ) Born Canberra, Australia Carole Wilson undertook undergraduate studies at the Canberra School of Arts and Phillip Institute of Technology. She completed a Graduate Diploma in Education at the University of Ballarat in 1987, and a Doctor of Philosophy in 2000. She has chosen central motifs in her work, which she incorporates throughout a series. The urn has been a unifying motif in Wilson's map work and testifies to the way in which function drives form across cultures. Carole's work is held in many public collections including the National Gallery of Australia, the Powerhouse Museum, State Library of Victoria and a number of regional Victorian galleries. Her posters are in museum collections in Finland, Moscow and Poland. In 2001 Dr Wilson was awarded a Doctor of Philosophy (Visual Art) from the University of Ballarat (Now Federation University). She graduated with a Graduate Diploma in Education from University of Ballarat in 1987, and a Diploma of Art from the Phillip Institute of Technology (RMIT) in 1984. Carole Wilson lectures at Federation University Australia: 2010- Senior Lecturer in Visual Arts, Honours and Research Degrees Co-ordinator 2009-2011 Lecturer in Studio Practice and Postgraduate Co-ordinator 1999-2008 Lecturer in Visual Arts (Sessional) 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. Donated through the Australian Government's Cultural Gifts Program by Anne M. Drum, 2011art, artwork, carole wilson, maps, urn, alumni, available, staffmember

Josh MUIR (14 August 1991- 05 February 2022 ) 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 2014 Josh Muir was THE Australian Indigenous Mentoring Experience'S (AIMe) Program Manager Assistant at Federation University Australia in Ballarat.Australian Indigenous Mentoring Experience Z 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.Signed lower right "jmuir"josh muir, artwork, artist, 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.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Carole WILSON (1960- ) Born Canberra, Australia Carole Wilson undertook undergraduate studies at the Canberra School of Arts and Phillip Institute of Technology. She completed a Graduate Diploma in Education at the University of Ballarat in 1987, and a Doctor of Philosophy in 2000. She has chosen central motifs in her work, which she incorporates throughout a series. The urn has been a unifying motif in Wilson's map work and testifies to the way in which function drives form across cultures. Carole's work is held in many public collections including the National Gallery of Australia, the Powerhouse Museum, State Library of Victoria and a number of regional Victorian galleries. Her posters are in museum collections in Finland, Moscow and Poland. In 2001 Dr Wilson was awarded a Doctor of Philosophy (Visual Art) from the University of Ballarat (Now Federation University). She graduated with a Graduate Diploma in Education from University of Ballarat in 1987, and a Diploma of Art from the Phillip Institute of Technology (RMIT) in 1984. Carole Wilson lectures at Federation University Australia: 2010- Senior Lecturer in Visual Arts, Honours and Research Degrees Co-ordinator 2009-2011 Lecturer in Studio Practice and Postgraduate Co-ordinator 1999-2008 Lecturer in Visual Arts (Sessional) 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. Carole Wilson lectures at Federation University Australia: Framed collograph by Carole Wilson. art, artwork, wilson, carole wilson, available

Daniel HENDERSON In 207 Daniel Henderson won a Ballarat Arts Foundation Award. After graduating from University of Ballarat Arts Academy (now Federation University) Daniel Henderson has worked as the City of Ballarat Manager of Arts & Culture. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Large paintingart, artwork, daniel henderson, available, abstract

Loris BUTTON (27/02/1951- ) Born Melbourne Dr Loris Button grew up in Melbourne, completing undergraduate studies in painting and drawing at the Phillip Institute of Technology, followed by a Master of Fine Arts degree at the University of Tasmania. Her PhD thesis employed self portraiture as a means for reflecting on the self, time and ageing in contemporary culture. From 1981 – 1986 Loris lived and studied in Hobart before returning to Melbourne. She lectured at the University of Ballarat Arts Academy from 1987. Since 1990 she has lived and worked in Ballarat and the nearby town of Creswick. Loris retired from an academic career at the Arts Academy, University of Ballarat (now Federation University) at the end of 2010. Loris has continued a post-retirement association with the Arts Academy through her role as an Honorary Research Fellow. Working with prints, paintings and drawings on handmade paper, her work is regularly shown in both solo and group exhibitions throughout Australia and overseas. 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.Twenty Five unique state linoprints on handmade abaca and cotton rag papers mounted together with insect pins. This work formed part of the Artist's PhD research.art, artwork, loris button, printmaking, linoprint, doctorate, alumni, handmade paper, linocut

Paddy Fordham Wainburranga (1932-2006) Area: Arnhem Land Country: Bamdibu (Bumdubu) near Bulman Station As a child, Paddy grew up in Maningrida an Aboriginal community on the top end of the Northern Territory. He started working as a boy around cattle yards, which finally led him to working as a stockman for 20 years. Before this, he spent much of his time hunting and learning culture and customs from his father and uncles. He could remember being taken to a sacred location where he was told many Dreamtime stories of how customs came to be and why Aboriginal people practice them. Paddy was part of the movement for equal rights for all Aborigines, actively involved in claiming Bumdibu as his traditional land for his clan. He resided over this land as Jungai (caretaker, policeman). Paddy was taught to paint by his father but did not begin to paint seriously until the early 1970s. He was also recognized as a story teller, bark painter, sculpture, dancer, singer and musician. He was familiar with Central Arnhem Land rock and bark painting traditions; however he developed an idiosyncratic style which fused the figurative schema of western Arnhem Land with the narrative capacities of the north-east producing dense pictorial paintings divided into sequential segments. A suite of seven limited edition prints using the sugar lift aquatint technique. .1) Yalk Yalk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .2) Walga Walga Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .4) Mun Gruk Gruk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .5 Mun Gruk Gruk Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .6) Mun Gruk Gruk Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .7) Lightning Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, paddy fordham wainburranga, paddy fordham, wainburranga, printmaking, aboriginal, indigenous, churchill, dreaming

23.0 x 14.0cms, 938 pp. b/w illust dust jacketnon-fictionArgues that Australia's Indigenous people discovered the land, adapted it and mastered its climates, seasons & reserves.habitation - nomadism., demography - palaeodemography - aboriginal settlement of australia., reproduction - infanticide., feuds and warfare., hunting, gathering and fishing., food - plants., trade and exchange - trade routes., australiens (aborign̈es), aborigines, australian -- social life and customs., aboriginal australians -- social life and customs -- northern territory., aboriginal australians -- history., aboriginal australians -- culture -- history., aboriginal australians -- civilization -- history., aboriginal australians -- economic conditions -- history., aboriginal australians -- social life and customs., human ecology -- australia., aboriginal australians., aborigines., australiens (aborigènes), australien., australia -- history., lake mungo /​ walls of china (willandra sw nsw si54-08), tasmania (tas), australia - aborigines, book

xxi, 283 p. : ill., facsims., map, ports. ; 23 cm. Includes index and bibliographical references: p. 264-273.non-fiction'I'm your half-brother and I'm here to stay. This is my home.' With these words Wilmot Abraham sought refuge with his white relations. 'Did you ever read your history?': Mrs. Mary Clarke remembers p. 1 'An old hand': Jim Cain p. 12 'I'm your half-brother, and I'm here to stay': Wilmot Abraham p. 36 The Three Pompeys The Written Record p. 48 Banjo Clarke's Stories p. 62 'Why did they take them away?': Lizzie and Henry McCrae p. 74 In Defence of Framlingham: Collin Hood p. 79 Double Dispossession: King David p. 107 James Dawson's Informants p. 137 'Why are we kept prisoners here?': Ernest and Maggie Mobourne p. 148 'The old ones, they wouldn't tell us nothing': Mrs. Connie Hart's memories p. 181 'Breaking the cycle is the hard thing to do': Geoff Rose, a stolen child p. 200 Epilogue: James Dawson, Camperdown George and the Obelisk p. 220 The Hood Family p. 238 The Mobourne Letters p. 241 Abbreviations p. 252 Notes p. 252 Bibliography p. 264 Index p. 274 western district (vic.) -- colonization., aboriginal australians -- victoria -- western district -- history., aboriginal australians -- victoria -- western district -- interviews, race relations - racial discrimination., child welfare - child / parent separation - stolen generations., history - biographies - indigenous., book

The duplication of services between state based blindness and low vision agencies was not viable in the long term, with telecommunications and technology improving rapidly in the late 20th century. In 1999, a decision was made to merge the library and alternative production services of the RVIB and RBS, as a precursor to a possible larger merger in the future. Thus the National Information Library Service (NILS) was created. As part of establishing a new culture between staff who had retained their positions, a vision, mission and values statement was created under the new service name.1 digital imageNational Information Library Service Mission statement: NILS provides a recognised and specialised gateway through which people who are blind, vision impaired or who have a print disability access dynamic information and recreational reading. Vision: to enable unhindered access to knowledge, information and recreational reading for people who are blind, vision impaired or who have a print disability. Key strategic themes: Know our clients current and future needs and expectations. Explore opportunities for collaboration with other agencies, government and enterprises to source, organise and make available materials and resources of an acceptable quality. Optimise digital technology for the production and delivery of materials in an equitable, cost effective and timely way, identify opportunities for innovation by anticipating social and technological trends in the wider community. Enhance our internal capability. Establish and develop a positive and healthy NILS culture. Values: our values inform our policy, work practices, recruitment and service delivery ethic. Integrity - we are open and honest with all our stakeholders. Excellence - we strive to be superior in all we do. Innovation - we learn continuously in order to lead the way. Responsiveness - we actively listen to all our stakeholders. Equity - we focus on inclusiveness and participation for all our clients and staff. A joint venture between the Royal Victorian Institute for the Blind and the Royal Blind Society of New South Wales. royal blind society of new south wales, royal victorian institute for the blind, national information library service

Rodney FORBES (1951- ) Born Melbourne Rodney Forbes' work is figurative narrative painting and uses autobiographical and incident-as-metaphor methods to explore wider issues of knowing and belonging in oral traditions such as working class, children’s and artisan subcultures. His practice draws on pop, cartooning and joke narrative structures within contemporary culture. (http://www.australiangalleries.com.au/artists/rodney-forbes/, accessed 07 April 2017)A large painting showing aspects of a printery. Rodney Forbes and fellow student Linda Karklins worked on this painting as an undergraduate student at the Gippsland School of Art (Gippsland Institute of Advanced Education, now the Gippsland Centre for Art and Design, Federation University Gippsland Campus). The painting hung for many years in the campus printery. The Gippsland Gippsland Centre for Art and Design is now part of Federation University Gippsland Campus.rodney forbes, printery, gippsland campus, churchill, linda karklins, gippsland school of art, gippsland institute of advanced education, printing

Lin ONUS (1948-1996) Lin Onus was integral to the recognition of Aboriginal art in the contemporary Australian art landscape. His work expresses the dynamism of living culture; Onus was a prominent figure in renegotiating the history of colonial and Aboriginal Australian. An early influence of this dedication was his father, who was the founder of the Aboriginal Advancement League in Victoria and a maker of artefacts. As a young boy Onus was subsequently exposed to visiting Aboriginal artists and assisted his father in decorating artefacts. His painting Barmah Forest won the Aboriginal Heritage Award in 1994; Onus also received a Member of the Order of Australia “for service to the arts as a painter and sculptor and the other promotion of Aboriginal artists and their work.” (https://www.portjacksonpress.com.au/artists/lin-onus)Unframed colour screenprint with a limited edition of 60.lin onus, frogs, aboriginal, screenprint, printmaking, gippsland campus, print council australia

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

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

This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan

The 1888 Centennial International Exhibition, celebrating a century of Australian settlement, surpassed even the grand scale of the1880 Melbourne International Exhibition. It attracted over two million people, but the Victorian government had to spend £250 000 on it, ten times the amount estimated. The exhibition had a distinctively imperial focus, and a greater emphasis on culture than in 1880, particularly on music and painting (1). (1. https://collections.museumsvictoria.com.au/items/273830) S.D. Gadd was appointed Curator of Parks and Gardens in 1874 an lived in residence in Rosalind Park. He resigned in 1905 and moved to Melbourne where he died in 1917. Mr Gadd was a prominent member of the Masonic Lodge. It is not clear why he was awarded this medal.The bronze medal of the Centennial International Exhibition awarded to S.G. Gadd. Obverse - Portrait: bust of Queen Victoria in left profile wearing a crown, veil and 3 medals. Reverse - Field: Victor's wreath consisting of leaves and acorns of British oak and the leaves and acorns of the wattle. The oak and wattle were tied together 'by a true-lover's knot, 'symbolizing the unity and affection between the mother country and the colony'. Southern Cross inside surrounded by a legend. (https://collections.museumsvictoria.com.au/items/273822) Obverse - Motto: Centennial International Exhibition Melbourne Reverse - Legend: (Latin) Artibus Dignis Honor Insignis (To the deserving arts, distinguished honor) (Mint) left: Melbourne Mint. (Date) Lower Centre: MDCCCLXXXVIII. (Engraver) Right: Stokes & Martin S.C. Edge - Plain, impressed with S.G. Gadd ESQ.centennial international exhibition melbourne 1888, s.g. gadd, rosalind park, city of greater bendigo medals

Index, Ill, maps, p.272.non-fictionOutline of geography, European exploration and settlement, economic development, social condition, flora and fauna; includes a brief general account of Aboriginal culture.australia - social life and customs, australia - history

Ceremonial collar from Derry (Londonderry) Ireland in Northern Ireland for the Ancient Order of Hibernians and belonging to John Duddy donated in 2013 by the Macalinden family Port Fairy.A rare example of Irish Hibernian regalia in an Australian collection brought to Australia by the immigrant owner and later donated to the Diocesan Archive by his family. The object is significant in its embroidery and applique work and as an example of the importation of an Irish form contrasting to Australian variants of such collars. Significant in its representation of the contribution of migrants and the Irish to Australian culture.applique red hand of Ulster, Shamrock, Harp, Celtic cross with stars on each shoulder. Fringed in gold metal braid.port fairy, hibernian, derry, londonderry, northern ireland.

Ice skates used to skate on Lake Catani. Ice skating was a popular activity for guest and visitors to Mt Buffalo. Ice skates were provided for hire by the the first Lessee of the Chalet, John Newton and also Norwegian born Hilda Samsing, who took over from him in 1919 and did much to pioneer and promote winter sports in the Victorian Alpine region . Ice cover on the Lake has not been sufficient for safe skating for many decades. 'After its initial popularity, skating at Mount Buffalo dwindled in the post-war years. According to Museum Victoria curator, Michelle Stevenson, few collections hold historic ice-skates, so any early examples identified in the Chalet collection will be important for their rarity." (Pg 94. Historica) 'Ice-skating was a popular recreational activity in the later nineteenth and early twentieth centuries...According to Michelle Stevenson, Australian Collections hold little material culture relating to its practice other than images and film. The few pairs of ice skates in the Chalet collection, which are in good condition, are important for their rarity as well as for illustrating the popularity of skating on Lake Catani prior to WW2.' Pair of black leather ice scates, mounted on wall. Skates feature white laces, metal blades and brown leather reinforcing area around laces and ankles.Boots are stffed with 1993 newsprint.On skate blade, "Made in Canada 11 1/3 CCM / Senior A" On boot sole , "Made by J Molony " plus worn name label.

This is the earliest known photo of an Australian Rules football team in the Bacchus Marsh area. The photo is of 27 men and two boys standing in front of the Evans Pavilion at Maddingley Park Bacchus Marsh. The image shows players, officials and trainers, the players wearing early twentieth century playing guernseys featuring front fastenings. Some are wearing knickerbockers, some long trousers. Trainers have their towels slung over their shoulders. Men in civilian clothes, possibly club officials, are wearing suits and hats. The boys and two of the players are wearing caps, one player wearing a hat. The central figure, possibly the captain, is holding a football which has the initials B M I F C. These initials stand for "Bacchus Marsh Imperial Football Club". At this time, many football clubs used the word "imperial" in their title. This team may possibly have had the nick-name of "Imperials".This item has historic and social significance as the earliest image of one of the early sporting teams of Bacchus Marsh and district. It is evidence of the growth of importance of sport, in this case Australian Rules football, as a cultural and social activity central to the Australian ethos. It is also evidence of the dominance of the masculine ethos in the Australian culture of this time. The image has strong research value for the information it conveys about this particular club and its early participants.Photographic reproduction of earlier photographHand written below photograph "Bacchus Marsh Football Club 1901." The names Fred Pearce and Jack Bence with arrows indicating the players identified.bacchus marsh imperial football club, australian rules football