Metal sheet- black background, painted with white letters giving times of full tram service departing Tramway Centre,(Lydiard & Sturt) on all routes- first and last cars, service frequency- partially repainted to update at times- some graffiti, scratching's. On reverse side has older timetable (bolted to wall at time of cataloguing, in the same style.) ballarat trams, timetable boards, secv, street furniture

Digital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencygeorge coop collection, ararat locomotive shed, r-class steam locomotive, graffiti, r-750

The aqueduct crossing the Plenty River, 2019, overgrown with vegetation. Originally part of the Maroondah Aqueduct pipeline, all that remains is the bridge that once carried the pipe over the Plenty River. This photograph was taken from the Plenty River Trail in Greensborough. 3 colour digital photographsplenty river trail, maroondah pipetrack, maroondah aqueduct, plenty river, graffiti

The hungry battle between meat lovers and vegans has fired up again, with a new slogan appearing on the fence at Andrew Yandell Reserve.News article 1 page, black text, colour image.andrew yandell reserve, greensborough, graffiti, banyule council, yandell reserve

This program was created to accompany the school production of Smithy, held at Altona Civic Theatre, August 14 -16, 2003. The production was directed by Michael Waugh. Assistant director - Lyn Renwood. Stage Manager - Annie Rodoni. "Smithy" logo designed and created by Ben Moore, front cover artwork and design by Ben Moore, Michael Waugh, Lyn Redwood and Andrew Cohn. "Graffiti wall" graphic designed and created by Lyn Redwood.An A4 stapled publication. Front and back covers are colour. 8 p. : ill.williamstown high school, michael waugh, ben moore, lyn renwood, andrew cohn, school production, smithy, program

Shire of Eltham Archives Series 13, Photograph Album, 1985. Originally contained in a 2-ring PVC binder and document sleevesColour photographseries 13, shire of eltham archives, eltham common, graffiti, panther place, shillinglaw cottage

Note the graffiti. Older 20th.c and earlier railway cars were rolling palaces of the cabinet makers art. Full of polished timber, plated & embossed metal fittings, soft upholstery & beveled glass. In their earliest form, the Tait’s and earlier swing door cars for even modest suburban work, reflected some level of this design approach. Plus of course large sepia toned photographs on dividing walls displaying tourist spots trains could take you to.Digital TIFF file Scan of 35mm Kodak Safety 5062 black and white transparencygraffiti, interior, passenger carriage, red rattler, tait train

Black and white photo of No. 31, inward bound from Victoria St. crossing the Buniyong railway overbridge. Meaghers Hotel in background and ad for Eureka Caravan park. No cars on the road. 'Smash Imperialism' graffiti on bridge beam. Tram fitted with lights, small number over headlight, and long Twin Lakes sign under headlight. Image on data base file, made from digital photo of photo 22/6/02.trams, tramways, ballarat, victoria st., tram 31

Magazine, published by the Public Transport Corporation - "Met Lines" (Metlines) - A4, printed on white gloss paper, centre stapled . Continues from Reg Item 1184 "Met Lines" - printed in an A4 version. Notes Editor as Judi Lalor and writer Sandra McLaren. Chris Astridge. Major tram and bus items listed. Tramway names only listed, not railway. .1 - March 1990 - The adventures of Metman cover - 20 pages - Met tickets, agents, Metcard, PTC formed - amalgamation of VLine and the Met, future planning, restructure, organisation chart, ambulance buses - part of state disaster plan, graffiti, Upfield light rail line planning. Had The Met logo on the rear page. .2 - June 1990 - 20 pages - with The Met logo on the rear page and noting it as a PTC publication. Article on wheel chair loading onto bus, disability services, Epping train depot, graffiti, the adventures of Metman (safety for children), PTC Press took over in 1990 see item 3056trams, tramways, the met, mta, tickets, metcard, ptc, v/line, buses, upfield light rail, light rail, disability services, tram 2004

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Painted using acrylics, ink and charcoal on canvas. This abstract image features what looks like two figures merged into one against a red background with sprays of black paint. liza posar, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, graffiti

Community information book issued by City of Maroondah for 2012 covering the facilities and activities of the Ringwood Council and other local organisations and associations. Includes contact details for Council services, community organisations and emergency services. Supplement - Maroondah In Focus newsletter Sept to Nov 2012 includes features on Ringwood Regional Aquatic and Leisure Centre construction, wiping out graffiti, Council's Youth Plan, Costco comes to town, Eastland transformation early works, Library Learning and Cultural Centre funding, Sherbrook Park plans, Pedestrian safety,

Photo taken immediately after the Wiregrass gallery closed at the end of November. The property was purchased in October 2004 for $565,000 by a local investment company, Sentinel Equities run by local residents Jethro and Suzanne Still. Plans to redevelop the property into offices and a gallery designed by Robert Marshall and supported by a number of local artists met with opposition from Eltham Gateway Action Group in 2007 over the proposed new building size and insufficient parking provision given the proposed reliance on the VicRoads reserve on Main Road for parking. The development proposal was finally approved by VCAT in January 2008 subject to VicRoads approving the use of the road reserve for parking. That did not happen and the property remains undeveloped 15 years later (August 2023).fay bridge collection, 559 main road eltham, 2004-12-05, eltham, eltham gallery, graffiti, main road, wiregrass gallery

With a career spanning over 30 years as a painter, Stieg Persson is a well known figure within the Australian and international art world. Persson’s work is celebrated for his distinct (yet eclectic) style, which consists of elements associated with abstraction, figuration and decorative art, as well as the artist’s deeply intellectual interrogation of Australian culture and society. In this work titled, Duck and quail eggs, Italian herbs, Persson reflects on contemporary parallels in changes of taste and the desire for decadence as a political and social drive. Inspired by Brighton’s iconic Church and Bay Streets, the artist addresses the social currency of luxury and high-end cuisine by depicting rococo style blackboards which offer the latest in fine dining, alcohol, exercise classes, skin treatments and lavish linens. Persson is presenting a subtle critique of the contemporary obsession with food; as contemporary society places greater significance on the connoisseurship of eating, it does so in lieu of engagement with culture as it is traditionally conceived (music, theatre, literature and art).oil on linenstieg persson, brighton, signage, graffiti, food, chalkboard, bayside, painting

Set of 7 Agfa Colour slide, cardboard mount, by Keith Caldwell of 7 or 12 March 1960 - .1 - W2 227 outbound in Royal Park with the Zoo walls in the background. Destination West Coburg, Route 55. Tram has two adverts which are hard to read. .2 - W2 470 inbound, Domain Road, Route 56 with the Upfield (Fawkner) railway line in the background. Tram has a Remy Martin Brandy advert. .3 - W5 786, as for .2, with an Exide battery advert. .4 - W2 456 as for .2, with an Coca Cola Advert .5 - SW6 965 in bound, showing St Kilda, route 55 with the railway line in the background. Tram has adverts for Band-Aids, Porsche motor cars in Richmond and Singletons? .6 - L 106 - in bound, showing destination of Carnegie, route 4. This would most likely be a Glen Huntly depot doing a late afternoon trip via William St. Has the zoo wall in the background. .7 - W3 655 in bound, showing destination of Carnegie, route 4. This would most likely be a Glen Huntly depot doing a late afternoon trip via William St. Tram has a Remy Martin Brandy advert. Tram running down to the Flemington Road intersection. .1 and .7 have political graffiti or slogans painted onto the zoo walls. examples are" Vote Bryant Out, ?? and the Labor Party? Welfare not warfare out Menzies and Drop Bob today Vote ? Out".1 to .4 - hand stamped "12 Mar '60" .5 to .7 - ditto "& Mar '60" .2 - "W2 Royal Park" .5 - "SW Car Royal Park" .6 - "L Royal Park" .7 - "W3 Royal Park"trams, tramways, royal park, west coburg, route 55, graffiti, domain rd, railways, route 56, w2 class, w5 class, w3 class, l class, st kilda beach, tram 470, tram 227, tram 456, tram 965, tram 655, tram 106, sw6 class, tram 786

A temporary artwork by Lead On Ballarat was installed in a carpark at the Ballarat Library from 2013-2020. Art Streetz Murals was an initiative of Lead On Ballarat’s, “Take Back the Streets” art program and the City of Ballarat. The project was funded under the Graffiti Prevention and Removal Grants, part of the Victorian Government’s Community Crime Prevention Program. The aim of the project was for the young people involved to develop their skills, ideas and designs with assistance from the ‘Lead Artist’ Pauline O'Shannessy-Dowling. The artwork was created through a number of workshops, planning and design sessions. The final design received approval from the City of Ballarat and was painted by the lead artist and collaborators from April – May 2013.The artwork is of aesthetic and social significance to the people of Ballaratpainted mural lead on ballarat, take back the streets

Set of two presentations or printout of a PowerPoint presentation, 6 slides per sheet and two position descriptions. .1 - Three page report (part of a larger report - page 9 to 11) results of a survey of various routes, KPI's - surveys, customer feedback, and incidents, service delivery. .2 - four page report about the Love Your Trams campaign presented by Flash Group, the objective, concept, the message, graffiti reduction and messages from passengers and staff. .3 - Two page Yarra Tram position description for Customer Relations and Marketing Officer, Camberwell. .4 - ditto for Customer Relations Assistant Camberwell.On top of each document are notes in blue ink.trams, tramways, yarra trams, accidents, melbourne, depots, marketing, staff

Ed Stuyfbergen 1988 Entrant No. 26 Ref: Series 34, Items 13, 14, 66-68 The images in this record were not selected for inclusion. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. shire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 35, ed stuyfbergen, film - ilford fp4, graffiti, montmorency railway station, scan - 35mm negative

Avenue of Honour trees on Main Road below Brougham Street, Eltham A sign on a severely pruned tree reads: "Who raped this virgin tree". The sign is indicative of local anger at the pruning, 1969Photocopy of photographeltham, avenue of honour, 1969, brougham street, main road, protests, roads, streets, vandalism, graffiti

Bridge Street Bridge Lucas McAuliffe 1988 Entrant No. 37 Ref: Series 34, Items 15, 16, 69, 70 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, bridge street bridge, film - kodak ga 100 5095, graffiti, lucas mcauliffe, scan - 35mm negative

Lucas McAuliffe 1988 Entrant No. 37 Ref: Series 34, Items 15, 16, 69, 70 The images in this record were not selected for inclusion. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. shire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 35, alistair knox park, eltham town park, film - kodak ga 100 5095, lucas mcauliffe, scan - 35mm negative, bridge street bridge, graffiti

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.'Looking for God in Abstract Art 2' is a play on the debate over the respective virtues of abstraction and figuration that has preoccupied artists and critics for more than a century. Sanson has always walked a wobbly line between the two, adroitly avoiding falling headlong into either camp. It is also a gentle dig at the pretensions to higher spiritual meaning in abstract art. In the centre are two photographs, one of rubber masks and the other of the artist in a lurid fright wig and mask and using a spray can like a young tagger. These images, where the artist wears a mask and teeters on bright red platforms, are wonderfully ludicrous send-ups of the 'fine art' of painting. (Geoff Wallis from 'Gareth Sansom: Alternative Person", Art Gallery of Ballarat, 2012) This work was exhibited and published in the catalogue of the exhibition 'Gareth Sansom: Alternative Person' at the Art Gallery of Ballarat in 2012 item. art, artwork, gareth sansom, sansom, mixed media, oils, enamel, photo-collage

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. 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.A large abstract painting.art, artwork, garth sansom, sansom, abstract

Two Newspaper clippings from The Age Newspaper Jan. 1990 - featuring public transport. There were two other feature articles written by John Masanauskas - subtitled "Public Transport Going Nowhere" .1 - 16/1/1990 - part 3 - page 11, titled "The rot set in the Fifties" about the problems on Melbourne public transport, staff, graffiti, costs, lack of use, The Met, problems with the private bus operators, Met Plan. .2 - 17/1/1990 - part 4 - page 11 titled "Scratch-it and save $24m a year "considering a report from the Toronto Transit Commission and the introduction of a new three zone ticket system using scratch or honour tickets and the use of off line ticket sellers. Has a map of the zonal system, fares, the phasing out of conductors except on W class trams.trams, tramways, tickets, fares, scratch tickets, public transport, buses, metplan

Yields information about the vicinity of the Victoria St terminus and the bridge over the Buninyong Railway line.Black and White photograph mounted on heavy cardboard backing. Photo of Ballarat No. 31, just after leaving Victoria St. terminus, late 1960's or early 1970s crossing over the Eureka siding railway bridge. Taken by John Phillips. Tram has destination of Gardens via Sturt St. West, Twin Lakes advertisement on the front. In the background is Meagher's Hotel with Abbots Lager and Victoria Bitter sign. On the bridge is graffiti "Smash US Imperialism". On the Ballarat side of the bridge is a sign directing travellers to the "Eureka Caravan Park". Has 6 Velcro dots on rear and marks where mounting devices have been removed on the rear. Note image scanned in two runs through a scanner, resulting in the shading in the image file. .1 - Second copy with 4 black Velcro squares and 4 dots on rear - wider view on the right hand side with an additional pole - not scanned.trams, tramways, victoria st, eureka, twin lakes, tram 31

graffiti, cupboard, ballarat school of mines, old chemistry building, honour roll, e. fidge, j. wesley, c.a. schache, h. smith, j. martin, r. valentine, john dulfer, f. larrey, w. walker, b. shellard, j. elsworth

Street signage: Attention park users these are residential streets please show concern drive slowly 20 m.p.h with graffiti Newsletter No., 234, June 2017 Heritage Excursion - Saturday 1st July - Eltham Lower Park - Walk and Talk Eltham Lower Park has played an important part in the history of our area since the early days of European settlement when it was used by local residents as an informal racecourse. Prior to that its location at the junction of the Diamond Creek and the Yarra River made it an important meeting place for the Wurundjeri people. The park combines formal elements and sporting facilities with remnant bushland that is of environmental significance. It is home to sporting and horse riding clubs, popular play spaces and the Diamond Valley Miniature Railway, which attracts large numbers of visitors. The park will be the venue for our July excursion which will comprise a walk of about 3.5 km around the park and adjacent areas. Along the way we will discuss the history and natural history of the area. The path along the creek and the river provides a pleasant and scenic walk. This walk on Saturday 1st July is about 3.5 km in length and will take 2 to 2.5 hours. It will start at 2pm at the Main Road car park at the front of the park. (Melway ref 21 H 10). Born Digitalheritage excursion, activities, eltham district historical society, eltham lower park, sign, grafitti

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

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