Yields information about the time when BTM tram 671 operated on the Melbourne City Circle and has a strong association with the artist Peter GerasimonPrinted art sheet / card featuring BTM tram 671 in Latrobe St Melbourne, 1996 while running on the City Circle at the Swanston St stop. Features the driver talking to a young man through the door. Artist - Peter Gerasimon and published by Helga Gerasimon, Gisborne. From the Melbourne Tram Series in 1997. Numbered 100/980. Work has artists details along the bottom edge under the illustration. Acquired with Reg Item 4455.trams, tramways, melbourne, btm, city circle, illustrations

Has a strong association with the artist and demonstrates activities the Ballarat Tramway MuseumFramed painting - decorative frame made from wood with card cut outs, glass sheet, oil on Masonite of tram 26 in Wendouree Parade. Painted by Alan Dixon, husband of donor, approx. 2000 to 2003. White card and brown tape on rear with label "219", with wire hanging cable with screwed ends.trams, tramways, wendouree parade, painting, art work

.1 - Folded A2 (into A4 sheets) printed on gloss paper, featuring headlights from some of the Transporting Art program. Document acts as a catalogue for a 1983 Arts Exhibition. Gives a background to the project, lists the trams, notes on the artists, notes from the artists on their work, black and white images of the tram parts. Printed for the Victorian Ministry for the Arts Gallery, exhibition 12/9 to 14/10 1983 .2 - three page A4 document - stapled in the top left hand side "Transporting Art - Impressions of the Painted Trams Project" - listing photographs and photographers. See pdf file. trams, tramways, transporting art, decorated trams, exhibitions

Strong association with the artist Gordon Thurling and demonstrates in a pen and ink drawing the last tram in Sturt St at the time of the closure of the SEC system.Black and white drawing of tram 39, with destination "Sebastopol" with Ballarat Town Hall in background, which has been coloured with green, grey and yellow watercolours. Has words "The last tram Sturt St. Ballarat - 19th September 1971" with a thick brown border. Printed onto off white paper and mounted onto heavy cardboard. Artist - Gordon Thurling, BTV6 graphic artist at the time. Second copy from donation of ?? added 20-6-2017 - see image i2.and 8546 for a photocopy of a coloured version.trams, tramways, town hall, drawings, last day, closure

Artist - Gordon Thurling, BTV6 graphic artist at the time. Understood that he also worked for Myer in Ballarat, has since passed away. See item 6422 for another example.Strong association with the artist Gordon Thurling and demonstrates in a pen and ink drawing the last tram in Sturt St at the time of the closure of the SEC system.Coloured photocopy of a drawing by Gordon Thurling titled "The last tram Sturt Street Ballarat 19 September 1971". Originally a Black and white drawing of tram 39, with destination "Sebastopol" with Ballarat Town Hall in background, which has been coloured with green, grey and yellow watercolours.ballarat, trams, tramways, closure, drawings, last day, town hall, tram 39, gordon thurling

Local artistPastel coloured abstract work

War, famine and oppression were the themes behind this work. This work was the winning submission for the 2007 Lucato Peace Prize, an award that focuses students’ attention on world peace. When this work was produced Robert Kelty was a first year Bachelor of Visual Arts student at the University of Ballarat.artist, artwork, ceramics, lucato peace prize

These works are a display of my frustration of hour our family were lucky we were not beheaded, scalped, taken away and impaled as a warning to others not to enter farming lands, which had been traditional lands of the Nganyaywana country. The word 'Policy' represents the White Australia Policy, the word "Lost' stands for those lost including hundreds of family members, 'Jobs' asks why Aboriginal people can only find employment if through Aboriginal positions and policies. The number 3 symbolises myself and my siblings, red is for bloodshed, blue is for secrets and black the family history. Patrice MUTHAYMILES MAHONEY OAM Anewan/Nganyaywan/Dunghutti country. Patrice Mahoney is a printmaker, sculptor, weaver, drawer and painter. Her work challenges mainstream and Aboriginal Australians and is profoundly influenced by space, place and country, taking inspiration from nature, environment and looking forward to a time when she can return to her family's traditional country to make work. In 2012 the artist completed a Bachelor of Visual and Media Arts at Monash University’s Churchill campus (from 2014 Federation University's Churchill Campus). The Victorian Indigenous Art Awards 2014 were exhibited and judged at the Art Gallery of Ballarat.This unique edition triptych involves the techniques of intaglio copper plate, pigment, soft ground, open bite, aquatint, spit-bite, stamping, relief, drawing and burnishing on paper. It was awarded the 2014 Victorian Indigenous Art Awards Federation University Acquisitive Award for for work by a Victorian regional artist. Text, colour, metaphor and Aboriginal symbolism are important components of her work. This work expresses the artist's frustration with unjust situations experienced by traditional owners of Nganyaywana country. The word 'Policy' refers to White Australia Policy, 'Lost' the hundreds of lost family members, and 'Jobs' highlights the difficulty of Aboriginal peple obtaining work, especially outside Aboriginal positions and policy. The number 3 symbolises Patrice Mahoney's siblings, with black used to denote family history. The violently splattered red represents bloodshed, with the blue washing across the work obscuring details and representing secrets. The Selection Panel of the 2014 Victorian Indigenous Art Awards made the following comments on the work: 'The selection panel for the Federation University Acquisitive Award for 2014 were highly impressed by this work and applauded the vigorous use of symbolism and metaphor in a well scripted visual composition. The poignancy of connectedness to the past, memory, place and country is palpable and enhanced by the suggestive employment of text and minimal colour. A provocative and evocative work of art!artist, artwork, patrice mahoney, aboriginal, victorian indigenous awards, jobs, culture, printmaking, drawing, policies, lost, victorian indigenous art awards, available, alumni

The 'Collaboration of Commonality and Difference' has its conceptual roots in teh notion that only when we accept and nurture both commonality and difference, can we, humankind, foster unity. With the acceptance and nurturing of commanality and difference, peoples of the world are afforded equal validity for a collaborative approach towards peaceful resolution and possible unity. Integral to the conceptual foundation of the work is the use of papers sourced from around the world. Paper is at once universal and individual, and in this instance is representative of humanking. The jigsaw design draws on the understanding that each piece is integral to the creation and resolution of the whole. Commanality is suggested through repetition, however, no two pieces are the samem emphasizinf the beautym strength and validity of difference. Established in 2004, generously supported by George Lucato, the Lucato Peace Prize was an annual acquisitive art award open to all enrolled Federation University Australia tertiary students and all senior secondary students enrolled at any City of Ballarat secondary school or college. Prizes were awarded to the applicants whose work best illustrates or expresses the idea that 'peaceful alternatives are always preferable to armed confrontations'. First prize of $2250.00 was awarded to Cassandra McArthur for her work, Commonality and Difference, 2014, and it was the last Lucato Peace Prize Awarded after the death of George Lucato in 2014. Cassandra McArthur was undertaking a Bachelor of Visual Arts (Fine Arts) at the Federation University Arts Academy when this artwork was produced. Winner of the Lucato Peace Prize 2014 artists, artworks, sculpture, mcarthur, cassy mcarthur, lucato peace prize, alumni

Laurence SCOTT PENDLEBURY (1914 - 1986) Born Melbourne Laurence Scott Pendlebury studied at the National Gallery of Victoria School between 1932 and 1938 and then at Swinburne Technical College. He served during World War Two with the AIF between 1941 and 1945. Teaching at Swinburne Technical College between 1946 and 1963 Laurence Scott Pendlebury was head of the art school from 1963 until his retirement in 1974. He was president of the Victorian Artists’ Society from 1961 to 1963. Awards include: Dunlop Prize in 1950, 1951, 1953 and 1954; Gibson Prize, Victorian Artists’ Society in 1956; Wynne Prize in 1956, 1957, 1960 (shared with John Perceval) and 1968; Caltex Prize in 1957; Victorian Artists’ Society Artist of the Year (shared) in 1975. Portrait of Nornie Gude, the artist's wife, holding a violin. Nornie Gude was a student of the Ballarat Technical Art School, a division of the Ballarat School of Mines. Nornie Gude was the daughter of Walter Gude, a leding musician, and highly regarded teacher. She grew up in Ballarat and was educated at Loreto College. From 1931 to 1936 Nornie Gude attended the Ballarat Technical Art School, a division of the Ballarat School of Mines. She was accepted into the School at the age of 15 because she was so advanced in painting. Nornie Gude studied at Ballarat for five years before progressing to Melbourne’s National Gallery of Victoria School. As a violinist Nornie Gude played for more than a decade with the Zelman Orchestra. This work was a finalist in the 1978 Archibald Prize.artists, artwork, laurence scott pendlebury, pendlebury, nornie gude, gude, available, alumni

The Keith Wingrove Trust conducts a competition among Australian artists, graphic designers and students for the production of Ex Libris Bookplates. The competition is called The Australian Bookplate Design Award. The purpose of the competition is to increase interest in and to attract publicity to the artistic value of bookplates. Although the competition is referred to as 'Australian' there is a category of award open to International artists. This bookplate was part of the 2013 Australian Bookplate Award. Framed woodengraved bookplate for John Gartner. bookplate, keith wingrove memorial trust, john gartner, ex libris

Marianne SEBETTI (1987- ) Born Vladikavkaz, Russia Arrived Australia 2012 This work was completed while the artist was completing a Bachelor of Visual Arts (Fine Art) at Federation University Australia. Framed drawing. University of Ballarat DVC Art Acquisition Award, 2014Signed verso in pencil 'Marianne Sebetti, The Harvester, 2014'artist, artwork, sebetti, marianne sebetti, drawing, agriculture, harvest

Ash KEATING Among fifteen finalists this artwork won the 2012 Guirguis New Art Prize, a prestigious national acquisitive biennial art prize administered by Federation University Australia. The Guirguis New Art Prize (GNAP) is a national acquisitive $20,000 contemporary art prize which presents a selection of Australia's most exciting contemporary artists with works that explore and embrace new ways of artistic expression, utilising existing mediums and new technologies in innovative ways. Initiated and generously supported by local Ballarat surgeon Mr Mark Guirguis, this prestigious art prize is administered by the Federation University Australia (FedUni). As a local philanthropist and art collector, in developing the Prize, Mark Guirguis' aims were to celebrate the significance of the arts to communities and to Ballarat, emphasising contemporary art and 'living' culture, and to highlight FedUni's Arts Academy. Artist Ash Keating works across a conceptual, site-responsive and often collaborative art practice that incorporates painting, sculpture, installation, video, performance and public interventions, and has referenced a wide range of social and environmental issues within his art. Frequently working beyond the gallery, and often harnessing community narrative and energy, his work also draws upon myth, ritual and ceremony. 'West Park Proposition', 2012, is a three channel and screen video installation, utilising multiple camera video documentation of an endurance painting intervention undertaken on the morning of 01 September 2012 on the east facing wall of a newly built tilt-slab industrial building, situated on the direct edge of the current urban and rural boundary in Truganina, Victoria. The multi-screen work documents an endurance guerilla-style action painting intervention and ritualised painting performance in which a symbolic violence is enacted against a storehouse of commodity production and consumption. Upon winning the award artists Ash Keating said; “The work was made near Ballarat on the Deer Park bypass. It is an aesthetic comment about the way these new tilt-slab industrial buildings spring up without caring for the environment." The work, which took eight hours to create, was about reclaiming the space from “cost-effective architecture” without any aesthetics. The inaugural judge for the Prize, Jason Smith, Director, Heide Museum of Modern Art (MoMA) said, "Selecting the winner of this inaugural GNAP was exhilarating and excruciating: exhilarating because the seriousness of each artist's enterprise, and their uncompromising resolution of concepts, has created an inaugural exhibition of exceptional power. This first GNAP is a survey of some of the most poetic and provocative imaginations working in Australia today. Selecting one winner from such a show in which each of these artists has in some way transformed my thinking about the world was the excruciating part. Ash Keating's work West Park Proposition, 2012 kept drawing me back in the several hours I spent viewing the works. It simultaneously affirms the political and critical role of the artist as a key agent of change and action, and someone who reminds us of the beauty and resilience of humanity and nature in the face of unrelenting change. As a work combining performance, collaboration and hope, Keating's West Park Proposition is a work of immense and compelling poetry."artist, artwork, keating, ash keating, guirguis, guirguis new art prize, gnap, gnap13

Framed Bookplateartwork, artist, bookplate, gippsland campus, noonan, framed bookplate

Framed Bookplate artwork, artists, bookplate, louise, gippsland campus, framed bookplate, churchill

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

Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Blue and green dry glaze bottle. alan peascod, ceramics, gippsland, jan feder memorial ceramics collection, gippsland campus, visiting artist

Victoria HOWLETT (b. 1945- ) Born London, United Kingdom Arrived Australia 1946 Victoria Howlett studied Ceramics at RMIT. She lectured at Prahran College for several years before travelling to Canada, The United States of America, Mexico, Africa and England. She began working as a potter full time in 1977, establishing a studio in Melbourne. In 1985 Victoria Howlett won the Stuart Devlin Award, Melbourne. She is a practicing artist in Apollo Bay, Victoria. The ceramic work of Victoria Howlett draws on the Oribe tradition of painted surface designs. During the 1980s, she moved from rounded vessels and lidded jars to the platter as the form to be decorated, using a well-charged brush and slips coloured with oxide. Wheel thrown stoneware jar with dipped and painted glaze decoration. The ceramic works of Victoria Howlett are impressed 'TOR' or painted or incised 'Victoria Howlett'. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there. Victoria Howlett was a visiting lecturer to the Gippsland Institute of Advanced Education Gift of the artistvictoria howlett, ceramics, gippsland campus, jan feder memorial ceramics collection

Tim MOREHEAD Born United States of America Arrived Australia 1968 This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.ceramics, tim moorehead, artist, artwork, jan feder memorial ceramics collection, gippsland campus, tim moorhead

Sandra JOHNSTONE (1936-Jan 1991) Born Southern California, USA Worked California, USA Sandra Johnstone was awarded a MA in Ceramics and an MFA in Plastic Arts at San Jose State University, where she later also lectured. Specialiing in functional and sculptural forms, with emphasis on wheel-thrown shapes and salt-glazed stoneware and porcelain, her work is best known for salt glazing, using surface texture and colour to enhance the character of the clay. Sandra Johnstone was a visiting artist to the Gippsland Centre for Art and Design (GCAD). Salt glazed platter. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there."Johnstone" on basesandra johnstone, ceramics, artist, artwork, gippsland campus, jan feder memorial ceramics collection

Sandra JOHNSTONE (1936-1991) Worked California, USA This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there."Johnstone" on basesandra johnstone, ceramics, artworks, artist, jan feder memorial ceramics collection

Sandra JOHNSTONE (1936-1991) Worked California, USA Sandra Johnstone is a graduate from the University of California, Berkeley, California. She is known for her large wheel thrown stoneware pots with deep incision on interior and exterior surfaces. Iin 1985 Sandra Johnstone was a visiting artist to Gippsland Centre for Art and Design. (now Federation University Australia) Salt glazed jugJohnstone incised on basesandra johnstone, ceramics, jan feder memorial ceramics collection, gippsland campus, visiting artist

Sandra JOHNSTONE (1936-01/1991) Worked California, USA Sandra Johnstone undertook graduate study at the University of California, Berkeley, California. From 1957 she worked as a studio potter. Between 1983 and 1990 she was a teacher at Napa Valley College, Napa, California. She is known for her large wheel thrown stoneware pots, often deeply incised both on interior and exterior surfaces. Sandra Johnstone was a visiting artist to the Gippsland Centre for Art and Design (GCAD), Churchill.Presented by the artistWheel thrown salt-glazed stoneware. Gift of the artist"Johnstone" on basesandra johnstone, ceramics, gippsland campus, jan feder memorial ceramics collection, churchill

Greg CROWE (1953- ) Born England, arrived Australia 1963 Greg Crowe's intial training was in architecture. In 1980 Greg Crowe established the Hovea Pottery in the hills east of Perth and am constantly firing up new work there 30 years on.In 2008 Greg Crowe undertook a McKnight Residency for Ceramic Artists at the Northern Clay Center, Minnesota, U.S.A., and has demonstrated and exhibited elsewhere in the U.S.A. and Canada, Japan, France, Denmark, Ireland and Singapore. In 1985 he built a wood-fired salt kiln at Hovea with Fergus Stewart, and has specialised in wood-firing and salt-glazing since then, In 1992 he worked with wood firer Sven Bayer in Devon, UK. In 1996-1998 he built an anagama kiln in the south-west of Western Australia. y Texture and the unique, plastic responsive nature of claygre to stretching has been of great interest to Greg Crowe. Greg Crow signs his work with an impressed 'GC'. Thrown bulbous woodfired pot.greg crowe, ceramics, gippsland campus, jan feder memorial ceramics collection, hovea pottery, woodfire 86