work on paper, photograph, inkjet, first nations artist, female artist, self portrait, clones, binoculars, ocean, sea, rocks, shoreline

'Skin, Surfaces and Shadows' was created by Tommaso Durante in 2004 during his stay in Bundanon (gifted to the Australian people by Arthur & Yvonne Boyd - South East Australia) as international artist in residence and it was enriched during the artist’s stay in Broome (Western Australia) in 2005. On that occasion he collected the raw materials that were subsequently wrought to develop the actual bookwork.On the edge of artistic practice and philosophical inspiration, 'Skin, Surfaces and Shadows' pushes the boundaries of art, craft and design by combining digital technologies with traditional techniques and materials. Durante visually explores the surfaces of organic things (trees, surface textures, etc.) and the figurative dividing line of the shadow. The poet Wallace-Crabbe responds to these images in words. The poet and the artist flit in and out of shadows, skin and the surfaces of paper and life.(a) prints, artist's book (80 pages), ink; Somerset Book White paper (175gsm), digital images, printed in eight inkjet colour pigments, from digital files. Set in digital typefaces Utopia STD Display, Italic and Bold, Frutiger 57 Condensed, 67 Bold Condensed, and 56 Italic. Section sewn around 3 tapes. Full paper binding with blind blocking on front cover handmade head and tail bands. (b) CD of slide presentation to accompany bookwork on display Primary Insc: In black biro, signed and editioned by Tommaso Durante and Chris Wallace-Crabbe (last page '8/25 T DURANTE CWallace-Crabbe')prints, artist book, skin, surface, shadow, poetry, durante, wallace-crabbe

Yields information about the form and style of the early Geelong trams.Black and white photograph, printed onto card (inkjet printer?) of Geelong Cross bench tram No. 18 in Corio Tce, now Brougham St outside the wood stores. Tram has the destination of Belmont. Taken after SEC take over with the sides of tram panelled in. Late 1930's. See Reg item 4318 for a different view. Dave O'Neil advised 20/7/2009 - following conversion for one man trams. Given the condition of the tram, assume just after conversion." Corio Tce, now Brougham St / Geelong Hist Soc / W F S Collection."trams, tramways, geelong, depot, brougham st, tram 18

Yields information about the form and style of the early Geelong trams and assistance given to the Red Cross during the first world war.Black and white photograph, printed onto card (inkjet printer?) of Geelong Cross bench tram No. 18 in Corio Tce, now Brougham St outside the wood stores. Tram has the destination of Belmont. Taken after SEC take over with the sides of tram panelled in. Late 1930's. See Reg item 4317 for a different view. Two copies held. Dave O'Neil advised 20/7/2009 - following conversion for one man trams. Given the condition of the tram, assume just after conversion. Copy 1 - "Geelong Hist Soc / William Scott Collection." in ink. Copy 2 - " Corio Tce, now Brougham St / Moorabool Street crossing in background / Geelong Hist Soc / W F S Collection." in ink.trams, tramways, geelong, depot, brougham st, tram 18

Yields information about Sturt and the streetscape with a horse tram outside St Andrews Kirk with two small boys playing.Black and white historic photograph downloaded from a picture resource website within a decorative frame. Printed with an inkjet printer. Titled "Looking down Lydiard Street south, Ballarat. circa:" shows an ESCo tram turning from Lydiard St north into Sturt St with many parked motor vehicles and pedestrians. Has the Post Office, Craigs Hotel, Commonwealth Bank, National Mutual Building and the Bank of Australasia in the photograph. One centre pole in the photograph. Photo c1927 Original photo from a postcard?trams, tramways, lydiard st north, poles, post office, esco, tram 20

Yields information about Sturt and Lydiard St North intersection, mid to late 1920's, centre poles and condition of the streets and car parking arrangements.Black and white historic photograph downloaded from a picture resource website within a decorative frame. Printed with an inkjet printer. Titled "Looking up Sturt Street from Snows Sturt Street Ballarat, circa:" Original photograph taken soon after opening of the tramway in Sturt St., no windows and no destination box on the roof of the tram. Has a number of horse drawn vehicles in the photograph. On the left hand side of the photograph is Snows building. At the corner of Armstrong Street Original photo from a postcard - see Reg Item 2791 for a oval shape view. trams, tramways, armstrong st, snows, sturt st, toastrack tram, tram 20

Yields information about Lydiard St north after the opening of the electric tram system.Black and white historic photograph downloaded from a picture resource website within a decorative frame. Printed with an inkjet printer. Titled "Sturt & Lydiard Street intersection, Ballarat circa:." shows two ESCo trams travelling east along the north side of Sturt St, No. 5 or 8? and No. 14 with many people lining the streets, possibly prior to a parade. Photo taken after the tramway has opened as the destination boxes are located on the roof, but prior to the installation of windscreens. Original photo from a postcard - not currently (June 2010) in Museum's collection. Many horse drawn vehicles. In the background are the Commonwealth Bank, Ashmore's Hotel and other buildings along the south side of Sturt St. Original photo from a postcard - not currently (June 2010) in Museum's collection.trams, tramways, sturt st, lydiard st, commonwealth bank, esco, tram 14, tram 8?

“Maybe here” is a constant thought running through the back of my mind that something might happen where I’m standing. Tension builds at the slightest sound or suggestion of movement. How much of this fear is self-perpetuated and how much of it is warranted. How different would my experience be if I was someone else.This series is a departure from Janelle Low’s conceptual interests around Australian identity and multiculturalism. Using the project as a vehicle to confront and challenge her own personal concerns as well as a means to represent a more universal female experience.Donated by the artist

“Maybe here” is a constant thought running through the back of my mind that something might happen where I’m standing. Tension builds at the slightest sound or suggestion of movement. How much of this fear is self-perpetuated and how much of it is warranted. How different would my experience be if I was someone else.This series is a departure from Janelle’s conceptual interests around Australian identity and multiculturalism. Using the project as a vehicle to confront and challenge her own personal concerns as well as a means to represent a more universal female experience.

“Maybe here” is a constant thought running through the back of my mind that something might happen where I’m standing. Tension builds at the slightest sound or suggestion of movement. How much of this fear is self-perpetuated and how much of it is warranted. How different would my experience be if I was someone else.This series is a departure from Janelle’s conceptual interests around Australian identity and multiculturalism. Using the project as a vehicle to confront and challenge her own personal concerns as well as a means to represent a more universal female experience.

Hayley Millar Baker is a Gunditjmara and Djabwurrung artist. Her series I Will Survive is about the cautionary tales and bush survival stories that Millar Baker heard as a child. Her Aboriginal and migrant parents and grandparents shared warnings, myths and ghost stories with her. As Millar Baker grew up, these stories evolved, becoming more emotionally charged with each retelling. As stories are retold, they are reformed and embellished, sometimes becoming more vivid and meaningful. In I Will Survive, Millar Baker inserts herself into the stories. Millar Baker says, ‘Recalling memories formed in my childhood and ruminating on these stories in adulthood, I can’t help but dissect my memory’s influences and influencers, and what roles my Aboriginal and migrant parents and grandparents played in feeding lessons and myths into my subconscious.’

Hayley Millar Baker is a Gunditjmara and Djabwurrung artist. Her series I Will Survive is about the cautionary tales and bush survival stories that Millar Baker heard as a child. Her Aboriginal and migrant parents and grandparents shared warnings, myths, and ghost stories with her. As Millar Baker grew up, these stories evolved, becoming more emotionally charged with each retelling. As stories are retold, they are reformed and embellished, sometimes becoming more vivid and meaningful. In I Will Survive, Millar Baker inserts herself into the stories. Millar Baker says, ‘Recalling memories formed in my childhood and ruminating on these stories in adulthood, I can’t help but dissect my memory’s influences and influencers, and what roles my Aboriginal and migrant parents and grandparents played in feeding lessons and myths into my subconscious.’