Helga Griffin, daughter of Austrian engineer father and German mother. Interned aged 6 years and sent to Australia with her parents and young brother. Five years interned in Camp 3 near Rushworth, then released to Melbourne. Helga vividly describes her early childhood in Persia. The mixed emotions of her whole family during the internment experience and postwar, trying to adjust to a new country, new culture, new language. Very evocative memories of wartime dislocation.Blue/green front soft cover, red and white printing, white back cover and spine, black printing.With my very best wishes to the Tatura museum and the sterling work of the volunteers that contribute to its valuable presence. Helga 26.5.06ww2 camp 3, books, autobiography, helga griffin, helga griffin (girschik)

Home is a collection of birdhouses on floating islands using the iconic form of the human house - a pitched roof, square walls, windows and doors. This minimal form is often drawn by children; a dolls house, a cubby house, a letter-box or a chook house. Home creates a safe refuge for birds with the plants acting as a water filtration system. The exposed roots draw out pollutants, such as nitrogen, phosphorous and toxic metals, which have entered the waterway through urban run-off. The result is a beautiful sculptural experience and a healthier water system for all to enjoy. The artwork was funded by The City of Ballarat and The Victorian State Government.The work is of aesthetic significance to the people of BallaratHome is a collection of birdhouses on floating islands home, chris mether, studio mether, public art, ballarat, delecombe, wetlands

Old uncle is standing on the mountainside watching over the modern-day empires built on Aboriginal land shaking his head, saying: “they are doing it again, every empire has a rise and fall”. It’s something that has never been learnt over time. — Josh Muir Josh Muir’s work, Roots, was the first temporary artwork to be installed on the Gallery Annex Wall on the approach to Alfred Deakin Place, Police Lane in Ballarat Central. The space is an important site to host this work given that Alfred Deakin Place is commonly used as a place of discussion, engagement, protest and performance.Temporary artwork - printed vinyl application to concrete wallnoneelder, aboriginal and torres strait islander

Mediating conflict in the age of Native Title Peter Sutton (The University of Adelaide and South Australian Museum) Mediators have played roles in managing conflict in Aboriginal societies for a long time. This paper discusses some of the similarities and differences between older customary mediator roles and those of the modern Native Title process. Determinants of tribunal outcomes for Indigenous footballers Neil Brewer, Carla Welsh and Jenny Williams (School of Psychology, Flinders University) This paper reports on a study that examined whether football tribunal members? judgments concerning players? alleged misdemeanours on the sporting field are likely to be shaped by extra-evidential factors that disadvantage players from Indigenous backgrounds. Indigenous and non-Indigenous Australian Football League (AFL) players, matched in terms of their typical levels of confidence and demeanour in public situations, were interrogated in a mock tribunal hearing about a hypothetical incident on the football field. The specific aim was to determine if the pressures of such questioning elicited behavioural differences likely to be interpreted as indicative of testimonial unreliability. Mock tribunal members (number = 103) then made judgments about the degree to which a number of behavioural characteristics were evident in the players? testimonies. Under intense interrogation, Indigenous players were judged as presenting less confidently and displaying a greater degree of gaze aversion than non-Indigenous players. These behavioural characteristics are commonly ? and inappropriately ? used as cues or heuristics to infer testimonial accuracy. The paper discusses the implications for Indigenous players appearing at tribunal hearings ? and for the justice system more broadly. Timothy Korkanoon: A child artist at the Merri Creek Baptist Aboriginal School, Melbourne, Victoria, 1846?47 ? a new interpretation of his life and work Ian D Clark (School of Business, University of Ballarat) This paper is concerned with the Coranderrk Aboriginal artist Timothy Korkanoon. Research has uncovered more about his life before he settled at the Coranderrk station in 1863. Evidence is provided that five sketches acquired by George Augustus Robinson, the former Chief Protector of Aborigines, in November 1851 in Melbourne, and found in his papers in the State Library of New South Wales, may also be attributed to the work of the young Korkanoon when he was a student at the Merri Creek Baptist Aboriginal School from 1846 to 1847. Developing a database for Australian Indigenous kinship terminology: The AustKin project Laurent Dousset (CREDO, and CNRS, Ecole des Hautes Etudes en Sciences Sociales), Rachel Hendery (The Australian National University), Claire Bowern (Yale University), Harold Koch (The Australian National University) and Patrick McConvell (The Australian National University) In order to make Australian Indigenous kinship vocabulary from hundreds of sources comparable, searchable and accessible for research and community purposes, we have developed a database that collates these resources. The creation of such a database brings with it technical, theoretical and practical challenges, some of which also apply to other research projects that collect and compare large amounts of Australian language data, and some of which apply to any database project in the humanities or social sciences. Our project has sought to overcome these challenges by adopting a modular, object-oriented, incremental programming approach, by keeping metadata, data and analysis sharply distinguished, and through ongoing consultation between programmers, linguists and communities. In this paper we report on the challenges and solutions we have come across and the lessons that can be drawn from our experience for other social science database projects, particularly in Australia. A time for change? Indigenous heritage values and management practice in the Coorong and Lower Murray Lakes region, South Australia Lynley A Wallis (Aboriginal Environments Research Centre, The University of Queensland) and Alice C Gorman (Department of Archaeology, Flinders University) The Coorong and Lower Murray Lakes in South Australia have long been recognised under the Ramsar Convention for their natural heritage values. Less well known is the fact that this area also has high social and cultural values, encompassing the traditional lands and waters (ruwe) of the Ngarrindjeri Nation. This unique ecosystem is currently teetering on the verge of collapse, a situation arguably brought about by prolonged drought after decades of unsustainable management practices. While at the federal level there have been moves to better integrate typically disparate ?cultural? and ?natural? heritage management regimes ? thereby supporting Indigenous groups in their attempts to gain a greater voice in how their traditional country is managed ? the distance has not yet been bridged in the Coorong. Here, current management planning continues to emphasise natural heritage values, with limited practical integration of cultural values or Ngarrindjeri viewpoints. As the future of the Coorong and Lower Murray Lakes is being debated, we suggest decision makers would do well to look to the Ngarrindjeri for guidance on the integration of natural and cultural values in management regimes as a vital step towards securing the long-term ecological viability of this iconic part of Australia. Hearts and minds: Evolving understandings of chronic cardiovascular disease in Aboriginal and Torres Strait Islander populations Ernest Hunter (Queensland Health and James Cook University) Using the experience and reflections of a non-Indigenous clinician and researcher, Randolph Spargo, who has worked in remote Aboriginal Australia for more than 40 years, this paper tracks how those at the clinical coal-face thought and responded as cardiovascular and other chronic diseases emerged as new health concerns in the 1970s to become major contributors to the burden of excess ill health across Indigenous Australia. The paper cites research evidence that informed prevailing paradigms drawing primarily on work in which the clinician participated, which was undertaken in the remote Kimberley region in the north of Western Australia. Two reports, one relating to the Narcoonie quarry in the Strzelecki Desert and the other concerning problematic alcohol use in urban settings.maps, b&w photographs, colour photographs, tablesstrzelecki desert, native title, timothy korkanoon, merri creek baptist aboriginal school, austkin project, coorong, lower murray lakes district, south australia, indigenous health

This book is a collection of Victorian Indigenous Elders' life stories and oral histories. The Elders share their stories in an attempt to ensure that both sides of Australia's history are finally heard. These stories tell of cultural resistance on missions, of defying assimilation laws, of forever moving around to save children from the welfare. They document the development of both fringe and urban communities and work in the Aboriginal rights movement. They clarify the ways in which these experiences have affected the individual authors along with the indigenous population in general. Also included in the book is a brief history and analysis of the legislation, policies, attitudes and strategies that have affected the lives of the authors and their families since colonisation. This aspect provides an historical perspective, encouraging a deeper understanding of the Elders' stories. Reconciliation can only eventuate with an understanding gained from hearing and including the voices of Indigenous Australians. Contents: The writing team Indigenous elders: keepers of knowledge; custodians of land and culture Aboriginal lands Missions and reserves Growing up running from the welfare /? Aunty Olive Jackson Respecting our Elders /? Aunty Lola James If your mother didn't tell you, then your grandmother did! /? Uncles Les Stewart Don't dwell on trouble /? Aunty Audrey Critch There are my people /? Aunty Gwen Nelson We were all cousins, more or less /? Aunty Iris Lovett-Gardiner Aboriginality is about culture, not colour /? Aunty Dianne Phillips Take up the opportunities we struggled to make /? Aunty Frances Gallagher Home /? Aunty Eileen Alberts We were supposed to forget our Aboriginality /? Aunty Gwen Garoni Not enough heart to say sorry? /? Uncle Brian Kennewell-Taylor Learning from indigenous elders: Keeping the traditions, keeping the culture strong; Since time immemorial; Invasion: the tide ran red; The flood of legislation; Stolen children; Cultural resistance: holding on to children traditions and land; Organised resistance: a movement is born; The 1950s: community resistance to race laws; The price of assimilation; The Aboriginal rights movement; After the flood: self-determination; Turning the tide Bibliography Appendix. Cultural custodianship: developing an indigenous methodology.maps, colour illustrations, b&w photographswiradjuri, victorian indigenous elders, oral histories, yorta yorta, dja dja wurrung, language maps, victorian missions and reserves, lake condah, framlingham, coranderrk, ramahyuck, lake tyers, wahgunyah, cummeragunja, moonahcullah, balranald, ebenezer, maloga, acheron

Kagawa, Toyohiko (1888-1960) Japanese evangelist and social movement leader Kagawa was born in Kobe to Kame and Junichi Kagawa. In lonely years following the death of his parents at age four, he met Harry W. Myers and Charles A. Logan, missionaries of the (Southern) Presbyterian Church, U.S., and was baptized by Myers on February 14, 1904, at the Tokushima church. He pursued theological study at Meiji Gakuin in Tokyo and Kobe Theological Seminary. During his student days in Kobe he moved into the Shinkawa slum to serve the physical and spiritual needs of some 7,500 people. Between August 1914 and May 1917 Kagawa studied in the United States at Princeton Theological Seminary and then became involved in labor and peasants movements in Japan and in organizing religious programs, with the Jesus Band of Kobe as the base of his work. In 1921 Kagawa organized the Friends of Jesus. This Franciscan-like band of young people strove for spiritual discipline, compassion for the poor, and an evangelical life of witness. When Tokyo suffered a massive earthquake in 1923, he shifted the main emphasis of his work to that city. He promoted economic cooperatives in Japan and peace and social reform programs before and after World War II. Kagawa was a prolific writer. Most of his writings are collected in the twenty-four volume Kagawa Toyohiko Zenshu (The work of Kagawa Toyohiko) (1964). His theological focus was on the redemptive love of God, manifest in the life of Jesus Christ, to whom people can commit themselves through a mystical experience of faith and intellectual creativity. Kagawa was known more as a Christian social reformer than as a religious leader both in and out of Japan, but he was fundamentally an evangelist throughout his life. Robert M. Fukada, “Kagawa, Toyohiko” in Biographical Dictionary of Christian Missions, ed. Gerald H. Anderson (New York: Macmillan Reference USA, 1998), 350. This article is reprinted from Biographical Dictionary of Christian Missions, Macmillan Reference USA, copyright © 1998 Gerald H. Anderson, by permission of Macmillan Reference USA, New York, NY. All rights reserved. B & W informal photograph of the Rev. H.C. Matthew and Toyohiko Kagawa standing in front of the door to Captain Cook's Cottage in the Fitzroy Gardens, Melbourne. "Melbourne May 19th or 11th 1935. H.C. Matthew & Toyohiko Kagawa standing by the cottage recently removed to Australia & re-erected in Melbourne Botanical Gardens in which Captain Cook was born."toyohiko kagawa, h.c. matthews, captain cook's cottage, friends of jesus, christian missions.

James Watkin (1805–86), Pioneer Missionary. James Watkin was born in Manchester in 1805. While still young he felt the call to preach and in 1830 was accepted as a candidate for the Wesleyan Ministry. In the same year he married Hannah Entwistle and they sailed with a missionary party to Tonga. The work of the mission was jeopardised by prolonged and involved struggles between Christian and non-Christian Tongan chiefs; Watkin faced alone the danger of tribal warfare, but the experience left him depressed and exhausted. On his removal with his family to Sydney in September 1837 he prayed for a return home to England. Instead, when John Jones offered a free passage for a missionary appointed to Waikouaiti, where Jones had a whaling station, Watkin was selected for the post and arrived there in May 1840. Here he established the first mission station in the South Island. Watkin found the whaling settlement of Waikouaiti a centre of violence, licentiousness, and drunken depravity. Thoroughly disliking the corrupted Maoris and convinced that they were doomed to extinction, and disgusted by the brutality and vices of his fellow Europeans, Watkin laboured without hope, in the bitterness of exile and with deepening depression and distress. In spite of an abhorrence for his situation he established schools at Waikouaiti and Matanaka, and stationed partly trained Maori teachers at Stewart Island and at Moeraki. He had a natural flair for languages, preached in Maori four months after his arrival, and compiled an elementary reading book to be printed in Ngai Tahu. In November 1840 Watkin was greatly disturbed by Bishop Pompallier's visit to Otago. When, however, this was followed by Anglican intrusion – for Bishop Selwyn visited Otago in January 1844 – Watkin thought of withdrawing his own Maori teachers and abandoning the field. Never reconciled to his position at Waikouaiti, Watkin was relieved by Charles Creed and in June 1844 he sailed for Wellington, leaving 227 church members in Otago. In 1855 Watkin settled in New South Wales, and was president of the National Methodist Conference at Adelaide in 1862. He retired in 1869 and died on 14 May 1886, at Ashfield, New South Wales. 'WATKIN, James', from An Encyclopaedia of New Zealand, edited by A. H. McLintock, originally published in 1966. Te Ara - the Encyclopedia of New Zealand URL: http://www.TeAra.govt.nz/en/1966/watkin-james (accessed 30 Apr 2018) B & W engraving from a photograph of the Rev. James Watkin.Revd. James Watkin, Australia Engraved by J. Cochran from a Photograph.

This photograph was taken by Karl Duldig when he and Slawa visited Slawa's sister Rella Laisne in Paris in 1968. They went to Paris as part of a world trip on the occasion of the unveiling of Karl's sculptural monument, Dawn, at the Maccabiah Village, Ram Gat, Israel. Commissioned by Hakoah and World Maccabi Union his monument commemorates the sportsmen and women of Hakoah Sports Club who were among the victims in the Holocaust. Karl had played for Hakoah in his youth. This is one of a large collection of photographs taken by sculptor Karl Duldig, documenting his art, life and family. The collection is of historical and aesthetic significance as a personal record of the work, cultural and social milieu of an Austro- Australian sculptor and his family from the early to late 20th century. it is also a record and representative of the experience of those people who came to Australia at this time, displaced by the upheavals of the Second World War.

Tadich spends time observing night time phenomena, the light from the moon, street lights and other sources; atmospheric states, fog and dampness and the nature of surfaces, vegetation, road, vehicles and buildings. She uses photographs and sketches before settling on the final idea for a work.This painting is typical of Tadich's recent work. She continues her exploration of the Australian landscape (most often the local, Nillumbik Shire). It is 'a dramatic interplay between narrative, landscape and the binaries of light/dark and the known/unknown of local landscape. The swathes of darkness within the work(s) pose questions about our inscribed fears and tensions, both cultural and existential'. (catalogue, 'Silent Space' Ex. 2006) Tadich's early experiences of fireworks, simple fireworks and bonfire in the surrounding bush of her outer Melbourne home, caught her imagination. She was inspired to investigate the issues surrounding nights in the bush. In this painting the narrative is ambiguous, the pinpricks of light, in this case from the car headlights provide a critical element. We can distinguish familiar features, a road, trees and a car that suggest human presence. However, what is going on is unclear. The resulting tension can leave us unsure, unsettled and anxious.Oil on canvascamilla tadich, nillumbik shire council, kangaroo ground

This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This lithograph comes from a series of still life by Wegner from the early 80's; a subject matter in which he has not returned to. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. Lithographic print - still life in black and white. Details several kitchen/household items: spoon, tea pot, egg holder, cup and saucer, bowl, chop sticks and mandarin.Lower far left: 'A/P'; Low centre: 'Mandarin on Kitchen Table'; Lower far right: 'PW 83'wegner, lithograph, still life, black and white, utensils, table, fruit, print

Pugh was one of many artists who brought an Australian experience to attention. This work reveals the colour, textures, harshness and inhabitants of the natural bush, with the angular forms found on the ‘black birds’ dominating the composition with dramatic effect. Shanahan, Albert Tucker, Frank Werther and Fred Williams have at one time settled and or work there. Untitled (Black Birds) from the Bodford Terrace Suite 1978, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come lithographic print on French Arches paper. Dynamic and expressive depiction of black birds in flight on far left of composition, cropped elements of Australian landscape in blue and red in the background (trees, shrubs, rocks). Inscribed lower right 'Clifton'; 1:1; 179/300clifton pugh, bodford suite, dunmoochin

Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog

Cogan is a textile artist and her work is political in nature. 'War and Peace' is about the Vietnam War and a statement about patriotism in war, of lessons not learnt, of remembrance and never forgetting. This work is an expression of her feelings towards this time and of her husband's experience who fought in this war. The Republic of Vietnam 'Vietnam Campaign Medal' is from the former country of South Vietnam (Republic of Vietnam). Established in 1966, it was awarded to members of United States, Australian, and New Zealand military forces serving six months or more in support of Republic of Vietnam military operations. The medal is issued with a device known as the 1960 Bar. The bar displays the date of 1960 followed by a dash and a blank space. The unusual appearance was caused by the government of the Republic of Vietnam stating that the 1960 bar would show the dates of the Vietnam War from start to finish, with the ending date placed on the 1960 bar after the South Vietnamese had triumphed over North Vietnam (the Democratic Republic of Vietnam). Since South Vietnam fell, and the government ceased to exist, an ending date for the 1960 Bar was never established. The Vietnam Campaign Medal is considered a foreign award by the U.S., Australian, and New Zealand governments. The joint Australian and New Zealand campaign medal awarded for service in the Vietnam War is the 'Vietnam Medal'. The obverse of this medal shows the crowned head of Queen Elizabeth II, with titles, while the reverse has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam. The RSL poppy (the Flanders poppy) has long been a part of Remembrance Day, the ritual that marks the Armistice of 11 November 1918, and is also increasingly being used as part of Anzac Day observances. During the First World War, red poppies were among the first plants to spring up in the devastated battlefields of northern France and Belgium. In soldiers' folklore, the vivid red of the poppy came from the blood of their comrades soaking the ground. The poppy soon became widely accepted throughout the allied nations as the flower of remembrance to be worn on Armistice Day. Today the RSL continues to sell poppies for Remembrance Day to raise funds for its welfare work. "War and Peace' is significant as it explores and highlights a period in history (the Vietnam War), which was contentious both socially and politically. Cogan and her family lived locally, in the Shire of Eltham during this time, and her work is a reflection of the experiences and sentiments of a section of the Nillumbik community. Textile piece. 'War": Cast muslin, machine embroidery onto white calico. Tanin dye, poly thread, side bust view (hand, shoulder and arm). Black machine stiching on shirt and shirt pocket with two vietnam medals. A replica of the 'Vietnam Medal' in muslin is shown reverse and has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam, which is of a male figure standing between two spherical shapes. The ribbon has a vertical central section of bright yellow which has centrally superimposed on it three thin stripes of red, (representing the South Vietnamese flag) flanked by two stripes of red (representing the Army). On the left is a dark blue stripe representing the Navy and on the right, a light blue stripe representing the Air Force. A replica in muslin of the second medal is the Republic of Vietnam 'Vietnam Campaign Medal' of the former country of South Vietnam. The ribbon has green and white strips with a device bearing the inscription ‘1960 – ‘. The medal is traditionally a gold and white enamelled star with a green, red and gold centre motif. Right hand is touching the medals/heart, while left arm is left resting to the left side over a crutch which ends in a rolled up bandage. 'Peace': Cast muslin, machine embroidery onto calico. Black dye, poly thread and RSL poppy. Side bust view (hand, shoulder and arm). Yellow machine stiching on black shirt and shirt pocket with RSL red poppy on shirt pocket. Right hand is reaching to touch the poppy, while left arm is slightly bent resting on its' left side. Nonetextile, muslin, embroidery, vietnam war, medals, vietnam medal, vietnam campaign medal, rsl poppy, war, peace, armistice, remembrance day, anzac

Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps

This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This drawing has a link to another of Wegner's work in the Collection, the lithograph 'Mandarin on a Kitchen Table'. This portrait is of Danny Moynihan, one time lecturer at Phillip Institute of Technology (now RMIT - Bundoora campus) who taught Wegner printmaking (lithography) when he was a student at the institute in the 80's. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. He is inspired by English artist Leon Kossoffs' drawings where the likeness of the subject is secondary and separate from the credibility of the drawing itself. Black and white charcoal portrait drawing on paper of artist/teacher Danny Moynihan.Hand written (signature) in charcoal - lower right - 'Peter Wegner'wegner, drawing, charcoal, black and white, moynihan, artist, teacher

John Dudley was a well-known local artist who lived in the Shire during the 50s, 60’s and 70s. He was represented by Wiregrass Gallery in Eltham. Formerly two separate galleries: The Eltham Gallery and The Wiregrass Gallery. The Wiregrass Gallery opened on 4th February 1977 at Station Entrance, Eltham, Victoria and closed on the 19th November 1989 when its lease expired. The gallery then moved in early 1990 to 559 Main Road Eltham, the premises of the Eltham Gallery and from then on operated under the name Eltham Wiregrass Gallery. This work is of the local environment and an excellent example of the artist’s work practice.A visual language of shape, form and colour (abstract) to create a composition referencing the physical and emotional experience of landscape. Blended colours of dark blues in background and warm yellows in foreground. Signed 'Dudley' red paint, lower left.landscape, abstract, eltham

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Vipoo Srivilasa works predominantly in ceramics, creating unique contemporary porcelain sculptures, vessels and figures to transmit a universal message of cross-cultural experience. His works explore similarities between the cultures of homeland, Thailand and his adoptive home, Australia. His work is both a playful, and at times a political, blend of historical figurative and decorative art practices with contemporary culture. For more than 20 years, Vipoo has exhibited both internationally and throughout Australia, including Museum of Fine Arts, Boston; Saatchi Gallery, London; Ayala Museum, Philippines; Yingge Ceramics Museum, Taiwan; Nanjing Arts Institute, China and the National Gallery of Thailand. His work is held in national and international collections including the National Gallery of Australia, the Art Gallery of South Australia, GOMA, and the Craft Council, UK.

In the days before television advertising and the WWW, commercial artists such as John Whittenbury designed posters, railway billboards and trade exhibitions advertising products and services to the masses. Whittenbury’s series of quirky Christmas mail posters for the Post Masters General Office, now known as Australia Post, were displayed in post offices across Australia. He had a wealth of experience in the field, having worked as an illustrator, graphic designer, cartoonist, and mechanical draftsman for the RAAF in Laverton and then Victoria Barracks, and also taking out a qualification in Advertising Art from RMIT in 1961, prior to joining the PMG. Ann Carew, 2017 australia post, christmas, rmit design archives

The Artist in Residence program enabled research of the Museum's collection of artefacts relating to 11th Battalion AIF. Access was provided to the behind the scenes storerooms of uniforms, banners, photographs, artefacts and diaries. Michele summarised her experience with the project as follows: "It was an interesting experience and a topic I would not probably have considered had I not been asked. The mixture of history and the people who lived through these times has been an absorbing and rewarding journey for my art practice."Mixed media / textile art from Department of Culture and the Arts, Artist in Residence program 2015 by Michele Eastwood. The hand knitted sleeveless jumper in the Museum, made by Sergeant John Ellwood Rudd of the 48th Battalion was the inspiration behind this work. With great ingenuity John Rudd unwound the knitted socks sent by the women back home. Creating knitting needles fashioned from the barbed wire surrounding the POW camp he was incarcerated in, he knitted a jumper to help him through the freezing winters of Germany in the First World War. Original artefact was inspiration for this artistic interpretation.

Sister Ellen Anderson is the Supervisor of the Royal District Nursing Service, (RDNS) Footscray Centre. She is wearing her RDNS uniform of a short sleeve white blouse under a royal blue V neck tunic style dress. Sr. Anderson is showing two Student nurses from Western General Hospital the map with the areas covered by Footscray Centre. The map had different colour pins to identify streets where patients lived who were currently receiving nursing care from RDNS Sisters working in these areas (districts).During their training, Student nurses from several hospitals either attended the Royal District Nursing Service (RDNS), Education Department, or, a RDNS Nurse Educator travelled to the appropriate hospital’s Education Department to educate the Trainees on District nursing through the RDNS Community Nursing Program. Following the lectures Students went to a RDNS Centre and each Student accompanied a Trained nurse (Sister) for a week observing and gaining knowledge of all facets of nursing care in the home. This gave them an insight into the home conditions and situations patients faced after discharge from hospital. During 1971 there were 584 Student nurses who received field experience with RDNS. From its inception as Melbourne District Nursing Society (MDNS), in 1885, their Trained nurses (Nurses) worked in specific areas, 'districts'. The first Nurse worked east and west, between Victoria Parade and Flinders Street and, north and south, between Spencer Street and Spring Street. When a second Nurse was employed they divided this area at Elizabeth Street so each Nurse could attend to patients in the same area giving continuity of care. As the Society expanded, becoming Melbourne District Nursing Service, then, with Royal patronage, Royal District Nursing Service (RDNS) many Centres were opened throughout the Melbourne Metropolitan area and outer suburbs. The District nurse's areas (districts) grew and were divided within Shire boundaries for e.g. Knox 1, Knox 2, Knox 3, Knox 4, within the area of the Shire of Knox. A map covering the Centre’s Districts was attached to a wall, and its different colour pins identified streets where patients lived who were currently receiving nursing care from the RDNS Trained nurses (Sisters) working in these areas (districts).On the left of this black and white photograph is Royal District Nursing Service (RDNS), Sister Ellen Anderson, who has short dark curly hair and is wearing her RDNS uniform of a short sleeve white blouse under a dark V neck tunic style frock. She is standing side-on, towards the right of the photograph, and with her left hand is pointing to an area on a large map attached to the wall in the background. To her right, is a Student nurse who is facing Sr. Anderson, and looking at the area on the map. Under her white nurses cap, she has her long dark hair drawn back, and is wearing her hospital uniform of a short sleeve checked dress with white collar and cuffs; a nursing watch is attached to its upper left; her hands are clasped in front of her. To her right, is a male Student nurse who has collar length straight dark hair, and is wearing white trousers and a short sleeve white top with pens in the left upper pocket. He is looking at the areas on the map.. Barry Sutton MA 77 informationroyal district nursing service, rdns, rdns education, rdns centre, rdns district map, sister ellen anderson

The photograph is taken at Western General Hospital. Royal District Nursing Service (RDNS) Nurse Educator, Sister Nan Deakin, after teaching the RDNS Community Nursing Education program to the Western General's two Student nurses is introducing them to Sister Ellen Anderson, Supervisor of the RDNS Footscray Centre. Sr. Anderson will arrange for the Students to go on District nursing visits with RDNS Trained nurses (Sisters) from Footscray Centre who administer nursing care in the community. Sister Deakin is wearing the RDNS winter uniform of a blue/grey skivvie under a blue/grey V neck tunic style frock made of herringbone winter material. Sister Anderson is wearing the RDNS summer uniform of a white short sleeve blouse under a royal blue V neck tunic style frock. The RDNS logo is seen on the upper left on both uniforms.During their training, Student nurses from several hospitals either attended the Royal District Nursing Service (RDNS), Education Department, or, a RDNS Nurse Educator travelled to the appropriate hospital’s Education Department to educate the Trainees on District nursing through the RDNS Community Nursing Program. Following the lectures Students went to an RDNS Centre and each Student accompanied a Trained nurse (Sister) for a week observing and gaining knowledge of all facets of nursing care in the home. This gave them an insight into the home conditions and situations patients faced after discharge from hospital. During 1971 there were 584 student nurses who received field experience with RDNS. From its inception as Melbourne District Nursing Society (MDNS), in 1885, their Trained nurses (Nurses) worked in specific areas, 'districts'. The first Nurse worked east and west, between Victoria Parade and Flinders Street and, north and south, between Spencer Street and Spring Street. When a second Nurse was employed they divided this area at Elizabeth Street so each Nurse could attend to patients in the same area giving continuity of care. As the Society expanded, becoming Melbourne District Nursing Service, then, with Royal patronage, Royal District Nursing Service (RDNS) many Centres were opened throughout the Melbourne Metropolitan area and outer suburbs. The District nurse's areas (districts) grew and were divided within Shire boundaries for e.g. Knox 1, Knox 2, Knox 3, Knox 4, within the area of the Shire of Knox. A map covering the Centre’s Districts was attached to a wall, and its different colour pins identified streets where patients lived who were currently receiving nursing care from the RDNS Trained nurses (Sisters) working in these areas (districts).On the far left of this black and white photograph is a male Student nurse, who has collar length, straight dark hair. He is wearing his hospital uniform of white trousers and top. To his right, is a Student nurse who is wearing her white nursing cap, with motif in the centre front, over her long drawn back dark hair. and her short sleeve uniform checked frock, with white two breasted buttons down it, and with white collar and cuffs. A nursing watch is attached to its upper left. Both are standing in the dark framed doorway of a room and are looking to the right and smiling at Royal District Nursing Service (RDNS), Nurse Educator, Sister Nan Deakin. She has short dark hair; is wearing glasses, and is wearing her RDNS uniform of a light grey skivvie under a darker V neck tunic style frock. To the right of her, is RDNS Sister Ellen Anderson who has short curly dark hair and is wearing her RDNS uniform of a white short sleeve blouse, under a dark V neck tunic style frock. They are standing side-on facing the Students. Barry Sutton MA 78royal district nursing service, rdns, rdns education, western general hospital students, sister nan deakin, sister ellen anderson

First hand account by Arthur Woodley of his time with Melbourne Legacy as a Junior Legatee and its influence on his life. He was a boy that stayed at the children's home, Holmbush in the 1940s. It has a foreword written by Legatee F H Wood who was involved with the residences committee. The introduction says the purpose of the following story, written in plain simple terms, is to put on record for Legacy, the life, times, achievements, and experiences of just one grateful Junior Legatee.An authentic description of what it was like to be a Junior Legatee in a Melbourne Legacy residence, exemplifying the work of Melbourne Legacy in the 1940s.White A4 with black type x 26 pages and an A5 handwritten memo on Melbourne Legacy letterhead.JL 13, Box 10, Arthur Woodley Author, Nov 1990residences, junior legatee, holmbush, arthur woodley

Application by Mr Frederick R Killey in February 1943 for the position of Manager of the Legacy Club Hostel. It lists his experience as 16 years teaching and missionary work in India in charge of an orphanage. He was rejected from military service in WWI due to defective eyesight and points out he has a badge issued to him at the time stating he was rejected on medical grounds. The note in red ink shows the application was unsuitable. Legacy had a preference for providing positions to ex=servicemen when possible. Holmbush was the first children's residence operated by Melbourne Legacy it was renamed Blamey House when the first Blamey House was sold. Melbourne Legacy ran three residences: Blamey House (purchased 1947) , Stanhope (purchased 1945) and Harelands (purchased 1950), to take care of children whose fathers were servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself. Harelands accommodated boys and girls under the age of 14, Blamey House looked after boys over 14, and Stanhope looked after girls over 14. The children were cared for until they were old enough to become independent.A record of written correspondence regarding job applications in 1943.Letter written by Mr Killey in 1943 applying for a position at Holmbush on white notepaper, black ink handwriting, two hole punched.Handwritten "Considered by Doug and self. Does not seem suitable. Not a returned man" in red ink.residences, holmbush, holmbush administration

A postcard to the Comradeship Committee when a Legatee was travelling in France. The postcard was addressed to the Legatee Chairman of the Comradeship Committee. Dated 3 Feb 1983. It is signed GRIFF, it says: The French experience I should have had years ago. I am in the DORDONGE after spending some days at LA ROCHELLE on the Atlantic coast. The provincial French are courteous, generous, helpful and so elegant. Work I did with my French mistress at the Wesley Church has paid great dividends although today may be tough. I give 40 children (aged 10-14) their first ever Scottish Country dance lesson. The goose hatched in March lives a normal farmyard life till October, then it is force fed for three weeks and then 'WHAM' and PATE. Next meeting at Norton - France! Best wishes to all - GRIFF.A record of a Legatee travelling and relating experiences back to his comrades in Melbourne.Colour postcard of a Frenchman.Printed "Le Gaveur D'oies." French postage stamps. Handwritten text in blue pen.comradeship, legatee

Demonstrates aspects of the Ballarat Tramways fare system at the time of the one man trams, tokens which could be pre purchased by travellers and save time when boarding trams. See notes on file re these eg Reg Item 1801.Fare token- 2d - 21mm diameter - green celluloid - with "B.E.T." in large capitals on front centre of token and words "Ballarat Electric Tramways 1913" on circumference. On reverse in large font "2" and a small font "D" at top of the two - indicating token had a value of two pence. Extract from A. Bradley "The Golden City and its Tramways" about tokens and why. "The ESCo worked out its procedures from its own experience. A "pay as you enter" system was used on city-bound cars, and a "pay as you leave" system on outward-bound cars. On Sundays during busy periods this was reversed on the Gardens lines, but conductors were still required on this line to cope with the heavy summer holiday traffic. Trams 1 to 18 were altered by altering the end seating, placing gates on doorways and "pay as you enter" and "pay as you leave" signs. Once on board, passengers paid their coins into a farebox mounted behind the driver, which was fitted with glass windows and mirrors to enable the driver to see the coins slide into the box - a form of "moral check on passengers". Regular passengers could buy pink or green celluloid tokens at a discount price, to save the motorman having to issue tickets and give change." Stopped being in use in 1921, see Reg Item 1801.1 and 1802. Place of manufacture not known. For other 2d token see Reg. Item 1943 and 2488 page 31. See Reg. Item 2514 for H.P. James notes on the token system. 1794.1 - added 18/4/2009 - donation of Lyall Denning Related documents provides some information on the value of the items. eBay sale 15/10/2006 $20 - eBay slip with worksheet - see related items.trams, tramways, tickets, tokens, esco, one man trams

Newspaper clipping contained within Reg. Item 1650, page 20, from the Courier 4/1/1994, heritage column written by Lorrie Brown on memories of former tram driver David Kellett. Headline has name spelt with one t, rest of item, double t's. Item describes David's life and experience with the trams, and accidents, conductors, Sebastopol. Has photo of a stop work meeting in front of the Wendouree Parade depot in which David is identified and a photo of David Kellett and Frank Scruse and two visitors from Adelaide in front of a tram. See Reg Item 7139 for a layout of the men names, 7140.1 for a digital image of the original photo and 7140.2 for a marked up copy of the photograph. See Reg item 7144 for an digital image of the original of the photograph featuring the two Adelaide visitors.dave kellett, heritage, stop work, accidents