A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

904p., Illus., (some col.)non-fictionIncludes results of major golf championships, an outline of the 1994 season, a who's who of golf and a guide to clubs and courses in Great Britain and Europe.golf - rules, golf - handbooks

Time is an abstraction, a filing system used to arrange events and memories into a logical system of cause and effect. This new print was created with images arranged from drawings made while sitting by paths near nature, creeks and overlapping streets. I am a local artist and illustrator with a history of drawing, painting and printmaking.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

fictionBasic training at Puckapunyal: Victimization. Bastardisation. He keeps a diary of the mishaps and misdeeds of an Army which loathes its men.vietnam war, 1961-1975 - fiction, peter turner, michael frazer, australian national serviceman

fictionBasic training at Puckapunyal: Victimization. Bastardisation. He keeps a diary of the mishaps and misdeeds of an Army which loathes its men.vietnam war, 1961-1975 - fiction, michael frazer, australian national serviceman

index, ill, maps, p.40.non-fictionAn illustrated history narrative of Victorian Railways line from Bungaree to the Bungaree Racecourse near Ballarat.railroad construction - victoria - history, railways - bungaree racecourse - history

index, ill, maps, p.87.non-fictionAn illustrated history narrative of Victorian Railways line from Lal Lal to the Lal Lal Racecourse near Ballarat.railroad construction - victoria - history, railways - lal lal racecourse - history

Flyers of Time by Kevin O'Reilly; 400 pages with B/W illustrationsnon-fictionThis publication is a collection of aviation reportings and memorabilia of pioneer aviation in country Victoria and the Riverina. It contains records and photographs from 1910 to 1960, covering both World War periods and the efforts of those who struggled and endeavoured to introduce aviation as a viable method of transport and enjoyment for all. wwii, raaf base, nhill - aviation - history, western victoria, aerospace & air transport industries

Yet even now, few Australians know all the facts underlying their government's decision to become involved in the Vietnam conflict.vietnamese conflict , 1961-1975 - australia

For many years it was widely accepted that American political and diplomatic pressure was the reason for Australia's entry into the Vietnam War. However, top secret documents from the period indicate that: Australia had volunteered the use ofcombat troops some time before the decision was announced in April 1965.vietnamese conflict , 1961-1975 - australia, australian government

No American can know too much about the Vietnam War and its effects on our culture.vietnamese conflict, 1961-1975 - united states

ill, maps, p.56.non-fictionA photographic profile by Neville Gee of the Victorian country branch lines to Wahgunyah, Peechelba East, Oaklands, Katamatite, & Cobram.railroads - victoria - pictorial works, photography - neville gee

ill, maps, p.56.non-fictionA photographic profile by Neville Gee of the Victorian country branch lines to Tocumwal, Picola, Girgarre, Colbinabbin, Heathcote, Lancefield.railroads - victoria - pictorial works, photography - neville gee

ill, maps, p.56.non-fictionA photographic profile by Neville Gee of the Victorian country branch lines to Newlyn, Ballarat Racecourse, Waubra & Skipton.railroads - victoria - pictorial works, photography - neville gee

ill, maps, p.56.non-fictionA photographic profile by Neville Gee of the Victorian country branch lines to Toolamba-Echuca cross-country line, Deniliquin (NSW), Balranald (NSW) & Cohuna.photography - neville gee, railroads -- australia -- trains -- pictorial works

On 30 April 1975, as American diplomats and Mrines were being hastily lifted off the roof of the American embassy in Saigon into helicopters under heavy enemy fire, an era in American foreign policy was ignominiously coming to an end.vietnamese conflict, 1961-1975 - united states, united states - foreign relations - 1945 -, saigon, us marines, american diplomats

Ill, p.48.non-fictionA photographic profile of the Tasmanian Government Railways between 1950 & the 1970s.railroads - tasmania - history, railroads - tasmania - pictorial works

JAMES MICHAEL HEFFERNAN WAS A VOLUNTEER FIREMAN IN CLUNES FIRE BRIGADE, HE MARRIED JEAN ROBERTS IN CLUNES 14.12.1935. OCCUPATION WOOD CUTTER.BLACK AND WHITE PHOTOGRAPH OF JAMES MICHAEL HEFFERNAN BORN COGHILLS CREEK. 31.7.1910. DIED IN GEELONG 30.10.1978. PHOTOGRAPH SHOWS J. M. HEFFERNAN WEARING CLUNES FIRE BRIGADE UNIFORM IN 1927 AGED 17 YEARS.photography, fire brigade, james michael heffernan

George Shirling arrived in Falls Creek in 1962. He engaged Phil Nowell to build the original Koki Alpine Lodge which opened in 1965 with 14 beds. George operated the lodge with Michael “Baldy” Blackwell as manager. He also graduated in sport psychology in 1981 and was invited to become team psychologist for the Australian Winter Olympic team which went to Albertville, France, in 1992. He later owned the Red Onion Chalet. George credited the success of Koki to “Baldy” Blackwell. “Baldy” and Phil Nowell started the Trackers Mountain Lodge in partnership during the 1980s. In 1971 George sold Koki Lodge to Sigh Doerr. In 2024 the renamed Koki Alpine resort remains a highly popular destination in Falls Creek operated by Doerr Nominees Pty. Ltd. under the management of Vesna Sugden. George Shirling passed away in March 2023. He had remained actively involved in Falls Creek and was generous with his time and knowledge, always an amazing supporter of The Falls Creek Museum and Falls Creek Village.This photo is significant because it captures an image of two pioneers of pioneers and active members of Falls Creek Village.A black and white image of George Shirling and Michael "Baldy" Blackwell on the Koki Skidoo,On the front of the skidoo: Koki Alpine Lodgegeorge shirling, koki lodge

The Kelly family lived at 'Norwood', 103 Wills St. Bendigo. Whole family buried together in Bendigo Cemetery. Michael Peter Kelly bd. 23.9.1929 MON H4. Margaret Jane Kelly wife of Michael Kelly died 25.8.1912. bd. 28.8.1912. Daughter Rita bd. 21.1.1898 Son Roy (Robert Dennis) Kelly died 22.9.1943 bd. 23.9.1943. Daughter Doris May Kelly bd. 19.1.1967 Daughter Madge Annie Kelly bd. 6.6.1963. No records found of a marriage for Roy, Doris or Madge. Michael P. Kelly was born in Galway, Ireland and died in 1929 aged 76. He had been in Victoria for 59 years. For 50 years he had been closely associated with Bendigo mining companies, and was a leading investor. He joined the Bendigo Stock Exchange in 1880, had been chairman of the exchange multiple times. Director of the Farmers & Citizens' Trustee Co. and of the Sandhurst Building Society. Refs: Obituary The Argus 24.9.1943. The Argus 23.9.1943 (obit. of Roy Kelly). National Archives WW1 enlistment records Robert Dennis Kelly Reg. No. 10874. TROVE Bendigonian 29.7.1915. Bendigo Advertiser 27 August 1912. Bendigo Advertiser 21.1.1898 and 22.5.1900. Bendigo Cemetery records.Photograph - black and white. Portrait of a man sitting on a chair, long bushy beard, receding hairline, wearing a watch chain, looks like a rectangle locket and a medallion both hanging from the chain. Wearing a ring on his left little finger. Written on the back of the photo, 'Michael Kelly, 103 Wills Street, Bendigo. Sharebroker'. See the book (in BHS Library) - Fighting for empire : an Irish doctor's adventures through imperial campaigns and two World Wars : the life and times of Thomas Bernard Kelly (1870-1949) - for family information and the life of Michael Kelly's younger brother. See Research field for further information on Michael Kelly.John Lay, Eaglehawkbusiness, stockbroker, kelly & allsop, photograph. michael kelly. sharebrokers - bendigo. stockbrokers - bendigo. sandhurst building society. farmers and citizens' trustee company. mining - bendigo. bendigo stock exchange.