CRTS students "C" Course Nov 1947. Provenance T.H. Kneen. Appears to have been used for a display.Handwritten on reverse, "Valerie Sloane (sic)CRTS "C" Course Nov 1947." Faint stamp, "Australian Official Photograph…? Information."valerie sloane, crts, students, trainees, commonwealth reconstruction training scheme

Note by E.B. Littlejohn and T.H. Kneen, 1991, "Fruit pruning day held annually on the first Saturday in July always attracted large attendance (up to 2,500). Displays mounted in Hall." EBL. "Photo on display at top left includes students with Lecturer R.G. Luff (60-61) (now Director of V.C.A.H.)." THKDisplay Board with photographs and pamphlets.On reverse, "Photograph by Publicity Branch Department Of Agriculture Ref. No. D.144.C."pruning day, students, lecturer, r.g. luff, courses

Harry and brother Les completed certificate courses. They were sons of the head teacher at Dromana State School where E.B. Littlejohn began school. Harry subsequently farmend in Western Australia and Les at Redhill, Vic. E.B. Littlejohn.Students P. Haines and H. Wiseman (1928) Beside PondsOn reverse, "Peggy Haines and Harry Wiseman 1927, E. Chalmers 29 Macleod Pde. Macleod."ella chalmers (née fry), peggy haines, harry wiseman, 1927, les wiseman, students, certificate courses, dromana state school, e.b. littlejohn, luffmann ponds

Jan FEDER ( - 1981) Jan Feder is an alumna of Federation University having studied ceramics at the Gippsland Institute of Advanced Education (now Federation Univesity Gippsland campus). Jan Feder was respected by all students for her diligence and technical ability. Her tragic death in 1981 evoked an immediate response from her peers for a memorial. Students discussed a number of memorial options, such as funds for equipment, scholarships and awards. The decision to commence a collection was made based on the idea that all future students culd benefit from the availability of a collection, whereas only a very few individuals could benefit from a scholarship. Students immediately set about raising money by selling 'seconds' called 'Junque Sales'. a total of $760.00 was raised and the first two works purchased were by Victor Greenaway and Victoria Howlett. Ceramic works were purchased from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Gippsland Campus. The Artist in Residendence Program assisted the collection, with many resident artists conrtibuting to the Collection (ie Robin Welch, Anna Zamorska, Sandy Brown), as well as international guests. Ceramic events such as 'Strzelecki Spotkanie 1984' and 'Woodfire 86' also resulted on major contributions to the collection. Three lidded pots by Jan Feder made in 1981.jan feder, jan feder memorial ceramics collection, ceramics, gippsland campus, alumni, casserole

Jan FEDER Born Barmera, South Australia Jan Feder was a student at the Gippsland Centre of Art and Design in the 1980s. She had started studying ceramics in Adelaide, deciding to continue here study at Churchill under Hedley Potts' tutelage after moving to Strezlecki. In her final year Jan was an on-campus weekday resident to save on the travel time. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. A group of ceramic vessels by Jan Feder, an alumna of the Gippsland Centre for Art and Design (GCAD). After her death in the mid 1980s her student peers amassed funds to create a memorial collection. jan feder, jan feder memorial ceramics collection, gippsland campus, alumni, ceramics

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

Ino KIYOSHI (1 (1946-28/09/2008) ) Born Kyoto, Japan Kiyoshi Ino was born into a family that has been involved in the production of pottery for some 160 years. He working towards a Diploma of Ceramic Arta at the Kyoto School of Arts and Crafts, which he completed in 1969. He then attended the Kyoto Technical School for a post-graduate course in glazing, and was laer appointed lecturer in Ceramics at the Kyoto Technical School. After completing a study tour of China and Taiwan, Ino was one of a group of Japanese potters that travelled to Australia from the 1970s onwards following in the footsteps of the famous Japanese potter, Shoji Hamada who Kyoshi visited in 1965. Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga. Between 1974 and 1976 Kyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, returning there as Assistant to the Senior Lecturer in Ceramics in 1979. He left Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established.Glazed vesseljan feder memorial ceramics collection, staffmember, ceramics, yinnar art resource collective, ino kiyoshi

E.E. Pescott no longer Principal in 1927, did part-time teaching at Burnley Horticultural College. Had a strong interest in native flora. Excursion to Boronia probably to study flora under EEP's guidance. Such excursions were a feature of the Certificate Course. eg. Ringwood, Heathmont, Greensborough, Frankston-Langwarren, Beaumaris ones under Charles French Jnr, Bill Nicholl and myself." E.B. Littlejohn.Collection of photographs donated 1991. (1) "First outing with hair up." "Burnley H.S. Boronia picnic 1927." (2) "Mr. E.E. Pescott? At Boronia-1927." (3) Lunch at Boronia as newspaper clip 1927 E. Chalmers." See paper catalogue for more details and also catalogued with different ID numbers.boronia, picnic, 1927, e.e. pescott, ella chalmers (née fry), principal, burnley horticultural college

Insects had to be collected, killed and mounted in hand made wooden boxes. Donated by Joanne Morris (1973) in June 2014.A student's Insect Collection, part of Entomology course. Digitised only: see Artefacts.students, insect collection, entomology course, joanne morris

Various Photographs donated by Mary-Anne Connors in 2006 after the death of her mother MaryMary Connors (nee Lee). 1. Photocopy of a photograph at her graduation in 1953. 2. Photograph in The Argus July 16, 1953 with caption, "Mary Lee looks business-like as she prunes a pear tree at Burnley. Fruit growing is included in the course." Various Photographs donated by Mary-Anne Connors in 2006 after her death, including newspaper article, "Call of the outdoors: Girls with 'Green Fingers', Careers for Girls." in The Argus July 16, 1953 p.16.mary connors ( lee), graduation, 1953, mary-anne connors, newspaper articles, nursery catalogues, british botanists, john gilmour, certificate of competency, careers for girls

First Graduation Ceremony of Commonwealth Reconstruction Training Scheme Students. Note by T.H. Kneen 13 May 1992, "The occasion was the graduation of the C.R.T.S. students, August 1948, who had undertaken the two-year course for the Certificate of Competency in Horticulture. They commenced training in Oct 1946. The course was shortened slightly." (Names of students are in paper catalogue.)Black and white photograph. First Graduation Ceremony of Commonwealth Reconstruction Training Scheme Students 1948. Student seated on chairs on the lawn with a staff seated on chairs in front of them. T. H. Kneen, Principal, standing addressing them.graduation ceremony, commonwealth reconstruction training scheme, students, c.r.t.s., 1948, certificate of competency in horticulture, staff, t. h. kneen, publicity

Colour photograph of black and white photograph. Aerial View of Burnley Campus. Enlargement. Shows position of Campus in bend of Yarra River after alterations to the position of the river due to building of Freeway, new ovals and Richmond Public Golf Course.burnley campus, aerial view, yarra river, richmond public golf course

Freeway was not begun until 1968.Black and white photographs. Aerial View of Burnley Campus. (B) Original of (A). Enlargement (C) Laminated copy(A) Inscribed on reverse, "South Eastern Freeway 9.7.63 R22.024.439." (C) Paper attachment: The Burnley College Portion of Richmond Park in 1972. Swan Street Takes Its Familiar Route. The Boulevard Has Been Constructed. The Golf Course is in Place. The Series of Parallel Buildings Along the Railway Line at the Bottom of the Photo Are the Poultry Sheds Used For Egg-Laying Competitions. Burnley Sidings Were Still to be Built. In the Mid-1990's Much of the Western Portion of the College Grounds/Richmond Park Was Sold.burnley campus, aerial view, south eastern freeway, richmond park, swan street, yarra boulevard, richmond golf course, poultry sheds

horticulture, awards, vcah

swan street entrance, students, d r anderson, a l harris, e l ryan