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Geelong Cycling Club
Shield, Tilbury & Lewis Pty Ltd, 1978
This shield represents the Senior and Junior winners of the Geelong Cycling Club memorial trophy in the years 1978-1998.This shield represents the Senior and Junior winners of the Geelong Cycling Club memorial trophy in the years 1978-1998.Wooden shield with nickel plated plaques attached. Winners names engraved on the plaques dated from 1978-1998"TUNNIE SELLARS/MEMORIAL SENIOR-JUNIOR/Donated by the Sellars Family/1978 M Neagle/1979 Noel White/1980 Paul Robertson/1981 Brian Long/1982 Peter Wood/1983 Peter Wood/1984 Dale Bradford/1985 Lee Clinnick/1986 Brad Crane/1987 T McKenzie/1988 Brian Long/1989 Illegible/1990 Bob Searle/1991 Craig Dowling/1992 Steve Hosking/1993 S Moro/ 1994 Jason Farnell/1995 A Hutton/1996 Glenn Benson/1997 Barry Staggard/1998 Mathew Stewartgeelong cycling club; geelong west cycling club; sellars family; m neagle; noel white; 1980; paul robertson; brian long; peter wood; 1983; peter wood; dale bradford; lee clinnick; brad crane; t mckenzie; bob searle; craig dowling; steve hosking; s moro; jason farnell; a hutton; glenn benson; barry staggard; mathew stewart; -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 49, 1947
Staff group.Names listed on reverse, "Bill Nicholls, Cliff Newell, Frank Ellery, ?, Ted White, Jim Newell, Grace Fraser, Jack Plumridge, Jack Nowell, Bob Grant, Betty Williams, Bert Manners, Eric Littlejohn (absent), James Lesley, Jack Tarrant, Arnold Teese, Wm Ross, T. Kneen, Ray Harding."staff, bill nicholls, cliff newell, frank ellery, ted white, jim newell, grace fraser, jack plumridge, jack nowell, bob grant, betty williams, bert manners, eric littlejohn, james lesley, jack tarrant, arnold teese, wm ross, t. kneen, ray harding, e. m. gibson collection -
Vision Australia
Administrative record - Text, Minutes of the White Cane Day Committee 1984, 1984
Minutes of the sixth White Cane Day organising committee, chaired by Bryan Sitlington.25 pages of typed meeting minutes on white paperwhite cane day, bryan sitlington, val whitehead, harold gration, royal guide dogs for the blind association, royal victorian eye & ear hospital, ross johnstone, villa maria society, mark jones, camille wilkins, sue fraser, bob gregory, sue hardy, chris anderson, royal victorian institute for the blind, braille and talking book library, association for the blind -
Vision Australia
Letter - Text, [Various letters on White Cane Day 1990], 1990
Various letters of acknowledgement and support for White Cane Day in 1990, written by then Queensland Premier Wayne Goss, Australian Prime Minster Bob Hawke, Brisbane Lord Mayor Sallyanne Atkinson, Queensland White Cane Committee and a Media News release from RVIB,6 typed letters from various people and to the mediaroyal victorian institute for the blind, queensland white cane day committee, white cane day, wayne goss, bob hawke, sallyanne atkinson -
Surrey Hills Historical Society Collection
Photograph, Stan Smith c1916, 1916
Stan Smith, then of 3 Vincent Street, on his father’s horse in Mont Albert Road in about 1916. Mr Charles Smith was an insurance officer whose area was from Burke to Elgar Road; he used his phaeton for transport. Oral testimony - Stan Smith: “We had a stable for the horse near the house and a yard but we tethered the horse at the end of a long rope on paddocks in Empress Road- the area from Mont Albert Road to Guildford Road. We used to put in an iron peg. Some horses were tethered similarly in various paddocks but not a lot of people had horses by this time. A few cows grazed around them.” The picket fence on the left and the trees were those of ‘Monserrat’ – the Parer home, now entered from 26a Wandsworth Road as the Mont Albert Road frontage was sold off many years ago. A black and white photograph of a young boy on a horse. There are a number of well established trees in the background and a fence. The young boy is identified on the back of the small photograph as "Stan" on "Bob" the horse.On back of small photograph: "Stan on Bob / Mont Albert Rd / Surrey Hills 1916 / In front of / Mr Parers home"(mr) stan smith, vincent street, surrey hills, empress road, wandsworth road, house names, parer home, (mr) charles smith, 'monserrat' -
Albert Park-South Melbourne Rowing Club
Moore Sculling Machine
"Grace Blake’s conversations with older members of the Club have elicited the following information during July 2014: • Don Christie recalls the machine being acquired by (or donated to) SMRC in the 1960s. SMRC later donated it to APRC. • Bob Duncan remembers it being at APRC. • Max Shaw joined the club in 1946 but doesn’t recall it at all. • Peter Watson recalls collecting the rowing machine from the old APRC club house before its demolition (c. 1995). The AP-SMRC machine carries a ‘maker’s plate’ with the name Moore... Moore Crane and Engineering Company Pty Ltd was a subsidiary of Malcolm Moore Industries Ltd whose manufacturing engineering works were located on Williamstown Road, Port Melbourne from 1927. The founder established the main business in 1921 and retired in 1953.21 The business was delisted from the Australian Stock Exchange in 1976. Grace Blake advises that some of the earlier SMRC members were plumbers and therefore worked in trades connected with engineering. She reports that Peter Watson recalls some of his contemporaries completing their engineering apprenticeships at Malcolm Moore Industries Ltd in the 1970s. There are still many unanswered questions concerning the history and provenance of the rowing machine at the time of writing this report, but the connection with a local engineering works is certainly fascinating. Questions to explore in the future include: Did Moore manufacture the machine, or import it (and perhaps assemble it) under licence? Was this machine a ‘one-off’ or did Moore make / distribute others within Australia? When, why and how did SMRC acquire the machine? Why did SMRC decide not to retain it, but to pass it over to APRC? And how did APRC use it?" 2014 Significance Assessment, pp38-40. "The ‘Moore’ Rowing Machine at the Albert Park – South Melbourne Rowing Club (AP- SMRC) is a rare example in Australia of the Kerns patent design from 1900. This machine may not, however, be that old in construction or use. The AP-SMRC machine is almost intact, appearing to lack only the leather straps for fastening the rower’s feet to the foot-rests. Spalding manufactured the design in the USA in the early decades of the 20th century, but the metal elements in its models are traditionally black. The bright red paint on the AP-SMRC machine suggests something different. The AP-SMRC machine carries a maker’s plate that associates it directly with a local engineering business, Malcolm Moore Industries Ltd of Williamstown Road, Port Melbourne. Club members recall the machine being at the South Melbourne Rowing Club in the 1960s, and being transferred at a later date to the Albert Park Rowing Club. The machine has not been used since the founding of the amalgamated AP-SMRC and requires careful conservation. The ‘Moore’ rowing machine is of national research significance as a rare survivor, in Australia, of the well-regarded Kerns patent design that was popularised by Spalding in the northern hemisphere. The English River and Rowing Museum website quotes a testimonial from an AG Spalding & Bros’ Mail Order Catalogue: ‘This machine was described by ‘an experienced oarsman’ ... “to be the most perfect rowing machine ever produced”. A feature was the adjustment of the resistance so “the weaker sex can use the machine”’. Its historic significance lies in its rarity (and perhaps uniqueness) as an aid to the training of rowers at two successful clubs on Albert Park Lake. Additional historic significance lies in the connection that the rowing machine represents between local rowing clubs and a major local manufacturing engineer. The ‘Moore’ rowing machine bridges the realms of innovation and application, of industry and recreation, of land-based and aquatic sports, and of two neighbouring rowing clubs on the Albert Park Lake." 2014 Significance Assessment, p43"A rowing machine that appears to be built to the Kerns patent design from 1900 but may not be that old in construction or use. The machine is heavy and includes parts made from cast iron. The cast iron components are painted in a distinctive bright red. The wooden seat moves on timber slides. Resistance is created by spring mechanisms at the ends of two frame elements that connect with two wooden ‘oars’, and by the central chain-driven system that co-ordinates with the rower’s movements. The machine carries a maker’s plate with the single word ‘Moore’ in an oval design, using white letters against a navy background, fastened to the base board and close to the foot-rests." 2014 Significance Assessment, p38Moorerowing, apsm rowing club, significance assessment, malcolm moore industries ltd, kerns, 1900, sculling machine, albert park rowing club, south melbourne rowing club, albert park lake, rowing machine, ergo -
Tennis Australia
Photographic print, Circa 1958
Black and white photograph of male player playing on grass, possibly Bob Hewitt. Place and date unknown. Materials: Paper, Photographic emulsiontennis -
Tennis Australia
Photographic print, Circa 1960
... Black and white photograph of Bob Hewitt in action... Park Melbourne melbourne Photographic print Black and white ...Black and white photograph of Bob Hewitt in action. Handwriting on reverse. Materials: Paper, Photographic emulsiontennis -
Tatura Irrigation & Wartime Camps Museum
Photograph, The Baron Bob Bridge Fire Brigade, 1932
Fire Brigade entry in street procession, 1932, Tatura Back ToBlack and white photograph of horse and cart in procession. In photograph: The Baron Bob Brigade Fire Brigade -
Tatura Irrigation & Wartime Camps Museum
Photograph - copy, D. Clark, Bob Bird Chemist, 1920's original 1989 copies
Copy of Original photograph of Bob Bird, son of H. E. S. Bird, chemist Shepparton. Later had pharmacy in Hogan Street, Tatura (1933-1939) Trevor LaPeyre, who had learned pharmacy from H. E. S. Bird took over from E. G. Bird. Jan LaPeyre later married Marge Bird.Copy of Original photograph of Mr Bob Bird Chemist. c 1930's. Original L0336. Black and white copy and enlarged photograph of original.on back: Bob Bird, son of H. E. S. Bird, chemist of Shepparton bob bird, h. e. s. bird, trevor lapeyre, e. g. bird, jan lapeyre, marge bird, bird chemist shepparton -
Tatura Irrigation & Wartime Camps Museum
Photograph - copy, D. Clark, Tatura Football Team, 1989 copy
Tatura Football team names: J. Wilson, J. Bordett, E. Francis, E. Reddie, W. Anderson, Irv. Dick, J. Kennedy, J. Brady, E. Lockwood, A. Wells, Bob Culkin, J. Robbins, L. Cussen, J. Mulchay, E. Morris, F. Pogue, E. Mitchell, H. Byrne, S. Embling. seated - M. Brady, J. McKenna, T. Cowan, D. Anderson, J. Carmody, Jim Mulchay, J. Walsh. Secy Paul O'Toole.Black and white copy of photograph of Tatura Football Team.on back: Names of team, handwritten (see below)tatura football team -
Tatura Irrigation & Wartime Camps Museum
Photograph - original, N. R. McGeehan photographer, Tatura Fire Brigade, 1933 original
Original photograph of Tatura Fire Brigade members, possibly 1933. C. J. Mitchell, T. Hogan, N. Mitchell, K. Williams, E. Francis, R. Dick, B. Ough, Anderson, L. Brady, T. Layton, Captain Bob Barron, J. Whelpdale, J. Brady, M. Pritchard and E. Mitchell.Original. Black and white photograph of members of Tatura Fire Brigade, on early fire truck.on back: names of members (see below) -
Tatura Irrigation & Wartime Camps Museum
DVD, Interview given during a lecture tour aboard the MV Dawn Princess on HMAS Sydney, Jun-13
DVD inside white paper sleeve. DVD recording of interview given during a lecture tour aboard the MV Dawn Princess, June 2013, by Commodore Bob Trotter.'Gone but not forgotten'|HMAS Sydney Cruising June 2013; Commodore Bob Trotter OAMtatura, hmas sydney, kormoran, hsk kormoran, audio, visual, technology, accessory, military, history, navy -
Williamstown High School
Form 2B 1946
Copy of black and white photograph mounted on card.Form 2B - Williamstown High School 1946. Back row: Graham Thomas, Gordon Bird,Frank Ranger,Geoff Boyes, Richard Anthony,Leon Hopkins, Alan Chandler. Second row: Peter Machin, Alistair McLeman, Peter Constable, Bob Gerring, Milton Stone, George Pickering, Max Stephens, Norman Basford. Third row: Valda Welsford, Jean Grant, Pam Trask, Eileen Williamson, Audrey Sinclair, Norma Caple, Heather Neish, Shirley Hansen, Mr Tuck. Fourth row: Merle Valentine, Margaret Stubbs, Shirley Spicer, Carol Crowder, Loan Davis, Jean Spencer, Joyce Hickox. Front row: Ivan Nicholls, Kevin Neal, Ivan Quinn. Donated by Bob Gerring. 4th from left, second top row.williamstown high school, form 2b, 1946 -
Williamstown High School
Form IIIB 1947
Copy of black and white photograph mounted on board.WHS Form !!!B 1947. Copy donated by Bob Gerring, 3rd from right 3rd top row. Mr (Sarge) Kent.williamstown high school, 1947, class photographs, mr kent -
Williamstown High School
1946 Form 2C
Copy of a black and white photograph, laminated. We also have the original black and white photograph. It has been cut into three and re-stuck on card.Form 2C 1946 Don Jack, ?, Wally Gunn, ? Barry Walters, Bob Lane, Keith McDonald, Ron Willshire Graeme Stock, Ray Tresize, Bob Brent, Ray(/) Jamieson, George Picone, Roy McQuade, Charlie Williams, ? Elaine (?), Mavis Dunne, Eileen Bowes, Nola Strahehir, Valerie Maxwell, Norma Billington, Shirley Williams, Myra ?, Maureen Porter Alwynne Harris, Shirley Hall, Elaine ?, Netta McCallum, Shirley Carter, Norma Eden, Beth Crowder, Dawn Best, Marlene Edwards Stan Forbes, Don Orr, Alec Copeland Form Teacher: Mr Don McCullochwilliamstown high school, 1946, class photographs -
Williamstown High School
1949 - Football team
Black and white photograph of WHS football team of 1949, mounted on white card using photo corners. List of team members on back of paper.On back of paper: George Bird, Don Rogers, Rex Mulligan, Eric Liley, Peter Hearnden, Ron Henderson, Don Jack, Morrie Martin, Bob Kessner, Ray Smith, Ted Murby, Max Smith, Geoff Chandler, Raymon Brooke, Bruce Porter, Wilf Henderson (Staff), Harold Somers, Bill Godwin, Geoff Chandler (?), John McAsey (?), Russell Braddonwilliamstown high school, 1949, football team -
Koorie Heritage Trust
Book, Roberts, Janine P, Jack of Cape Grim : a Victorian adventure, 1986
Contents: The Tasmanians; Move the Tasmanians to Port Phillip; The Squatters; Melbourne Protected; Melbourne Aborigines Take Up the Gun; The Tasmanians Fight; The Trial; The Execution; The Sequel.Blurb: Jack of Cape Grim is a true story, set in Tasmania and Victoria in the mid1800s. Jack, an Aboriginal, and his friends, the famous Truganini (said, incorrectly, to be the 'last' Tasmanian Aborigine), Bob, Matilda and Fanny brought to Victoria from Tasmania to help'tame' the Victorian Aborigines. The group breaks away from Robinson, the Aboriginal Protector, to seek revenge for their fate, stranded far from homeland.The early white settlers of the Port Phillip District get more than they expected as the Aborigines rampage on the Peninsula, chased by trooper. The outcome is the horrific first public execution in the bustling town of Melbourne.123 p., [24] p. of plates : ill., facsims., maps, ports. ; 22 cm.Contents: The Tasmanians; Move the Tasmanians to Port Phillip; The Squatters; Melbourne Protected; Melbourne Aborigines Take Up the Gun; The Tasmanians Fight; The Trial; The Execution; The Sequel.Blurb: Jack of Cape Grim is a true story, set in Tasmania and Victoria in the mid1800s. Jack, an Aboriginal, and his friends, the famous Truganini (said, incorrectly, to be the 'last' Tasmanian Aborigine), Bob, Matilda and Fanny brought to Victoria from Tasmania to help'tame' the Victorian Aborigines. The group breaks away from Robinson, the Aboriginal Protector, to seek revenge for their fate, stranded far from homeland.The early white settlers of the Port Phillip District get more than they expected as the Aborigines rampage on the Peninsula, chased by trooper. The outcome is the horrific first public execution in the bustling town of Melbourne.truganini, 1812-1876. | aboriginal tasmanians -- treatment. | aboriginal tasmanians -- victoria -- treatment. | aboriginal tasmanians -- government relations. | aboriginal australians -- victoria -- government relations. | victoria -- history -- 1834-1851. -
Stawell Historical Society Inc
Photograph, Stawell Baptist Church Group
Stawell Baptist Church group c 1930's Back Row Charlie Carter, Ray Kingston, Alan Reeves, Ted Nikkelson, Bob Blachford, (hidden) Alex Robey, Ernhardt Schubert. Centre Row. Kyle Crossett, Gladys Crossett, Edith Gresswell, Dulcie Corrie, Florence Willy, Maisy Elliot, Phillis Morris, Front Row. Daisy Kennedy, Rev. N. s. Draper, Mrs. Draper, Win Lea. The original photograph belonged to Mr E. R. Nikkelson and taken at the time Rev. N.S. Draper was the minister. Black & White original photograph and copy of Stawell Baptist Church Group c 1930's stawell -
Tatura Irrigation & Wartime Camps Museum
Photograph, Rover Scouts Group c.1931
Rover Scouts Group c.1931. R. Canobie; Reg Louden; Reg Maskell; M. Crouch; Willis Phair; Re Jones (Leader); Len Williams; A. Hampton A.S.M.; Bob Veale; J. Milne.Black and white photograph of10 men in scouts uniform , with hats and stick in hand, standing behind a table with a white cloth which has a red cross on it.rover scouts, r canobie, reg lauden, reg maskell, m crouch, willis phair, r jones, len williams, a hampton a s m, bob veale, j milne, rover scouts group 1931 -
Victorian Aboriginal Corporation for Languages
Video, Richard Frankland, From Sand to Celluloid, 1996
A compilation of 6 short films by Aboriginal filmakers dramatising various aspects of Aboriginal life in white Australia. Touches on topics which include Black Deaths In Custody, family life, social interaction and social disadvantage, traditions and racial discrimination. No way to forget /? writer, director, Richard Frankland (11 min.) Fly Peewee fly /? writer, director, Sally Riley (10 min.) Round up /? writer, director, Rima Tamou (16 min.) Two bob mermaid /? writer, director, Darlene Johnson (15 min.) Payback /? writer, director, Warwick Thornton (10 min.) Black man down /? writer, co-producer, Sam Watson ; director, Bill McCrow (11 min.) No way to forget /? writer, director, Richard Frankland (11 min.).videocassetteindigenous filmmakers, richard frankland, darlene johnson, sally riley, rima tamou, warwick thornton, australian film institute, afi -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, M. Nelson, Social Outing 1956, 1956
Donated by Maureen A. Nelson (née Skuse) (1956), Springhurst. Social outing: J.A. Sargeant 1956, G.J. Kneen 1956, H.M. Wiltshire 1956, S. Schumacher 1956, R.A. Weller 1956, G.R. Muntz 1956, Y. Winterbottom 1957, Louise L. Rawsthorn 1957, J.R. Wall 1955, J.A. Care 1956, A.D. Werner 1956.(1) Handwritten on reverse, "Judy Sargeant, Graeme Kneen, 1956 Social Outing." (2) "Helen Wiltshire, Maureen Skuse." (3) "Susi Schumacher, Bob Weller." (4) "Susi Schumacher, Judy Sargeant, Helen Wiltshire, Barry Dangerfield, Louise Rawsthorn." (5) "Yvonne Winterbottom, Greame (sic) Muntz." (6) "L-R Mario Takasuki, Dick Wall, Don Marriott." (7) As (4). (8) "Helen Wiltshire." (9) "Ron Iromewan, Sandra McAlley." (10) "Jocelyn Care, Alan Werner." (11) "Judy Sargent (sic), Graeme Kneen." judy a. sargeant, graeme j. kneen, 1956, social outing, helen m. wiltshire, maureen a. nelson (née skuse), susi schumacher, robert a. weller, barry dangerfield, louise l. rawsthorn, yvonne winterbottom, greame (sic) r. muntz, mario takasuki, dick wall, don marriott, ron iromewan, sandra mcalley, jocelyn a. care, alan d. werner -
Port Fairy Historical Society Museum and Archives
Photograph
... Black and white photograph of Bob Powling as a boy dressed... and white photograph of Bob Powling as a boy dressed as a cowboy Bob ...Bob PowlingBlack and white photograph of Bob Powling as a boy dressed as a cowboyfamily, portrait, people, bob powling -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2008
1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology -
University of Melbourne, Burnley Campus Archives
Album - Black and white and colour prints and colour slides, Staff Photographs
Collection of photographs and slides. (1) Staff Christmas? Party. Beside tennis court and Eucalyptus citriodora. James Hitchmough,Ivo Dean, Greg Moore. (2) Staff party. Greg Moore, James Hitchmough, Phil Tulk. (3 James Hitchmough, Greg Moore. (4) Graduation Ceremony. David Aldous at lectern. (5) Graduation ceremony. Greg Moore, Barry Beardsley, R.G. "Bob" Luff, Dame Phyllis Frost. (6) Greg Moore. (7) Greg Moore, Roger Bailey, Jeff Connellan. (8) Graduation Ceremony. Barry Beardsley, Greg Moore. (9) Greg Moore. (10) Slide Greg Moore, Bob Luff. (11) Slide Greg Moore, Bob Luff.staff, christmas, xmas party, tennis court, eucalyptus, james hitchmough, ivo dean, greg moore, james hitchmough, phil tulk, graduation ceremony, david aldous, barry beardsley, r.g. luff, dame phyllis frost, roger bailey, jeff connellan, bob luff -
Victorian Aboriginal Corporation for Languages
DVD, Don Featherstone, Babakiueria : (Barbeque area), 2006
A satirical film about Aboriginal people's discovery of Australia and its white inhabitants. A critical and popular success, this 'reverse angle' probe into racial inequality in Australia has developed a cult following. It approaches its subject with humour but is no less effective for that - perhaps more so. Cast includes: Michelle Torres, Bob Maza, Cecily Polson, Tony Barry. Winner of the UN Media Peace Prize 1987.DVDindigenous australians, australian history, humour, satire, australian television -
Clunes Museum
Photograph
NO INFORMATION EXCEPT NAMES.SMALL OVAL PHOTOGRAPH OF MR. BOB YOUNG - STANDING AND THE FORMER MRS ELIZA DAVIES SITTING. MR. YOUNG WEARING HAT, TIE AND FIVE BUTTONED WAISTCOAT - MRS. DAVIES WEARING LARGE DECOATIVE HAT, WHITE JABBO AND DARK DRESS.local history, photography, photographs, early citizens -
Stawell Historical Society Inc
Photograph, Henry Bests Vineyard, early 1900's
Digital Photo taken from glass slide by Geoff McMillan, Cooper Street Stawell and reproduced as a photo - printed at Stawell Historical Society 2019Black & White Photo taken at Henry Best's Concongella vineyard, Great Western. Three men with grape presses. Bob Fisher is in the foreground with grape press.winery, wine making -
St Kilda Historical Society
Photograph, Harringtons, Luna Park, c. 1930s
Entrance to Luna Park undergoing renovations during the 1930s; a group of 8 young men in private school uniform in mounth area; Accompanying letter from Bob Scalesblack and white photograph, unmounted, original, fair conditionPrinted by Harringtons -
Uniting Church Archives - Synod of Victoria
Photograph
... Gloss, black and white image of Bob and Grace... Street Malvern East melbourne Photograph Gloss, black and white ...Gloss, black and white image of Bob and Grace with their children.coulson, b.