Digital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencygeorge coop collection, ararat locomotive shed, r-class steam locomotive, graffiti, r-750

graffiti, cupboard, ballarat school of mines, old chemistry building, honour roll, e. fidge, j. wesley, c.a. schache, h. smith, j. martin, r. valentine, john dulfer, f. larrey, w. walker, b. shellard, j. elsworth

The aqueduct crossing the Plenty River, 2019, overgrown with vegetation. Originally part of the Maroondah Aqueduct pipeline, all that remains is the bridge that once carried the pipe over the Plenty River. This photograph was taken from the Plenty River Trail in Greensborough. 3 colour digital photographsplenty river trail, maroondah pipetrack, maroondah aqueduct, plenty river, graffiti

Photograph of sign that appears to have been painted on rocky hill side of road' It states "THERES NO PLACE LIKE HOME - SOUND YOUR HR & YOU WILL GET THERE"g.o.r: early example of roadside graffiti

The article is about repeated vandalism and racial abuse at the Diamond Village shopping centre.Vandals were targeting the Diamond Village shopping centre with racial taunts, graffiti and attempting to break into shops. The article highlights the lack of evidence to give the police due to a reluctance to install outside security cameras.A half page featuring a colour photograph.Nilracial abuse, greensborough, diamond village shopping centre, vandlism, police numbers

The hungry battle between meat lovers and vegans has fired up again, with a new slogan appearing on the fence at Andrew Yandell Reserve.News article 1 page, black text, colour image.andrew yandell reserve, greensborough, graffiti, banyule council, yandell reserve

Shire of Eltham Archives Series 13, Photograph Album, 1985. Originally contained in a 2-ring PVC binder and document sleevesColour photographseries 13, shire of eltham archives, eltham common, graffiti, panther place, shillinglaw cottage

Avenue of Honour trees on Main Road below Brougham Street, Eltham A sign on a severely pruned tree reads: "Who raped this virgin tree". The sign is indicative of local anger at the pruning, 1969Photocopy of photographeltham, avenue of honour, 1969, brougham street, main road, protests, roads, streets, vandalism, graffiti

The Royal Commission into Institutional Responses to Child Sexual Abuse is investigating how institutions like schools, churches, sports clubs and government organisations have responded to allegations and instances of child sexual abuse. It is the job of the Royal Commission to uncover where systems have failed to protect children so it can make recommendations on how to improve laws, policies and practices. The Royal Commission is about creating a safer future for children. It can look at any private, public or non-government organisation that is, or was in the past, involved with children. This includes where an organisation caring for a child is responsible for the abuse or for not responding appropriately, regardless of where or when the abuse took place.(http://www.childabuseroyalcommission.gov.au/about-us, accessed 30/05/2015)A number of colour photographs that show chalk grafitti drawn onto the steps and paving outside the Ballarat Law Courts during the May 2015 sitting of the Royal Commission into Institutional Responses to Child Sexual Abuse.ballarat, ballarat law courts, royal commission into institutional responses to child sexual abuse, graffiti

A finalist in the Shire of Eltham Art Awards in 1985. Born in Harrow, England, Graham Fransella studied at the Bradford School of Art, Yorkshire. He came to Australia in 1975. Graham Fransella lives and works in Melbourne and is represented by galleries across Australia.Fransella is an artist (printmaker) of national significance. “A feature of Fransella’s art is that it has an immediate visual simplicity, sometimes possessing the lucidity of graffiti-like directness, but this is attained through the most complex and intricate means. The surface on which he works is the arena in which he performs with an endless layering of marks, surfaces and signs. It seems that he surrenders to an intuitive process, one in which chance serves as an active collaborator. Ultimately his practice engages with the theory of the artist’s subconscious being allowed unbridled freedom of expression.” Sasha Grishin AM FAHA, in 'Gorgeous simplicity in signature themes: Graham Fransella', Sydney Morning Herald, April 5, 2014This etching depicts a busy and carefree day at the beach in bright colours of red and blue. The figures are drawn with spontaneity and simplicity, which is characteristic of Fransella's style. Figures are positioned in states of relaxation or bounce around beach scenes in joyful exuberance. eltham art award, etching, print, beach, figures

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Painted using acrylics, ink and charcoal on canvas. This abstract image features what looks like two figures merged into one against a red background with sprays of black paint. liza posar, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, graffiti

With a career spanning over 30 years as a painter, Stieg Persson is a well known figure within the Australian and international art world. Persson’s work is celebrated for his distinct (yet eclectic) style, which consists of elements associated with abstraction, figuration and decorative art, as well as the artist’s deeply intellectual interrogation of Australian culture and society. In this work titled, Duck and quail eggs, Italian herbs, Persson reflects on contemporary parallels in changes of taste and the desire for decadence as a political and social drive. Inspired by Brighton’s iconic Church and Bay Streets, the artist addresses the social currency of luxury and high-end cuisine by depicting rococo style blackboards which offer the latest in fine dining, alcohol, exercise classes, skin treatments and lavish linens. Persson is presenting a subtle critique of the contemporary obsession with food; as contemporary society places greater significance on the connoisseurship of eating, it does so in lieu of engagement with culture as it is traditionally conceived (music, theatre, literature and art).oil on linenstieg persson, brighton, signage, graffiti, food, chalkboard, bayside, painting

Article about increase in vandalism to houses and shops in Greensborough in 1985Newsprint, black text greensborough, graffiti vandals, vandalism, greensborough police

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.