Reproduced 1991 in "They Can Carry Me Out"Black and white photo taken 1989 by 'Viva', an artist from the Mission Arts Centre: unknown beach-goer with dog, at foot of southern stairway to Centenary BridgeOn back: 'Viva' in green ink, '46.5% in blue pencilengineering - bridges, centenary bridge, viva - artist

A journey through 10 decades including time lines, citizens of the century, communities, sport, schools, transport and industry. Pictures from Shepparton, Murchison, Mooroopna, Tatura and Merrigum.Selections from Shepparton News depicting 100 years. Wes Shellie, son of Carmel and Peter Shellie, is the newsboy on front page, created by artist Andrea Demay.

Pupils at Princess Elizabeth Junior School for deaf children were encouraged to take part in construction of the new courtyard, in conjunction with sculptor and artist-in-residence Michael Chanter.Pupils at Princess Elizabeth Junior School for deaf children were encouraged to take part in construction of the new courtyard, in conjunction with sculptor and artist-in-residence Michael Chanter.princess elizabeth junior school, burwood, chanter, michael

Frank Busam grew first stone fruit in Tatura. Photograph given to Museum by Cr. Kevin Walker.Original sepia photograph of Frank Busamon back: Free & Son. Photographic Artists. Eastern Market, Bourke Street, 22 Greville Street Prahan.frank busam

As above, this is the 71st in the second numbered series of the Miegunyah Volumes. Note from the donor frontispiece."Voyage and Landfall - the Art of Jan Senberg" by Brian McCaughey - a hardback 215 page book 2006. Donated by Mayor Janet Bolitho because the artist worked in Bay St Port Melbourne 1979 - 1981 (pages 57 to 78) and some of his works are in the Port Phillip City Collection. Bound in black linen: dust cover with painting in blues on front, B&W photo of artist on the rear.arts and entertainment - visual arts, jan senberg, patrick mccaughey, painting

Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu