Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘View of the township of Golden Square’ : Views of Victoria (General Series) No.57 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘This Township is situated in the Bendigo district, on the road to Castlemaine, and although it is of little importance as a business town, is nevertheless of large importance in consequence of the great number of Quartz Reefs it contains. Almost every house is undermined, and large fortunes have been made by the proprietors. The Church in the distance is that of the Wesleyan body. It was in this township that gold was first discovered in the district of Bendigo.’nicholas caire (1837-1918), golden square (vic), bendigo (vic), gold mining, landscape photography - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘The boulders on the Erskine River’ : Views of Victoria (General Series) No.58 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘For a distance of several miles this river runs its course over a granite bed, and is interrupted frequently by immense Boulders, which causes the stream to be broken up into rivulets, pools, rapids, falls, cataracts, &c. Many of these massive blocks of granite weigh from 40 to 50 tons. In the mid-distance of the present illustration, several of these great blocks can be seen obstructing the river in its course.’nicholas caire (1837-1918), erskine river, lorne (vic), landscape photography - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Township of Lorne, and Loutitt Bay’ : Views of Victoria (General Series) No.60 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘Loutitt Bay is fast becoming one of the most fashionable Watering-places in Victoria, partly from its easy access by Rail, combined with the magnificent scenery to be found in the Cape Otway Ranges, and the very moderate charges of the houses of accommodation. The large house near the foreground is that of Mr. Mountjoy, which is a Restaurant. Duncan’s Hotel can be seen in the distance, on the brow of the hill.’nicholas caire (1837-1918), lorne (vic), duncan's hotel, loutitt bay, landscape photography - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Cumberland Creek, near Point Sturt’ : Views of Victoria (General Series) No.59 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The Cumberland Creek is so named from the close resemblance it bears to the place bearing that name in the mother country. The present illustration represents the precipices and hills which surround the Cumberland Creek. The soil around the hills is mostly sandstone rubble, hence the only vegetation identical with the spot is the inevitable sword grass and salt scrub, which frequently exist where no other vegetation can be found.’nicholas caire (1837-1918), landscape photography

The City of Kew was a local government area about 4 kilometres east of Melbourne, the state capital of Victoria, Australia, on the southeast bank of the Yarra River. The city covered an area of 14.56 square kilometres, and existed from 1860 until 1994.Very large aerial photograph of “City of Kew” Scale 1 : 3,000. 1989. “City of Kew” Scale 1 : 3,000. 1989. Photomosaic compiled by Division of Survey and Mapping, Department of Property and Services. © Crown (State of Victoria) Copyright 1990.city of kew, kew (vic.), aerial photography

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. Modern photographic postcard of the QPO Restaurant and the former Kew Court House. At the front of the restaurant is the Kew War Memorial, the drum of which at this stage was incorrectly painted a shade of green, which the Council later changed after representations from the Kew Historical Society and a heritage report.QPO Bar, Restuarant & Function Centre/ Cnr High Street & Cotham Rd. Mel Ref 45 C6 MacKenzie photography / Copyright margiesphotos.com.auqpo restaurant, kew post office, kew court house, kew war memorial, postcards -- kew (vic.)

One of a series of six small square black and white aerial photographs of Kew taken and produced by the Victorian Department of Property Services.Aerial photographs, of which the Society has a number in its collection, allow researchers to identify changes in urban infrastructure and demographics over timeAerial photograph of a part of Kew, taken by photographers employed by the Victorian Department of Property and Services in December 1987.4132-106 Ringwood M'Sheet 7922-3 Run 4 5600'ASL Vic DPS © 12-12-87aerial photography, aerial photograph -- kew (vic.)

Example of aerial photography during WWI in Middle East.Black and White aerial photograph of column of horses in desert terrainmilitary, wwi, world war one, desert, horses, aerial

An item from an outstanding and diverse photographic collection, assembled by members of the Christian and Washfold families of Kew.Black and white photograph of man standing underneath large conifers looking across a valley to buildings in the distance. Similar locations in nos.41, 42, 43, 44.christian-washfold collection, landscape photography, subdivisions -- kew (vic.)

An item from an outstanding and diverse photographic collection, assembled by members of the Christian and Washfold families of Kew.Black and white photograph looking across a valley to buildings in the distance. Similar locations in nos.41, 42, 43. 44.subdivisions -- kew (vic.), christian-washfold collection, landscape photography

An item from an outstanding and diverse photographic collection, assembled by members of the Christian and Washfold families of Kew.Black and white photograph looking across a valley to buildings in the distance. Similar locations in nos.41, 42, 43, 44. Road-making in foreground. Identical but sharper photo than no.44.christian-washfold collection, landscape photography, subdivisions -- kew (vic.)

An item from an outstanding and diverse photographic collection, assembled by members of the Christian and Washfold families of Kew.Black and white photograph looking across a valley to buildings in the distance. Similar locations in nos.41, 42, 43, 44. Road-making in foreground. Identical but paler photo than no.43.christian-washfold collection, landscape photography, subdivisions -- kew (vic.)

Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the eldest.An item from an outstanding and diverse photographic collection, assembled by members of the Christian family of Pakington Street, Kew, comprising professional and amateur photography, depicting individuals, natural and settled environments and the interactions between these worlds. Many of the photographs vividly capture the worlds of three generations of men - Henry Christian, his son Orlando Henry Beater Christian, and his grandson of Henry Christian. The most important photographer was the youngest, Henry Christian, who was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Black and white photo of the rear view of a man in a hat standing under a tree on a hill looking across the Yarra River (unseen) towards Melbourne. The exhibition building and the spires of St Patrick’s Cathedral can be seen on the skyline. The man may be Orlando Henry Beater Christian. If all the spires are intact it must postdate 1939 when work begun in the early 1930s on the spires began. He may be standing on the edge of the Yarra Boulevard.melbourne skyline - 1930s, yarra boulevard -- kew (vic.), christian-washfold collection

An item from an outstanding and diverse photographic collection, assembled by members of the Christian family of Pakington Street, Kew, comprising professional and amateur photography, depicting individuals, natural and settled environments and the interactions between these worlds. Many of the photographs vividly capture the worlds of three generations of men - Henry Christian, his son Orlando Henry Beater Christian, and his grandson of Henry Beater Christian. The most important photographer was the youngest, Henry Christian, who was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Sepia photograph of the wooden trestle Zig-Zag Bridge across the River Yarra. The bridge was built in the 1870s to transport stone from the west side of the Yarra to the east side. The stone was used in the construction of the Kew Asylum. The bridge continued to link the two asylums on each side of the river. yarra river -- kew (vic), zig-zag bridge -- kew (vic.), henry beater christian, christian-washfold collection

An item from an outstanding and diverse photographic collection, assembled by members of the Christian and Washfold families of Kew, comprising professional and amateur photography, depicting individuals, natural and settled environments and the interactions between these worlds. View of Parliament House Melbourne, illuminated with lights reading God Save the Kingparliament house -- melbourne (vic.), christian-washfold collection

An item from an outstanding and diverse photographic collection, assembled by members of the Christian and Washfold families of Kew, comprising professional and amateur photography, depicting individuals, natural and settled environments and the interactions between these worlds. Beach scene. Two girls making a sandcastle in front of bathing boxes.washfold family, christian family, christian-washfold collection

One of a number of 'real photo' and commercial postcards created by or owned by members of the Christian and Washfold families of Kew. The postcards are part of a larger collection of photographs, postcards and publications donated to the collection in May 2021.Coloured postcard looking north from Daylesford to Mt Franklin.mt franklin, wombat hill, daylesford, postcards, landscape photography, christian-washfold collection

One of a number of 'real photo' and commercial postcards created by or owned by members of the Christian and Washfold families of Kew. The postcards are part of a larger collection of photographs, postcards and publications donated to the collection in May 2021.A 'real photo postcard', printed by Kodak Melbourne possibly from a photograph by Henry Christian, of an alpine road near Mt Feathertop. The postcard depicts a man with a bag walking along an alpine road.mt blowhard, postcards, landscape photography, christian-washfold collection

Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the eldest.An album of photographs, compiled by Henry Beater Christian (1886-1962) of Pakington Street, Kew, depicting individuals, natural and settled environments and the interactions between these worlds. Henry Christian, was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Digital copy of a photograph 24-page album loaned by Diane Washfold with permission given to photograph and hold a copy in our collection. The album contains series of photographic positives taken by Henry Christian (a resident of Pakington Street), of places in Kew and throughout regional Victoria during the late 1920s. The mainly sepia photographs, while small, are of a very high resolution. Photographs are typically lightly glued onto pages. Individual pages may be identified by white ink, which in a number of cases is illegible due to wear. Identifiable locations include: Walhalla, Thomson River, Aberfeldy, Matlock, Jericho, Jordan River, Jamieson, Harrietville, Mt Feathertop, the Alpine Road, Cape Patton, Melbourne, and Kew.henry christian (1886-1962), landscape photography, photograph albums, walhalla (vic.) -- history —— photographs, thomson river (vic.) — history —— photographs, aberfeldy (vic.) -- history —— photographs, matlock (vic.) -- history —— photographs, jericho (vic.) -- history —— photographs, jordan river (vic.) -- history —— photographs, jamieson (vic.) -- history —— photographs, harrietville (vic.) -- history —— photographs, mt feathertop (vic.) -- history —— photographs, alpine road (vic.) -- history —— photographs, kew (vic.) — history—— macauley’s boathouse — photographs, kew (vic.) —— history - kew lunatic asylum — photographs, kew canoe club history — — photographs, cape patton — history— photographs, coronation — george vi — melbourne (vic.), christian-washfold collection

One of a number of 'real photo' and commercial postcards created by or owned by members of the Christian and Washfold families of Kew. The postcards are part of a larger collection of photographs, postcards and publications donated to the collection in May 2021.Small black and white 'real postcard' of the Walhalla Train crossing the Thomson Bridge.Walhalla Train Crossing Thomson Bridgehenry christian (1886-1962), landscape photography, thomson river (vic.), thomson bridge (vic.), trains -- walhalla -- victoria, christian-washfold collection

One of a number of 'real photo' and commercial postcards created by or owned by members of the Christian and Washfold families of Kew. The postcards are part of a larger collection of photographs, postcards and publications donated to the collection in May 2021.Small black and white postcard of the first train to Walhalla arriving in the township on 15 March 1910.First Train to Walhalla 15.3.1910. M. Lee Photohenry christian (1886-1962), landscape photography, trains -- walhalla -- victoria, christian-washfold collection

Stella Dunn played Nanny, a senile old woman, in 'Gamma Rays' in April 1976 when she was a sprightly 82 year old.1. - Program - Jade coloured card with dark blue typeface, 2. - Photos -photographic paper. 3. - Review - photocopy paper. 4. - Roneod duplicate on foolscap paper.2. - Typed information on Stella Dunn glued onto the back of the photo, reverse side of photo has typed paper glued on as well as remnants of masking tape 3. - Photocopy of a review of The Effects of Gamma Rays on Man-in-the-Moon Marigolds on page 6 of the VDL (Victorian Drama League) newsletter 'Theatrecraft' April 1976. Includes photo of Sue Lukis as Tillie. 4. - Prompts Newsletter No 2 19th March, 1976. – Typed. Includes information on next production, reminders of happenings and forthcoming events and the Moomba Drama Festival results 1976, 170, bill cherrey - director, fred merryweather - set construction, michael bond - lighting, george bugge - sound, max brooks - photography, cast - stella dunn

Double sided flyer as an invitation to attend the opening of an art exhibition in the QVWC building. Colour example of artwork on front of item, a biography of the artist on the back. art exhibitions, events and activities, invitations

The children in the photograph are students of the former Bulla Primary School. The school had organised a 'Junp Rope for Heart' day to raise money for the heart foundation.The teacher supervising and with her back to the camera is Barbara Springfield. Leanne Henderson is turning the rope at the other end and her twin sister, Fiona, is second from the left. A coloured photography of children skipping.'jump rope for heart', bulla primary school, barbara springfield, leanne henderson, fiona henderson

This book was compiled by Sue Barnett at the request of the project participants from material gathered as part of the project "Beyond the Garden Wall". This project was devised and managed by a team at Surrey Hills Neighbourhood Centre Inc. with funding from the Victorian Department of Planning and Community Development (VDPCD) under the "Images of Age' grant 2007. It involved conducting oral histories, reflection on the part of the participants through visual diaries, photography and painting. A short video of some of the gardens was also commissioned. All the elements came together during Seniors Festival in an exhibition held at the Augustine Centre, and opened by Jane Edmanson. At the request of the VDPCD, a modified exhibition was held in 2008 at 'Australia on Collins' during the 2008 Seniors Festival. Sue Barnett and Jo Reitze (Mrs de Carteret) are Surrey Hills residents. This provides a snapshot of 20 gardens and the 22 passionate gardeners who created them. The prose provides a potted history of the gardeners and their philosophical approach, accompanied by portraits of them and cameo photos of their gardens, as well as a photo of the painting of the garden as seen by artist Jo Reitze. All the gardens were situated within the City of Boroondara and all the gardeners were over 60 years of age. Prose written by Sue Barnett; photography by Sue Barnett and Jo Reitze.gardening, anecdotes, (ms) jo reitze, (ms) susan barnett, sue barnett, paintings, gardeners

The vacant land was the site of Norman Carter's future home at 21 Everton Grove. Norman Broadley Carter (1899-1984) married Mabel Annie Moore in 1927. Norman was an engineer with a passion for photography. Norman took many photos of Surrey Hills and Mont Albert from the 1920s and particularly of events and activities of the Church of England. For many years the house on the left located at 14 Harding Street belonged to the Kenneth Rothwell Culliton and his wife (Fanny) Molly Culliton. The house is located next to the Harding Street Reserve. Ken was an engineer and Molly was an early member of the Surrey Hills Historical Society. Ken was born and died in Surrey Hills. His father Harry Culliton was a well known golfer. His mother Christina Mary Rothwell was the daughter of Thomas Talbot Rothwell, known as a tea merchant and importer; also lived in Surrey Hills. This image is significant for its documentation of pre-urban Surrey Hills.Black and white photo of an area of gently sloping mown grass. On the horizon is a line of trees and on the LHS the outline of a (?) Victorian house can be seen. A man and a young boy are playing in the open space.everton grove, harding street, kenneth rothwell culliton, miss fanny molly arthur, mrs fanny molly culliton, norman broadley carter, mabel annie moore, mabel annie carter

Produced as part of the City of Boroondara's Milennium record.A collection of photographic images produced by young people aged 15 to 21 capturing aspects of life in the City of Boroondara of importance to them.photography, boroondara, millenium project, 2001, (ms) elise baro, (mr) daniel hender, (ms) elizabeth gonsalves, (ms) jess bartlett, (ms) sophie basseghi, (ms) georgia biggs, (ms) teagan boscia, (ms) robyn bowden, (ms) jennifer grindrod, (ms) jo fraser, (ms) jessie fowler, (ms) michaela brown, (ms) melanie cass, (mr) damian corney, (ms) denise damianos, (ms) laura edwards, sam forsythe, yi ya huang, branka injac, (mr) daniel ippoliti, fintona girls school, methodist ladies college, balwyn high school, xavier college, camberwell high school, camberwell girls grammar, hawthorn secondary college, carey grammar school

This envelope was found loose in the first of three albums compiled and owned by J W Allen, Secretary of New South Wales Grazier's, and is associated with the New South Wales Graziers Association world tour of sheep 1928-1929. The album contains photographs of travel, sheep, farms, stations, people and landscapes from around the world. Locations include Naples, Port Said, Suez, Birregurra (Vic), Alexandra (Vic), Ballangeich (Vic), Keith (SA), Mt Gambier (SA), Buckland Park (SA), Tasmania, Winton (QLD), Sydney Harbour, Canberra (ACT), Toowoomba (QLD), Rockhampton (QLD), Tocal (NSW), Deepwater (NSW), Glen Innes (NSW), Longreach (QLD), Moree (NSW), Barraba (NSW) and Mudgee (NSW). Properties depicted include Mooleric, Turkeith, Woolongoon, Minadale, Crower Station, Merrindie, Koomooloo Station, Cappeedee, Koonoona, Rathmore, Ellenthorpe, Camden Park Station, Glenlegh, Strathmore Station, Ilparran Station, Binneguy, Midkin, Terlings, Ashley, Bereen, Plumthorpe, Mayvale and Havilah. The album was found in a clean out at the Great Southern Agricultural Research Institute and donated to the National Wool Museum, along with other related material such as photographs, glass lantern slides and ephemera.Printed paper fold out envelope featuring a blue image and text on the front, showing a woman holding a camera. The inside has two paper pockets and the back features a blue printed image of a camera with bellows and blue printed text. Envelope has hand written and printed text.front: SMALL’S / Snapshot Service / HERBERT SMALL Pty. Ltd. / 308-310 COLLINS STREET., MELBOURNE / (Corner Collins and Elizabeth Streets). / 243 Pitt St., Sydney. / 16 Grenfell St., Adelaide.agriculture, sheep, farming, stations, research, breeding, photography, travel

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork