Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Commission

Gift of Ian and Marjorie Fitzgerald

Gracia Haby and Louise Jennison have been creative collaborators since 1999, working together to make artist books, zines, collages, drawings, prints and stories. In this artwork, the animals have the upper hand. They are turning the tables on French acrobat, circus owner, and animal trainer, Alfred Court (1883-1977). In 1925, Court's menagerie boasted a collection of 25 lions, 8 tigers, 9 hyenas, 7 wolves, 3 cougars, 12 polar bears, 16 panthers and leopards, 5 jaguars, 2 cheetahs, and an extensive assemblage of exotic animals, including antelopes, llamas, and camels, alongside several monkeys, porcupines, and mongooses. Haby and Jennison’s collaboration explores their mutual fascination with the adaptable possibilities of paper and found images.

“Maybe here” is a constant thought running through the back of my mind that something might happen where I’m standing. Tension builds at the slightest sound or suggestion of movement. How much of this fear is self-perpetuated and how much of it is warranted. How different would my experience be if I was someone else.This series is a departure from Janelle Low’s conceptual interests around Australian identity and multiculturalism. Using the project as a vehicle to confront and challenge her own personal concerns as well as a means to represent a more universal female experience.Donated by the artist

“Maybe here” is a constant thought running through the back of my mind that something might happen where I’m standing. Tension builds at the slightest sound or suggestion of movement. How much of this fear is self-perpetuated and how much of it is warranted. How different would my experience be if I was someone else.This series is a departure from Janelle’s conceptual interests around Australian identity and multiculturalism. Using the project as a vehicle to confront and challenge her own personal concerns as well as a means to represent a more universal female experience.

“Maybe here” is a constant thought running through the back of my mind that something might happen where I’m standing. Tension builds at the slightest sound or suggestion of movement. How much of this fear is self-perpetuated and how much of it is warranted. How different would my experience be if I was someone else.This series is a departure from Janelle’s conceptual interests around Australian identity and multiculturalism. Using the project as a vehicle to confront and challenge her own personal concerns as well as a means to represent a more universal female experience.

Shaun Tan is best known for his illustrated books and short films that deal with social, political and historical subjects through dream-like imagery and fantastic creatures. In addition to his book and film work, Tan is a respected and prolific painter. Octopus 2 is one of three paintings of Anstey Station, which is next to Tan’s art studio. Nearby, there is an octopus painted on the roller door of a bait shop. Tan observes that the octopus is usually only visible at night, and then not very well: "It is an eerie vision, a bit comical too. There is something about the tucked-away grouping of high and low walls, the amber light and the jumble of signage that I find very evocative, as if there is some spirit being tucked up in this unlooked-at pocket of the rail-line”.

Shaun Tan is best known for his illustrated books and short films that deal with social, political and historical subjects through dream-like imagery and fantastic creatures. In addition to his book and film work, Tan is a respected and prolific painter. Tan’s paintings capture a sense of place and atmosphere, even when the specific location is not made explicit. Tan says of his practice: “Often I don’t know why I need to paint a certain scene, only that I do, as if to stop it from drifting away too quickly, to just allow a little more time to think about it. Or to just say ‘I saw this’”.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a woman streaks at an AFL game – two players stand in frame with her, a Richmond and Collingwood player respectively. Behind them the crowd and a large Richmond banner can be seen. Playful and spirited interactions such as this are a key aspect of Australian football culture.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a young police officer stands on the stadium ground with his arms sternly crossed, while the crowd waits for the game. This photo highlights the tension between passionate crowds and the police at AFL games.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive