photograph of 12 males and church. Individuals shown in small ovoids, the pastor is in a larger ovoid over an illuminated address. All text is in German. Small photograph of a church is surrounded by script and a gothic perimeter. Males in small ovoids are formally dressed. Pastor is in clerical garb, half -height, holding book. Text surrounds view of church and ' Pastor B. Leypoldf' is mentioned in small address below view of pastor. On back top right corner DI 532organization, church, lutheran church

Black and white photo of Number 20, North Bendigo tram derailed at Golden Square. Group of men looking and trying to fix. On reverse in pencil 'B'person, individual, basil miller

Black and white photograph of tram, destined for Golden Square, that has derailed and is stranded on the roadside. On right side of photo 3 men apparently being interviewed by Police Officers. Tramways Conductor standing centre of picture,Note ticket bag hanging at waist). Large group gathered rear derailed tram. Inscribed on back of photo in pencil: '22/2/358.person, individual, basil miller

Photocopy of image from The Bendigonian, page 15, October 1st, 1912. Alexandra Fountain on left, two trams on right .Photo taken from Fountain looking west up View St . Large group of people around fountain. Hansom cabs in distance. Building on LH side has ( unclear initials ) Henderson Furniture sign above roof. On bottom of photo ' At Charing Cross looking up View Street' ( E. Bond, photo ).person, individual, basil miller, alexandra fountain, trams, tramways, miller, basil, bendigonian, view street, bendigo, sandhurst

Black and white photograph. Four rows of men posed in front of doorway of brick building. Tram tracks leading into doorway. Men dressed in suits, top hats. Man in front row left holding baby. Window to right of group has Bendigo Tramways written ( partly revealed ). Sign on far left above heads of men says positively No Admittance '94' on back in pencil.person, individual, basil miller

Black and white photo of people gathered in front of Eaglehawk Town hall (?) 'Copyright Bendigo Advertiser for reorder quote DP135' stamped on back in black ink.person, individual, basil miller

Photographs (2of) - both black and white. 1st one - Miss A.Lansell, taken on her 100 birthday,budgie on right hand, sitting up in bed, close up. 2nd Photo - Miss A.Lansell in the centre, a group of 5 other women and 1 male and 2 priests, 4 of the women holding posies. 2 newspaper cuttings - both cuttings about the death of Miss Annie Lansell, 7th April,1961, aged 101 years old. Daughter of William and Jane Lansell, niece to George Lansell.Bendigo Advertiser Photographic Service.person, individual, lansell family, annie lansell. william lansell. jane lansell. george lansell.

176 Green 3d tram tickets joined in groups. Front: outline depicting a tram with B T C Ltd printed on the side, printed in green. Over printed in black a Large 'T'. Also the price of the ticket 3d. Reverse: printed in green ' ask for DON tobacco'person, individual, basil miller

Newspaper clippings - date unknown. R708 leads a second R class locomotive into Bendigo Station. This entourage was known as the 'Centenary Train' and was occupied by members of the Australian Historical Society who travelled from Melbourne. A second photo shows a large group of trams in View Street between Barnard and Rowan Streets. These trams were hired by Australian Railway Historical Society for a tour of Bendigo and district.person, individual, basil miller

Faded sepia toned photograph that contains individual photos of all the members (55) of the Sandhurst City Drum and Fife Band. It was presented to Marcus Tweed.person, group, band, sandhurst city drum and fife band, marcus tweed

Joseph Davies collection Information re Joseph Davies (Mine Rescue, Bendigo 1909). Printed sheets: a. from the ''Bendigonian'' 20/7/1909) - 'The Rescue'; b. from the ''Bendigo Advertiser 19/7/1909 - 'Congratulatory Telegrams; c. from the ''Bendigonian'' 1/2/1910 - 'The Bendigo Hero - Presented with the King's Medal'; d. photograph: ' The Governor and group on the platform at the Town Hall - Joe is the first on the left'.Bendigo Advertiser, The Bendigonian.person, individual, joseph davies, joseph davies, mine rescue. kings medal.

Photograph. Black & white photograph of G. J. Coles & Co. Staff mounted on grey card & taken outside G. J. Coles & Co. Store. Gertrude Perry directly under the O in Coles sign. 30 individuals. On the back: Staff G. J. Colesperson, group, employees, gertrude perry collection, g. j. coles & co. staff photograph

Martin Best Consort. Voice, guitar, lute. Colin Bilham; double bass, viola da gamba, bass guitar. Julian Byzantine: Guitar, lute. Christopher Lebon: cello, tenor viol. Alastair McLachlan: violin, viola, folk fiddle, rebec. Rainer Schulein: flute piccolo recorders, crumhorn. Musica Viva Australia. The Martin Best Consort is a unique group of six musicians. Each of its members has brought his own individual talents and experience to bear on its work. The result is one of the loveliest and most unusual textures in British music. Its foundation rests on Martin himself as . . . Program. Sounds And Sweet Airs: a garland for William Shakespeare by Guy Woolfenden. Guy Woolfenden is Musical Director of the Royal Shakspeare Company. As well as his work for them, he has written music for films and television. His musical. . . . Musica Viva gratefully acknowledges the financial assistance of the Music Board of the Australia Council and the State Governments of N.S.W., Queensland , Tasmania and Victoria. The special assistance of the British Council for the tour of the Martin Best Consort is gratefully acknowledged. Post 1977program, music, musica viva australia, martin best consort. voice, guitar, lute. colin bilham; double bass, viola da gamba, bass guitar. julian byzantine: guitar, lute. christopher lebon: cello, tenor viol. alastair mclachlan: violin, viola, folk fiddle, rebec. rainer schulein: flute piccolo recorders, crumhorn. musica viva australia. its foundation william shakespeare by guy woolfenden. royal shakspeare company.. . . musica viva music board of the australia council and the state governments of n.s.w., queensland , tasmania and victoria. british council post 1977

BookA collection of essays by art critics, historians and journalists exploring 12 individual and group practices of activist art making. An overview of the dynamic exhibitions, events, happenings and cultural practices engaged in creating social change.public art, collective, interdisciplinary, body, racism, durational art, social practice, museology, feminism, collaboration

The photograph is taken at an annual Ithacan picnic, c1940s. Several of the individuals in the photograph are wearing the medallion badges which were given to all attendees on arrival at the picnic. L-R: Dionysus Lecatsas, ----- , -----, Andreas Paizis, Georgia Raftopoulos, Katerina Lucas (Spot Cafe), -----, Athanasis Raftopoulos (Klapatzoura). The annual picnic organized by the Ithacan Philanthropic Society continues to be a popular event on the club's social calendar.A mounted sepia photograph of a group standing in a picnic ground. There are six men dressed in suits and two smartly dressed ladies. There is a small shed in the background in an open playing field.

An illuminated address from the United Ancient Order of Druids Grand Lodge of Australia presented to E. J. Swift. Printed on card and showing a group of Bendigo men in ancient costume at top, Stonehenge on bottom and bordered with leaves and acorns. Markings - Troedel & Co Lith Melb.person, individual, e j swift

A Pictorial page from the Bendigo Advertiser showing photographs of Fred Trewarne taken during some of his performances with Bendigo Theatre Group along with tributes & Eulogy, under glass in thin black timber frame, Donated by Mr Atkinson related to Mary Reibyperson, individual, personal portrait, fred trewarne

Banner comprising individual signed panels with embroidered signatures surrounding a central rectangle with "From St Andrew's Branch Church to Settlement House" and the Latin motto of Labor Omnia Vincit (Work Conquers All) and a representation of a badge. Photo was in a collection of St Cuthbert's Presbyterian Church Ballarat photographs, but the title of the group (Senior Girls Missionary Union) has connections with the Baptist Church as well.B & W photographst. andrew's church, ballarat, settlement house, senior girls' missionary union, presbyterian, st. cuthbert's

In 1878, Mrs Charlotte Anderson founded an private school for girls in her home at Bulleen Road, Kew (now 63 High Street South, Kew). She moved her school to ‘Edgecomb’, in Studley Park Road in 1882 and named it Ruyton. Charlotte Anderson retired in 1888, and sold her school to Miss Eliza Bromby. This image was used to illustrate The Ruytonian, June 1915, p2. The date of manufacture of the duplicate photograph is unknown.Black & white duplicate photograph of Mrs Charlotte Anderson with staff and a group of younger students from Ruyton Girls’ School, c.1885. The group is arranged in three rows of seated and standing individuals, and is located on a garden setting. The photograph was taken at ‘Edgecomb’, Studley Park Road, Kew which was the location of Ruyton from 1882-1888. Mrs Anderson is seated in the middle row, third from right. ruyton girls' school, kew, charlotte anderson

Miss Eliza Bromby was Principal of Ruyton Girls’ School, 1888-1910. She shared her Principalship with business partners Mrs Louise Gubbins & Miss Lilian Irving 1888-1895, and Miss Emilie Lascelles 1900-1910. Ruyton Girls' Schools was founded in 1878. From 1889-1920 Ruyton was located on the corner of Abeckett and Barry Streets, KewBlack & white photograph of Principal Miss Eliza Bromby, with the students and staff of Ruyton Girls’ School, in 1909. The group is arranged in four rows of seated and standing individuals, with the school’s main building behind them. The photograph has been mounted on grey card. It was taken at Ruyton, corner of A’Beckett & Barry Streets, Kew. Miss Bromby is seated in the second front row, ninth from left. Her co-Principal Miss Emilie Lascelles is probably the woman seated beside her. Miss Hilda Daniell, Principal of Ruyton 1913-1952, stands in the second from top row, eleventh from left.ruyton girls' school, kew, eliza bromby, emilie lascelles, abeckett street, 1900-1909, 1909, private school, school photo

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