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Port Melbourne Historical & Preservation Society
Document - Invitation, Mission Arts Centre exhibition, Brian Couldrey, Art at Work, Jun 1987
Devised by Director Brian Couldrey for the June 1987 exhibition at the Missions to Seamen Building when it was in use as a community arts centreOne of two 'invitations' to the 'Art at Work' exhbition held by the Mission Arts Centre 6-7 June 1987. Made of pages from a copy of 'Alice in Wonderland' with rubber stamping added,each is unique.(rubber stamp impressions)missions to seamen, arts and entertainment - community arts, mission arts centre, brian couldrey -
Port Melbourne Historical & Preservation Society
Photograph - Installation, heavily pink, at exhibition, Mission Arts Centre, Missions to Seamen buiding, Port Melbourne, Alison Kelly, c. 1988
One of thirty photos taken by Alison Kelly at the Mission Arts Centre, late 1980s, early 1990s. Some with captions. Many have copies already in collection. Installation, heavily pink, at art exhibition.missions to seamen, arts and entertainment, celebrations fetes and exhibitions, mission arts centre -
Port Melbourne Historical & Preservation Society
Photograph - DISCO motif, GMH education centre, Williamstown Road, Port Melbourne, David Thompson, Aug 1998
Examples of 'art deco' buildings and motifs around Port Melbourne were drawn from David Thompson's existing collection and augmented by shots taken in August 1998.From series of 'deco' detailing and buildings taken by David Thompson for use in PMH&PS 1999 calendar, taken in August 1998: GMH education centre in Williamstown Road - disco motifDetails in pen on backarchitecture, built environment - industrial, david thompson, general motors-holden, gmh -
Port Melbourne Historical & Preservation Society
Photograph - GMH education centre, Williamstown Road, Port Melbourne, David Thompson, Aug 1998
Examples of 'art deco' buildings and motifs around Port Melbourne were drawn from David Thompson's existing collection and augmented by shots taken in August 1998.From series of 'deco' detailing and buildings taken by David Thompson for use in PMH&PS 1999 calendar, taken in August 1998: GMH Education centre, Williamstown RoadDetails in pen on backindustry, architecture, built environment - industrial, david thompson, general motors-holden, gmh -
Port Melbourne Historical & Preservation Society
Photograph - GMH education centre, Williamstown Road, Port Melbourne, David Thompson, Aug 1998
Examples of 'art deco' buildings and motifs around Port Melbourne were drawn from David Thompson's existing collection and augmented by shots taken in August 1998.From series of 'deco' detailing and buildings taken by David Thompson for use in PMH&PS 1999 calendar, taken in August 1998: GMH Education centre, Williamstown Road, corner detailDetails in pen on backindustry, architecture, built environment - industrial, david thompson, general motors-holden, gmh -
Women's Art Register
Magazine - Women's Art Register Bulletin, Women's Art Register Bulletin Vol. 41. No.7. Summer, 2006, 2006
20 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author.#41 Annual Report 2006 - Gail Stiffe News from the Register Gail Stiffe just a thought: - Ev Hales The Goddess's Embrace - Naomi Downie Shared Space - Gosia Wlodarczak The Bits Between - Jan Altmann Tea And Teachings - Denise Keele-Bedford 2006 Some Notes from a Canberra Correspondent - Kerry Anne Cousins Painting her way out of hell - Rhubee Neale The Women's Health Information Centre - Jacinta Waters Conrad Jupiters 2006 Art Prize - Susan Buret Opportunities Exhibitions Back issues of the Bulletin About the Register gosia wlodarczak, ev hales, naomi downie, rhubee neale, women's health information centre, susan buret, veronica caven-aldous -
Women's Art Register
Women's Art Register Bulletin
brigid cole adamd, liz mcaloon, ann hastie, geraldine burrowes, loretta quin, mary luenig, barbara hanrahan, frida kahlo, anne truit, pat hillcoat, ntaria women's centre, guerrilla girls, carole wilson, ivy pareroultja, ida ewalanga, donna leslie, linda brassil, isabel davies, margery edwards -
Women's Art Register
Books, Re-Register: Australian Women Sculptors From The Women’s Art Register
art, women artists, sculpture, contemporary art, exhibition, women’s art register, textiles, julia boros, katve-kaisa kontturi, anna sandy, bonita ely, richmond, australian artistsart, women artists, sculpture, contemporary art, exhibition, women’s art register, textiles, julia boros, katve-kaisa kontturi, anna sandy, bonita ely, richmond, australian artists -
Women's Art Register
Book - Anthology, Jenny Barber, Women's Movement South Australia, N/A
Overview of funded and non-funded organisations focused on women's rights, and the diversity of the South Australian Women's Liberation Movement through interviews and social history. Essays written by artists, writers and women working in women's services.Black and white text on cover and throughout non-fictionOverview of funded and non-funded organisations focused on women's rights, and the diversity of the South Australian Women's Liberation Movement through interviews and social history. Essays written by artists, writers and women working in women's services.suffrage, voting rights, violence, communism, activism, pascifism -
Women's Art Register
Book, Hayden Herrera, Frida. A Biography of Frida Kahlo, 1983
Biography of significant Mexican artist Frida Kahlo (1907 - 1954).Booknon-fictionBiography of significant Mexican artist Frida Kahlo (1907 - 1954).painting, self portraiture -
Women's Art Register
Book, Judy Chicago, Through the Flower. My struggle as a women artist
BookBooknon-fictionBookfeminism, feminist art, exhibition, abstraction, art education -
Women's Art Register
Book, Gillian Swanson & Patricia Wise, Going for Broke. Women's Participation in the Arts and Cultural Industries, N/A
Study commissioned by Arts Queensland and the Australia Council in 1994 to address the lack of published information on women's involvement in the arts.BookStudy commissioned by Arts Queensland and the Australia Council in 1994 to address the lack of published information on women's involvement in the arts.regionalism, cultural industraies, equity, professional recognition, indigenous women, multiculturalism -
Women's Art Register
Book, Judith Brooks, The Women's Gallery 1988 - 1995, 2019
Documents every event in the volunteer-run Women's Gallery, which ran June 1988 until December 1995, in bohemian Brunswick Street Melbourne and showed 119 solo and group exhibitions, and hosted book launches, music and theatre performances, seminars and poetry readings.BOOKnon-fictionDocuments every event in the volunteer-run Women's Gallery, which ran June 1988 until December 1995, in bohemian Brunswick Street Melbourne and showed 119 solo and group exhibitions, and hosted book launches, music and theatre performances, seminars and poetry readings.solo and group exhibitions, spiritual art, political art, portraiture, iwd exhibitions, collaborative prectice, collective practice -
Women's Art Register
Book, Fiona Foley et al, The Art of Politics, The Politics of Art: The Place of Indigenous Contemporary Art, 2006
A collection of essays on Indigenous art in mainstream Australia by international Indigenous and non-Indigenous academics, arts administrators and practising artists.non-fictionA collection of essays on Indigenous art in mainstream Australia by international Indigenous and non-Indigenous academics, arts administrators and practising artists. fiona foley, fiona nicoll, regina ganter, ole maiava, louise martin-chew, anna haebich, franca tamisari, aboriginal art, indigenous architecture -
Port Melbourne Historical & Preservation Society
Photograph - COR/BP tank farm clean-up, Alison Kelly, Aug 1990
Shot when Alision Kelly was caretaker at the nearby 'Mission Art Centre' and displayed there and at the Port Melbourne LibraryFour colour photos of bulldozer working on clean up process on site of former COR/BP tank farm - view to south. Archivally mounted on vertical strip of white card and enclosed in mylar. Photos all looking south; views of equipment scooping out hydro-carbons, soil from pit filled with ground water; top to bottom: Williamstown and Webb Dock in background; white Toyota EAY-921 right foreground; close up; close up; Princes Pier in left backgroundInk on back: 'A. Kelly 645 2324'town planning - proposals shelved - bayside, environment, alison kelly -
Yarra City Council
Painting - Public Art, Rule 30, 2011
Clinton Naina’s earliest memory is attending Collingwood football matches at Victoria Park with his father and uncles. His dad was an avid Collingwood supporter and Naina proudly wore his football colours. Lining up to enter the grounds at the big old black-and-white painted wooden doors gave Naina the feeling of entering into another world. 'Rule 30' is a comment on race relations in sport. The artwork is made from the original doors located at the front entrance of the Collingwood Football Club’s grounds at Victoria Park. When the club was refurbished the door was gifted to Naina by a friend—an ex-Collingwood football player—for use in his art practice. The work depicts a big red target painted on the existing Black and white stripes—Collingwood colours—of the door. Naina placed a fabric number ‘30’ on top of the target—created from material used for numbers on the back of players’ football vests. This represents the individuals who have been racially vilified while playing football over many years. The red represents the colour of human blood, while the Blak and white Collingwood colours already painted on the wood are a very fitting comment on race relations. The door itself becomes a potent metaphor for “overcoming barriers, making change, breaking down doors and moving forth into a new era of respect for people”. Rule 30 in the AFL was the first racial vilification code in Australian sport. It prohibited conduct between players, clubs and other AFL officials, which threatened, disparaged, vilified or insulted another person on the basis of that person’s race, religion, colour, descent or ethnic origin. In 2013, ‘Rule 30’ was amended to ‘Rule 35’ to combat other forms of discrimination including disability, appearance and sexuality.The number '30' cut out of fabric placed on top of a painted red target at the centre of an existing black and white wooden door.Accompanying labelracism, sport, football, afl -
Dutch Australian Heritage Centre Victoria
Family budget tin (huishoudgeldkistje), Brabantia Netherlands BV, Brabantia housekeeping money box, 1971
Regarded as useful item to keep track and set aside money for mainly household expenses.Illustrates Dutch attitudes to frugality and money management.Cream oblong metal box with lid, seven labelled slots denoting expenditures. Seven compartments divided by plastic inserts. Lockable, keyhole in middle of lid.From left to right on lid: kleding (clothes), gas-licht (gas/light), brandstof (fuel), huishoud-art (non-food items), verzekering (insurance),vakantie (holidays) diversen (miscellaneous). Near right corner of lid, Brabantia factory logo. Brabantiafamily budgetting -
Dutch Australian Heritage Centre Victoria
Pewter vase (tinnen vaas), KMD Royal Holland Daalderop, Early 20th century
Curved vase with three lines etched around neck, and raised ridge around belly of vase. Dent under ridge, lip dented. Style possibly Art Nouveau or reproduction of earlier model.On bottom: maker's mark curved triangular shield, borders inscribed: Made in Holland, Importe de Hollande Daalderop, Coat of arms in centre with Tiel Holland, KDMvase, pewter -
Dutch Australian Heritage Centre Victoria
Booklet, Kampje Spelen (Playing Internment Camp), 1992
Mrs. Axie Mazèl - Krammer and her friend Anneke Rappard each had two daughters with them in the Women's camp in Banjoe Biroe. Prior to her marriage Axie Krammer von Marchau had studied languages, literature and pedagogy and particularly the art of teaching through play. The spirit and optimism of these two women contributed to the survival of their 4 little girls. An accomplished artist Mrs. Mazèl created the original of this booklet for the 6th birthday of her friend's daughter Anne Marie on July 30, 1945.The illustrated story of children playing at internment does not hide the reality of their lives but puts in the context of a game of make-believe. The make-believe is illustrated in colour while the harsh reality is recognised in a small black and grey sketch in a corner of each page. Simply produced 30page booklet. It is the printed version of a handwritten booklet produced in July 1945 by Mrs Axie Mazèl Krammer to help her children deal with the memories of their imprisonment by the Japanese in the former Dutch East Indies. The materials and style imitate the simple materials that were available for the author during their 4 years of imprisonment and deprivation. The name "A. Kelleners" is written on the flyleaf.dutch east indies; japanese; internment camps; -
Dutch Australian Heritage Centre Victoria
Balinese Woodcut
Balinese art is art of Hindu-Javanese origin that grew from the work of artisans of the Majapahit Kingdom, with their expansion to Bali in the late 14th century. From the sixteenth until the twentieth centuries, the village of Kamasan, Klungkung (East Bali), was the centre of classical Balinese art. During the first part of the twentieth century, new varieties of Balinese art developed. Since the late twentieth century, Ubud and its neighboring villages established a reputation as the center of Balinese art.This is likely a memento of the Dutch/Indonesia era.Carved and lacquered wooden image of male and female heads. Each is wearing a highly decorative headdress giving the impression of a special ceremony such as a wedding. The necks of the figures merge into further carving, this time of an abstract theme. -
Dutch Australian Heritage Centre Victoria
Public Warning Sign (Verboden Toegang)
This is a common sign in The Netherlands were the British "Right of Way" for walkers does not exist.Small rectangular plastic sign forbidding entry. Verboden Toegang. Art.461. Wetb. v. Strafr. (Non-abbreviated text would read Artikel 461 Wetboek van Strafrecht) In English: Access denied; punishable by article 461 of the penal code. -
Benalla Art Gallery
Drawing, Louis BUVELOT, Melbourne Kew (Yarra Glen), 1869
Born: Morges, Vaud, Switzerland 1814; Lived and worked: Brazil 1835-1852; Arrived: Melbourne, Victoria, Australia 1865; Died: Melbourne, Victoria, Australia, 1888ColonialLedger Gift, 1987Rural landscape with two animals beside a track leading towards buildings and outbuildings surrounded by trees with hills in distance. Timber frame.Recto: Signed "Louis Buvelot" in grey pencil in l.l.c of composition; Titled and dated 'Melbourne Kew 1869' in grey pencil in lower centre of compositiondrawing, landscape, figures, trees, colonial, road, animals -
St Kilda Historical Society
Photograph, Donald McDonald, Linden, c.1872
Picture of late 19th century double storey, double fronted mansion with wrought iron pillars and balcony lace work on upper ballistrade. Built for Moritz Michaelis in 1870. Part of Donald McDonald collection of images.Alfred Kursteiner, Moritz Michaelis. Backed but unmounted black and white copy in good condition.Linden, 26 Acland Street, for Moritz Michaelis, merchant and founder of Jewish Synagogue Charnwood Cres, now used as art and culture centre by COPP' -
La Trobe University Library
Jag photograph, NCHSR, La Trobe University, 2000s
This photo was taken during a competition run by National Centre for Hellenic Studies and Research, La Trobe University, in the early 2000s. The theme was on the Odyssey and secondary school students from all over Australia participated.Photograph of a jag. Jag in the photograph was made by secondary school students for a competition run by NCHSR. Colour. Item in the photo is black and yellow with the word 'Odyssey'. odyssey, la trobe university, nchsr, school art work, photograph-ancient jags -
City of Ballarat
Sculpture - Public Artwork, Inge King, Grand Arch by Inge King, 2001
Grand Arch is a five-metre by five-metre steel sculpture by Inge King placed as the centrepiece of Alfred Deakin Place, part of a redevelopment in conjunction with the State Government, City of Ballarat, University of Ballarat and Art Gallery of Ballarat. Grand Arch is representative of King's sophisticated style of abstraction that reflected animal and plant forms through to planets and the cosmos. King was a German-born Australian sculptor who created many significant public commissions including the well-loved Forward Surge (1974) at the Arts Centre, Melbourne. She was at the forefront of the development of non-figurative sculpture in Australia and held more than 26 solo exhibitions and participated in more than 60 group exhibitions in Australia, New Zealand, London and New York over almost 70 years as a practicing artist. The artwork is of artistic significance to the people of BallaratLarge steel sculpture painted matt blackgrand arch, inge king, australian modernism -
Wangaratta RSL Sub Branch
Envelope Art
One of several illustrated envelopes, without letter, sketched by soldier/s during the second world war and sent to Mrs McDonald of WangarattaVictoria's 2/24th Infantry Battalion was raised in Wangaratta in July 1940. They were welcomed with open arms by the local community as they rapidly built up their numbers. The people of Wangaratta adopted the Battalion and they became known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. Many of the soldiers maintained life long friendships with the people of Wangaratta. Even though the Battation was disbanded in 1946 members and their families return each year, in November, for a commemorative service at the 2/24th Battalion Memorial Wall at the Wangaratta Cemetery.Cream paper envelope with coloured sketch of palm tree and flag pole with red cross flag next to thatched hutTop left - BY AIR MAIL Top right - postage stamp Centre - AIF Censor stamp Right side - Mrs M McDonald "Monald" 32 Grey Street Wangaratta Victoria Australia crossed out - 5 ? Street Glen Iris Melbourne. Bottom - "Dressing station" Bottom left - Bill 1943 ww2, envelope art -
Robin Boyd Foundation
Document, Roy Grounds and Eric Westbrook, National Art Gallery and Cultural Centre Report, Aug. 1960
Report by the director, National Gallery of Victoria, and the architect to the National Art Gallery and Cultural Centre Building Committee. It is a summary of investigations made in Europe and America during 1960, with recommendations. Of particular importance to the eventual design of the NGV are the Capodimonte in Naples and the Castello Sforzesca in Milan.Mr Boyd' written on front cover. Title page looks like personally signed by Eric Westbrook and Roy grounds.ngv, roy grounds, eric westbrook, art gallery, walsh st library -
Robin Boyd Foundation
Book, Alan McCulloch, Encyclopedia of Australian Art, 1968
HardcoverEmbossed on first page with a circular logo: 'Library of / John Dovell Davies' at perimeter, 'JDD' at centre of designwalsh st library -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2008
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 -
Hume City Civic Collection
Photograph
Since it was built in the 1860s the two storey brick building has had a number of commercial uses including butter and ice making, a general store, an equestrian store, an art gallery, a community Christian centre and a health studio. It has apparently been built in two stages because one section of the brickwork has a smoother finish.A coloured photograph of a two storey brick building with a slate roof. There is a shop front on the ground floor and 5 windows are on the 2nd storey. A verandah extends across the front of the lower storey to the edge of the footpath.butter and ice making, johnston, george, james, william, george evans collection