A decorative, spiral shaped piece of iron. historic building, architecture

public art, fountain, mosaic

public art, sculpture, australian art

public art

Uncle Jack Charles was a respected Aboriginal elder, a Bunerong, Boon Wurrung, Yorta Yorta, Palawa, Wurundjeri, Tungerong man, and an internationally acclaimed actor, mentor and activist. This inspirational, Indigenous gay man was part of the stolen generation and was taken from his family as a tiny baby. He survived the impact of this early childhood trauma by using drugs. Without support or housing, he was often homeless and imprisoned for long periods of time. True artistic recognition came only later in life. Often the most talented members of our community struggle with addiction and homelessness. This work asks us to take a closer look at the way the state criminalises human responses to trauma, which the state itself has often inflicted, willing us to face history more bravely and to treasure people sooner. Uncle Jack made profound and lasting change in legislation and public awareness on Aboriginality, criminality, and social justice in Australia. After his death there was an outpouring of grief across the country. Leonie worked closely with Uncle Jack over a decade developing this collection and now works with the Charles family to grow his legacy, which continues to positively impact the lives of thousands of people.

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

Something new has happened in Kylie Stillman’s work. It is not a departure. Perhaps a better way of explaining it would be an inward looking, a reflection on process and purpose. In the twelve small book stacks that make up this series, we find not birds or trees – the forms that have become familiar tropes in Kylie’s art – but a stroke, a scribble, a loop, a weave. In Kylie’s words these are: 'the basic structural elements and gestures that make things things - the stroke that makes a painting, the scribble that makes a pen work, the notation that makes writing, the intertwining of wool that makes a garment, the weave of fibres that make furnishings'. - Chloe Watson (2013)Paperback books and timber baseaustralian art, sculpture, female artist

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

australian art, sculpture, female artist

australian art, sculpture, female artist

sculpture

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

Wall Kisser is a kinetic sculpture that is hand-cranked by the viewer. On turning the handle the wall receives the repetitive, kiss-thud, kiss-thud of the leather and velvet hearts which have been padded out with dried lavender and rosemary from the artist's garden (a version of an 18th Century pot pourri recipe commonly used to ward off disease and disguise bad smells). The sculpture's rotating form is loosely based on the design of a vibrator that the artist saw online: an electromechanical wheel of 10 plastic ‘tongues’. This sculpture was part of a body of work entitled Gorgeous, first presented at the inaugural Ellen José Art Award at Bayside Gallery in 2022. Gorgeous was an exhibition that imagined the physical gallery (walls, floor space), as if an abstract version of a lover’s body. Gartside explains, "I am curious about the potential connections between a viewer and an artwork... What could we ask of viewers beyond their attention, and as artists, what can we offer? What is possible when both artwork and viewer have skin in the game? In this work I am teasing out possibilities for eliciting surprise, delight, humour through art, and offering my gratitude for the 'lover' type relationship that I have with my art practice."

Your Place is Empty is an expression used in Iran as a way of saying ‘you were missed’. The works in this show are like spaces left behind when someone or something is gone, temporarily or permanently. They are disjointed, fading memories of a long time ago. They have become unreliable fragments, manifesting like floor plans of a childhood home drawn from memory. But the lines are disjointed, no longer connecting enough to make any discernible maps. They are fading trails.

Newspaper clippings from The Age, Nov 2013, titled "A W class gets to stand tall" about the positioning of full scale model of W7 1040, at the corner of Spencer and Flinders St. Item details the Art project, sponsored by the City of Melbourne and undertaken by David Bell and his team. Consists of two pieces of newspaper, not known how they went together. See also Reg Item 499trams, tramways, melbourne, sculpture, art works, flinders st, spencer st

red tail black cockatoo

collective

parrot, hammer, lorikeet, cockatoo

earthenware

dog

Bronze figurine of Australian soldier carrying wounded comrade on his shoulders mounted on plastic base.Collectors Limited Edition - Silent Soldiers Mateship.

Greensborough residents are upset at soil from a development in Greensborough being dumped at War Memorial Park in 2011. Includes a Letter to the Editor from a disgruntled Banyule resident in reply to this article.News clipping, black text, colour image.greensborough war memorial park, chainsaw sculptures

Sculture in bronze of Alan Marshall by Marcus Skipper, 1995 Alan Marshall, AM., O.B.E., Hon.LL,D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940's he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime"; "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters". Covered under National Trust of Australia (Victoria), State significance. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p159 Outside the Eltham Library a bronze figure of a short one-legged man with a crutch invites people to the world of literature. The bronze statue, by Marcus Skipper, is of author Alan Marshall, who is famed for his autobiography I Can Jump Puddles, about growing up and overcoming the effects of polio. That plucky little boy later lived in the Nillumbik district for more than 50 years, and on his death in 1984, was buried in the Nillumbik Cemetery at Diamond Creek. Although a hugely successful author, his grave is modest with only a tiny boulder and simple bronze plaque on a grassed plot. From 1955 to 1972 Marshall lived in a tiny fibro-cement bungalow at the rear of a house at Park West Road, Eltham, owned by his older sister, Elsie McConnell. It was there that he wrote most of his autobiographical trilogy and his history of the former Eltham Shire, Pioneers and Painters. His long association with Eltham Shire began in 1918 when his family moved to Diamond Creek. Then in 1920 he began work as a junior clerk at the Eltham Shire Offices on Main Road, Kangaroo Ground near the Yarra Glen Road, while boarding at the hotel next door. Marshall later bought a block of land in Research, which had three bark huts. In one of these he wrote his first book These Are My People. He later sold the land but lived in a caravan there and in 1955 wrote I Can Jump Puddles.1 Proud of its citizen, the Eltham Shire named a park after Marshall at the corner of Main Road and Leanne Drive, Eltham. In 1985 the Shire initiated the Alan Marshall Short Story Award. It was Marshall’s early life in the country that taught him to live courageously in spite of his crippling polio, and he inspired many. This informed his writing – full of courage, championing the battler and love of the bush. Alan Marshall was born in 1902 at Noorat in Western Victoria, as the only son of Billy a drover, horse breaker, hawker and then general store owner. At the age of six, Marshall contracted infantile paralysis and was later hospitalised in Colac for 18 months. With his father’s encouragement, Marshall learnt to swim, wrestle and box, ride a bicycle (downhill), ride a horse and drive a car. Marshall won a scholarship to Stott’s Correspondence College to study accountancy. To help him continue his studies and find employment, his family bought 12 acres (4.8ha), in Ryans Road, Diamond Creek, opposite Windmill Court. There they ran cows, some poultry and an orchard. But life with a disability and during the Depression was hard for Marshall, who for 20 years, endured long periods of unemployment and loneliness and was often exploited at work.2 However, life improved in the 1930s, when he published short stories and articles in newspapers and magazines, including a column of advice to the lovelorn, which he wrote for nearly 20 years. At age 42 Marshall published his first book and in the next 30 years he published more than 20. His most successful book was I Can Jump Puddles, which sold more than three million copies internationally. It was made into a film, released in 1971, by Czechoslovakian director Karel Kachyna. Marshall was one of the first Australians to write about Aborigines who called him Gurrawilla - teller of tales - when he lived with them in Arnhem Land for eight months.3 In 1941 Marshall married Olive Dixon, with whom he had two daughters, Catherine and Jennifer. Marshall and Olive divorced in 1957. In 1972 Marshall was awarded an OBE for his work with the handicapped. He was also awarded an Honorary Doctor of Laws by Melbourne University, an Order of Australia for services to literature and the Soviet Order of Friendship of Peoples.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, alan marshall, art in public places, eltham, eltham library, marcus skipper, panther place, public art, sculpture