Class photo of Form 6 (Humanities) of 1961. Form Master is Mr E. Lee. Photograph taken outside the original quadrangle building.Copy of a black and white photograph on mounting boardForm 6 (Humanities) 1961. Mr E. Lee form Master.williamstown high school, 1961, form photograph, mr e. lee

Mr E.H. Townsend was the Principal of Williamstown High School from 1940-6Copy of black and white photograph, mounted on board. Accompanied by a mounted caption.Caption reads: Mr E.H. Townsend, Headmaster 1940-6. A much loved Headmaster of the war years. This enlargement has been made from a 1948 staff photo. We are grateful to Dorothy Barnes who donated the staff photo.williamstown high school, principals, 1940s

This camera combines 4 megapixels with 6 x optical and 3.4 digital zoom. It is powered by 4 x AA batteries - is comfortable to hold and easy to use. It also acts as a webcam when connected to a camera via USB. It has a movie feature which allows recording of movies without sound at 10 frames per second. Includes: 1. Lens cap 2. Adaptor Ring 3. 256mb Picture Card (128 photos).Top: Fujifilm digital camera S3500. Lens Cap: FinePix / Digital Camera - 4.0 mega pixels. Lens: Fujinon Zoom Lens - 1:28-3 6x optical zoom - f=6-36mm Side: xD Picture Card Bottom: N705 No. 4DL26522 / Made in Chinadigital camera

Contains class photos both labelled and unlabelled, date and undated, photocopies of newspaper articles from 16 Sep 1940 opening of refurbishments. Photos of classes: 1930 Gr 2, Gr 3, Gr V; 1931 Gr 2;1931-1932 Gr I & II; 1932-33 Gr 2; 1933 Gr 3;1935 Gr V; 1933? Gr VI;1933 Gr IV; 1933-34; 1935 Gr I & II; 1935 Gr V; 1935 Gr 5 or 6 Girls; 1935 Gr IV; 1937 C of E picnic; 1940 Gr VI; 1940 Gr IV;1940 Gr V; 1940 Gr 5 & 6;4 Ring, black plastic cover labelled "1930 -1940" on front and on spine

Plastic pockets with mounted photos: 1956 Staff (named); 1955 Gr 4 (n), 1950's named group of children, 1955 Gr 2B (n); 1955 Gr 5 (n); 1955 Gr 2A; 1955 Gr 6A (n); 1956 Gr 5 & 6; 1956 Gr 6 (n); 1957 Gr 4B (n); 1957 Football Premiers; 1957 Gr 6A; 1958 Gr 5C (n); 1958 Gr 5C (photo reversed); 1959 Gr 1A; 1959 Gr 1B (n); 1959 1C; 1959 1D; 1959 2B; 1959 3A (n); 1959 3B; 1959 Gr 3-4; 1959 4A; 1959 2A (n); 1959 4B; 1959 5A; 1959 Gr 5 & 6; 1959 Gr 6A; 1959 6B (n); 1959 Special Grade,; Traralgon & District Hospital Certificate of Honor for fundraising.4 Ring, green plastic cover labelled "1959 -1960" on front cover and on spine

Contains: newspaper articles on school centenary 1970; 1970 Staff photo, 1971 Staff; 1971 3W; 1971 5E; 1973 Staff; newspaper report on demolition of old school; 1973 Class 8; 1974 Gr 6; 1975 Groups 7, 8 & 15 (n); 1975 Group 6; 1975 Prep-1; 1975 Group 1M (n); 1975 Group 14 (n); 1975 Group 3; 1975 Group 11; 1975 Group 7, 8 & 15C; 1975 Group 7, 8 & 15B; 1976 Staff; 1976 Gr 4; 1976 Gr 1 & 2; Moondarra Excursion 1976; 1976 Gr 3 (n); 1976 Gr 2 (n); 1976 Gr 5; 1976 Gr 5 & 6; 1976 Gr 3 & 4; 1976 Gr 4; B&W photos of school grounds; LV Eisteddfod Award 4 Ring, black plastic cover labelled "1970 -1980" on front and on spine

World War 1 service of Leslie Victor Clark 2829 awarded the Gallipoli Medal. Black frame with dark green background mounted with circular photograph of a soldier and star shaped medal with red white and blue ribbonPlaque: Service Number - 2829 Full Name - Leslie Victor Clark - 8th Battalion A.I.F "Blood and Bandits" Overseas from 7/7,1915 Returned to Australia 30/6/1916gallipoli, medal, ww1, 8th bn, leslie victor clark

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

Born 26/2/1924. Ordained 1956. Turiff Home Missionary 1948, Birchip (HM) 1948–49, Mt Isa (Methodist Inland Mission) 1949–51, Drysdale 1952–55, Goroke 1956–57, Sea Lake 1961–65, Avoca 196–67, Strathmore 1967–72, Ballarat West 1973–76, Joined the UCA 1977. Without settlement 1976 while transferred to Rochdale (UK), Boronia, Malvern (6 years), Peterborough (UK). Retired to Geelong in 1989, and died late 1997. Wife: Ruth (4 daughters).Head and shoulders B&W photo."The Rev. Ken Eddy"eddy, kendall w.

The photo appears in an article titled "Raking memory's coals", about a visit by Roger Mitchell to Exmouth in 1983, where UC National Mission is at work on the frontier in the West. "In the car and over a meal we meet National Mission's community worker Bernice McLeod, self-effacing to the point of frustration, shrugging off a role in the oddly-mixed US base town which some say makes her saintly; others a pillar of the community."Bernice McLeod is shown playing with a small child.C&N 13/6/84 p. 3, p. 19.mcleod, bernice, exmouth, uc national mission

Dr. Jill Tabart was the first woman Moderator of the UCA in Tasmania. She has also been President of the UCA.(1) Colour photo of Tabart talking to Edna Turner and, possibly, Gordon Powell at Pilgrim Church, Launceston (?); (2)-(5) portrait photos of Tabart, head & shoulders; (6)-(7) Tabart at a lecturn.Identification of Tabart as Moderator of Tasmania 1984; C&N 21/10/84.tabart, jill

Wanda Blow is Aboriginal liaison officer of the Victorian Synod, division of Ecumenical Mission. Wanda wrote a C&N article in reply to to an article (C&N 22/8/1984 p.34) and a letter (C&N 22/8/1984 p. 6) that appeared in C&N 22 August 1984. The published photo is a cropped version of the file photo.Wanda Blow seated."Wanda Blow C&N 26/9/84, p.11"blow, wanda