Neville Bunning taught Ceramics at the Ballarat Technical Art School, a division of the Ballarat School of Mines. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed oil painting which depicts a number of horses. art, artwork, bunning, neville bunning, horse, orange, ballarat technical art school

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

Russell Thorpe was a Diploma of Visual Art student at the Gippsland Centre for Art and Design (GCAD) from 1977 to 1979.Woodfired Vesseljan feder memorial ceramics collection, russell thorpe

CEMA Art collection Winner of 1966 Portland Artists Society Art Prize for the category of Any other mediumThis print depicts a large fish completed in black and brown on a pink background. The fish is portrayed from a side view and has a large body, small tail and blue eye. Predominately pink, the background features smaller areas of black, purple and brown. The work has a natural wood frame with grey mount and glass.Front: TROPICAL FISH (2) 4/10 LT (orange paint, lower left) LESBIA THORPE__________________.(along bottom, pencil) Back: TROPICAL FISH No 2 ) LESBIA THORPE ) FLAT 5 10 FORDHAM AVE )Handwritten, black ink CAMBERWELL VIC ) $23 unframed ) Typed: LESBIA THORPE "TROPICAL FISH No.2" (1966) Yellow sticker: 1966 Red sticker: 10cema, portland artists society, femal artists, female artist, fish

Gilda Gude was a student at the Ballarat Technical Art School during the 1930s. She is the sister of Nornie Gude. This item is part of the Federation University Art Collection. The Art Collection features over 3000 works and was listed as a 'Ballarat Treasure' in 2007.Framed gouache poster showing a woman holding a glass of milk behind a tin of Nestle's Malted Milk powder.posters, art, artwork, gilda gude, nestle, ballarat technical art school, available

Ponsonby May CAREW SMYTH Ponsonby May Carew Smyth was born at Cork, Ireland, Carew-Smyth studied at the Belfast School of Art and Design. Carew Smyth taught at the National Art Training School, London and Rugby School. He arrived in Australia in January 1891 , and was appointed Principal of the Ballarat Fine Art Gallery School (Ballarat West Technical Art School) from 1891 to 1899. In 1907 Carew Smyth was Chief Inspector of Art for the Victorian Education Department. He designed commemorative wall plaques for state schools after World War One. In 1936 Carew Smyth was Acting Director of the National Gallery of Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed pencil drawing of a woman carrying a vase.art, artwork, ponsonby carew-smyth, ballarat west technical art school, victorian education department inspector of art, drawing, art education

Edward Heffernan and Geoffrey Mainwaring were Australian artists and art educators who in their very different approaches and passions influenced hundreds of artists and art students throughout their careers. Born only days apart in October 1912 they pursued a lifelong passion for art. Heffernan from Melbourne and Mainwaring from Adelaide gave decades in art education in regional Victoria at Geelong and Ballarat respectively. Heffernan was also influential in working with Melbourne students and encouraging art through the Victorian Artists Society while Mainwaring served to use his art in documenting the role of Australia in the Second World War as an official Australian War Artist. This exhibition catalogue profiles their careers and was the first such retrospective of their lives and work brought together to celebrate their contribution to Australian art and the double centenary of their births.

Report or plan - 55 A4 pages, clear plastic cover, black card back cover, bound with a black wire binder, titled "Tram Fleet Rationalisation Working Paper" providing information "for discussion purposes only" on the possible methods of disposal of the W class fleet, in particular those stored at Newport and detailed information on the second series of Art trams. Looks at the possible market for the vehicles, disposal methods and the next steps. Includes appendices on tram storage, a EOI or prospectus and draft schedule. Prepared by Boyce Pizzey Strategic July 2004. See also Reg Item 670 and 671 for other reports on the second series of Art Trams.trams, tramways, victrack, w class, newport workshops, disposal, transporting art

Michael KITCHING (1940 - ) Born Hull, England Arrived Australia 1952 Without any formal art education, sculptor, painter, print maker and designer Mike Kitching emerged as one of the original voices of the 1960s art movement in Australia. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Metal and timber 3-dimensional wall artwork in grey and red.art, artwork, michael kitching, kitching, sculpture, wall art

Albert E. WILLIAMS (1899-1986) Victoria, Australia Albert Edward Williams was among the first to undertake the five-year, Technical Art Teacher’s Certificate (TATC) at the Ballarat Technical Art School in 1915, with work placement at the Ballarat Lithographic company. Williams taught for several years before he was selected to undertake further teacher training at the Working Men’s College, Melbourne, in 1926. He returned to teach at Ballarat in 1928, facilitating many student activities, while pursuing the arduous Art Teacher’s Certificate. This work was undertaken for the Art Teacher's Certificate, Part I at the Ballarat Technical Art School, School of Mines, Ballarat. From its inception in 1914, it was 30 years before the first candidate achieved the Art Teacher’s Certificate's exhaustive requirements. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Pencil figure drawing of a man in underwear.Verso "Certified as Student Work. H.H. Smith"art, artwork, albert e. williams, life drawing, ballarat technical art school, art teacher's certificate, drawing figure from life

Booknon-fictionBookfeminism, feminist art, exhibition, abstraction, art education

Neville Bunning taught Sculpture and Ceramics at the School of Mines and Industry, Ballarat between 1945 and 1964. During that time he formed the Ballarat Artist’s Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly art column in The Courier, where his insightful comments made readers aware of significant trends in Art. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour.art, artwork, neville bunning, bunning, watercolour, watercolor

Neville Bunning taught Sculpture and Ceramics at the School of Mines and Industry, Ballarat between 1945 and 1964. During that time, he formed the Ballarat Artist’s Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly art column in The Courier, where his insightful comments made readers aware of significant trends in Art. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork

Neville Bunning taught Sculpture and Ceramics at the School of Mines and Industry, Ballarat between 1945 and 1964. During that time he formed the Ballarat Artist’s Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly art column in The Courier, where his insightful comments made readers aware of significant trends in Art. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Painting of a sailing ship framed in a aluminium frame. art, artwork, neville bunning, ship, boat, sailing, sea

Ian HEMINGWAY Ian Hemingway was the head of the University of Ballarat Art School when it was located at Mount Helen Campus. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, ian hemingway, hemingway, mixed media, sculpture

Kathleen WRATTEN This work was part of the final year folio at the University of Ballarat. It was awarded a DVC Art Award in 2004. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.An eartherware form with slips and oxides.art, artwork, kathleen wratten, ceramics, alumni, dvc art award

Two copies of ' Decorative Arts from the Newson Collection.' Bendigo Art Gallery Publication 1981. Catalogue compiled and researched by Jean Newson, Honorary Curator of Decorative Arts.14 pgs. (ill.). Bottom left corner of front cover is sticker with the number 0137.1 NEW, 0137.2 NEW.artwork, newson collection, bendigo art gallery, artwork, art, decorative arts, silver, porcelain, furniture, antiques, collection, newson family. bottom left corner of front cover is a stcker with numbers 0137.1 new, 0137.2 new.

A catalogue titled ' Foundations. Bendigo College of Advanced Education's F.M. Courtis Collection.' Bendigo Art Gallery 26 June - 27 July 1986. ' An exhibition celebrating the 10th Anniversary of Bendigo College of Advanced Education. Bottom left corner of front cover is a number sticker, 0129 CLE.bendigo, education, bendigo college of advanced educati, bendigo college of advanced education, bendigo, art, art work, artists, exhibition, f. m. courtis, gallery, painting, painter, australian art, catalogue. bottom left corner of front cover is a number sticker, 0129 cle.

A catalogue titled ' Acquisitions 1988.' Published by the Bendigo Art Galllery for an exhibition 15th December - 22nd January 1989. This exhibition was arranged to show what was acquired during the year. Cambridge Press, Bendigo. 11 pgs. Bottom left corner of the front cover is a number sticker, 0131 THO.bendigo, hospital, art gallery catalogue, bendigo art gallery. art, exhibition, catalogue, art work, art gallery, catalogue. bottom left corner of the front page is a number sticker, 0131 tho.

Small brochure titled ''Bendigo ….the Golden Heart of Victoria''. On the cover arial view of Bendigo. Inside short chapters on: the discovery of gold, sporting facilities, accomodation, art, Easter fair, Bendigo. Please note; 2 photos attached to the bottom of each page have note been scanned.bendigo, tourism, brochure

Document. Norman Penrose collection: annual report and Balance Sheet 1949 for The Ballarat Fine Art Public Gallery Association. Has list of acquisitions and some pictures of paintings including 'Richmond Bridge, Tasmania' by George Lawrence, 'A Football Game' by Russell Drysdale and 'Eaglemont, 1889' by Arthur Streeton.person, bendigo, norman william penrose, norman penrose collection, ballarat art gallery annual report and balance sheet 1949

Document. Norman Penrose collection: 10 Department of Education Technical Schools Certificates (9 First Grade and 1 Second Grade.) with notes pertaining to art written on the back. Ballarat School of Mines No 10. 2 Department of Education Technical Schools Certificates. Ballarat School of Mines No 10.person, bendigo, norman william penrose, norman penrose collection, notes on eras, department of education technical schools certificates

Includes pamphlet on the interpretation of rock art in the Flinders Ranges - explanation of the symbols used; six sheets relating individual Flinders and Gammon Range myths - lost children, giant serpent, mistletoe bird, native orange, old woman/child/kangaroo, eagle/crow/magpie; composition of the AdnyamathanhaIllustrationsadnyamathanha, flinders ranges, gammon ranges

Certificate inscribed, 'Presented with a Commemorative Medal to Thomas Thornell.' Signed Albert ? Executive President and Philip Cunliffe Owen, Secretary to the Royal Commission. Produced by Fac-simile chromo litho art studio, London and W. Griggs, imp. London. (Also see B92.545, framed and glazed copy.)Inscribed, 'Presented with a Commemorative Medal to Thomas Thornell.' Signed Albert ? Executive President and Philip Cunliffe Owen, Secretary to the Royal Commission.thomas thornell, philip cunliffe owen, secretary, royal commission, w. griggs, colonial & indian exhibition, certificate, medal