Anderson Hunt vividly remembers the hard-core, hard-working supporters. "I see The Final Siren as a homage to those hard-working Collingwood fans who stood in the outer and barracked their hearts out. Without the hard-core supporters, the club would be nothing. I hope the sculpture gives Collingwood fans a sense of pride; pride that’s like wearing a tight footy jumper with big numbers on the back. I feel honoured to have had the chance to create this sculpture, knowing that what was there beforehand stood for so much.”Victoria Park, the former home of the Collingwood Football Club, was transformed into a major community recreation space in 2011. Yarra City Council and the Australian Government jointly funded the $7.2 million redevelopment of the Abbotsford ground. As part of the redevelopment, Council commissioned multiple works of public art. The intention of these artworks is to recognise the park’s important history and to provide interesting and educational focal points for park. visitors. This work by Anderson Hunt is in place of the original scoreboard which was demolished on 10 February 2011. Anderson Hunt remembers going to Collingwood games as a boy and wondering how the numbers on the scoreboard appeared and disappeared. He remembers being in awe of the size of the scoreboard. “It was like a huge monolith,” he recalls. He remembers a story of how the scoreboard operator, Bob Hill, would change the scores quick as a flash when the Magpies kicked a goal.Large black and white steel sculpture inspired by the form and imagery of the ground’s former scoreboards and clocks. Stylised wing and colours acknowledge the Collingwood Football Clubsport, collingwood football club, afl, history, victoria park, collingwood

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

Point to Sky is one of Akio Makigawa’s final works, the commission was completed posthumously. It is the only public artwork by the celebrated Australian-Japanese sculptor of this scale located in regional Victoria. You will see two stainless steel forms, a smaller more rectangle form and the towering geometric form, with seed pod shapes at the peak. These forms represent the house, the artist is expressing that home is a shelter and also a place for gathering. The house form grows into a tower to symbolise the achievements of mankind and the action taken to protect the rights of the community during the Eureka Stockade. The top seed pod is gold, referencing Ballarat as the centre of the gold rush in Victoria, as well as representing the sun as the source of life. The paving of the forecourt was designed in bluestone, typical of the work of Makigawa. Stainless steel panelling and shaping on armature. Set into raised platform of bluestone pavers.Point to Sky, 1999 / Akio Makigawa (1948-1999)/ stainless steel/ Born in Japan, Akio Makigawa arrived in Australia in 1974. He worked as a sail maker in Perth before studying sculpture at the Claremont School of Art and WAIT (now known as Curtin University). He moved to Melbourne in 1981 to do post graduate studies in sculpture at the Victorian College of the Arts and set up his studio. From 1984 he was involved in many public commissions in Victoria and interstate and Japan. / Commissioned by the Victorian Government and the City of Ballarat in 1999. point to sky, akio makigawa, modern, australian sculpture

Old uncle is standing on the mountainside watching over the modern-day empires built on Aboriginal land shaking his head, saying: “they are doing it again, every empire has a rise and fall”. It’s something that has never been learnt over time. — Josh Muir Josh Muir’s work, Roots, was the first temporary artwork to be installed on the Gallery Annex Wall on the approach to Alfred Deakin Place, Police Lane in Ballarat Central. The space is an important site to host this work given that Alfred Deakin Place is commonly used as a place of discussion, engagement, protest and performance.Temporary artwork - printed vinyl application to concrete wallnoneelder, aboriginal and torres strait islander

“The painted works are very intricate to make as I work in various sized brush strokes to make the images appear hand-drawn" This artwork by artwork by Briony Galligan was installed from Friday 20th November 2020 to 1 November 2021. Open Every Door consists of two wall paintings, each will remain at the site for 6 months, and a website publication. In April 2021 Briony installed the second artwork A Lover not a Fighter. Each abstract wall painting references queer histories and art makers, as well as abstract drawings made by Deakin’s Spiritualist contemporaries, such as Georgiana Haughton (1814-1884). The work was part of a City of Ballarat annual commission program to create temporary public artworks in Alfred Deakin Place, Ballarat. The artwork featured on a prominent site near the Art Gallery of Ballarat Annex. Currently a destination for art lovers and students from Federation University’s Arts Academy, Alfred Deakin Place is actively programmed as a space for new and innovative, contemporary public art. painted wall

Local Artist CV Artist StatementSignificant artwork by nationally renowned local artist Petrus Spronk.Large Scale Outdoor Sculpture made up of a bronze chair with an open book, a bronze shadow and 6 story rocksArtist signature - underneathlocal artist, petrus spronk, sculpture, public art, victoria, daylesford, mineral springs reserve, environmental art, hepburn shire public art collection, hepburn shire, hepburn springs, hepburn springs mineral reserve, bronze, granite, tourist attraction, art, clare gervasoni, joan mcewen, marie butler, laurie sullivan, bonnie howell, vera, lutea, merv keating, silent

The work was installed at the cnr of Bridgport St and the Midland Hwy, adjacent to the Daylesford Library, in 1999. The work was commissioned by the Friends of the Library, Daylesford and funded by Arts Victoria and the Australia Council. Poemscape: a physical anthology is a much loved site specific installation work commissioned by the Friends of the Library, funded by Arts Victoria and the Australia Council, made by Daylesford resident Patrick Jones in response to his interests in the provision of public food, the development of locavore sensibilities and the rethinking of economies of material accountability and regard. Patrick Jones is a poet and non-fiction writer, a visual artist and ecological thinker. In 2013 Patrick Jones was awarded the degree of Doctor in Creative Arts from the University of Western Sydney for his thesis, 'Walking for food. Regaining permapoesis.'Public Art Environmental installation work installed near the Daylesford Library. Poemscape: a physical anthology comprises of 19 apple trees (18 Fuji apple trees and 1 Granny Smith apple tree) planted on the corner of Bridgport St and the Midland Hwy, adjacent to the library. Adjacent to each tree is a hardwood plinth at topped with a laser engraved brass plate that has been screwed in place. The text of each plate is by 19 poets including the artist and Daylesford resident Patrick Jones, local poets Peter O'Mara, Toby Sime and Robert Campbell, Australian poets Geoff Page, Kath Walker, D T Sime, Judith Wright, Ramona Barry, Jack Davis, Robert Campbell, Christopher Brennan and International Poets Dylan Thomas - Welsh, Sylvia Plath - American, Choku Kanai - Japanese, William Blake - English, Duo Duo - Chinese (translated from the Chinese by John Rosenwald), Yannis Ritsos- Greek (translated from the Greek by Kimon Friar & Kostas Myrsiades), Michel Deguy - French (translated from the French by Clayton Eshleman), Seamus Heaney - Irish and Rainer Maria Rilke - German. The title plate adjacent to the Granny Smith apple tree is by the artist/poet - Patrick Jones. See photographs with images of each of the laser engraved brass plates. permapoesis, artist as family, patrick jones, william blake, kath walker, chaku kanai, peter o'mara, sylvia plath, dylan thomas, geoff page, duo duo, d.t. sime, judith wright, yannis ritsos, michel deguy, ramona barry, seamus heaney, jack davis, rainer maria rilke, robert campbell, christopher brennan, hepburn shire, daylesford library, public art, installation art, environmental art, hepburn shire public art collection

Upton has used the traditional technique of Indonesian batik to create 'Gumnuts Galore'. Batik has a long history in the world and is believed to have originated on the island of Java in Indonesia. The designs traditionally used in batik are imbued with meaning and powerful symbolism to reflect the culture and beliefs of the place where it was made and for whom it was made for. Upton has instilled her piece such meaning and symbolism by depicting eucalyptus leaves and gumnuts which evokes a sense of belonging and pride.Rural City of Wangaratta Collection, purchased with funds from the Wangaratta Art CouncilA rectangular design of gumnuts on silk created through the batik technique using natural dyes in shades of red, brown, and greenwangaratta art gallery, christine upton, batik, gumnuts, flora, australian flora, textile

Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

The site specific sculpture is located at the entry to the office of Nillumbik Shire Council. It was commissioned in 1994 by the Shire of Diamond Valley for their 20 year celebration. Baines was chosen from a short list of three artists. He is an internationally renowned artist, particularly in the field of gold and silver smithing. 'Transaction' takes on the visual and aesthetic vocabulary of its surroundings. It is a statement of the geometry and idiosyncrasy of its immediate site. The series of arcs are reinterpreted into longitudinal curves in the sculpture. It is a transaction between the place and the anticipated entry to the building. The title also suggests the flow of civil and administrative procedures that take place daily within the Shire's offices. A large cascading form in stainless steel. Multiple rows of concave dishes set on long steel stems, which progressively increase in size as they rise in height. The work plays elaborately with perspective, and its repeated shapes are arranged in a orderly mathematical series. It faces a wheelchair ramp lined with polished steel rails, and is integrated with the architectural features of its forecourt setting, for which it was designed. The piece is sited in a small garden area and can be viewed from within the building's foyer. In bright sunlight, its dish-shapes cast elliptical shadows across walkways and lawns. N/Apublic art, transaction, ekphrasis2017, stainless steel, disks, poles, council

nillumbik shire council public art

public art

Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar

A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage, ellis, penrose, cornwall, mining, mines

A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage,, ellis,, penrose, cornwall, mining, mines

A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage, ellis, penrose, cornwall, mining, mines

A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage, ellis, penrose, cornwall, mining, mines

A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage, ellis, penrose, cornwall, mining, mines

A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage, ellis, penrose, cornwall, mining, mines

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003.Annette Meikle, Horse-drawn tram 1977, ink and watercolour, 35 x 23.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, horse-drawn tram, tram, public transport, horse, beaumaris tramway company

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003.Annette Meikle, Electric tram 1977, ink and watercolour, 35 x 23.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, sandringham, electric tram, public transport, beaumaris

David Wood, Spirit of place 2021, galvanised wrought iron, 375 x 300 x 300 cm. Bayside City Council Art and Heritage Collection. Commissioned 2021public art, sculpture, reeds, spirit of place, david wood, elsternwick park, phragmites australis

Arguably Margaret Baskerville’s most famous work, the bronze statue of politician and land speculator Sir Thomas Bent was Baskerville’s first public commission and a significant turning point in her career. Originally located in the centre of the Nepean Highway, in Brighton, it became somewhat of signpost for many Melbournians until it was relocated to the corner of Bay Street in 1980.The statue of Sir Thomas Bent is of historic and social significance to the State of Victoria. The statue is historically significant for commemorating Bent's long, active and infamous political career in Victoria. He was responsible for many important speculative ventures both within his electorate and in the wider context of Victoria. Although not without thought for personal gain, Bent was a committed advocate of public utilities, railways, roads, tramways and gasworks. The statue is historically significant as the first large public commission given to a woman sculptor in Victoria. This work helped the sculptor, Margaret Baskerville, preserve her name as Victoria's first professional woman sculptor. The statue is socially significant as testimony to the late nineteenth century land boom and the financial and political corruption and scandals that accompanied it. https://vhd.heritagecouncil.vic.gov.au/places/12614bronze and granite thomas bent, politician, mayor, premier, bust, sculpture, margaret baskerville, speaker, member of parliament, member of lower house, local government, councillor, brighton, public art, bayside

Deborah KLEIN (1951- ) Born Melbourne, Victorian Deborah Klein grew up in the inner southern suburb of St. Kilda and lived and worked in London from 1973 - 1980. The experience of living in both of these places was to have a significant and enduring influence on her work. She gained degree and post degree qualifications from Chisholm Institute of Technology, Melbourne and Gippsland College of Advanced Education, and a Research MA from Monash University, Gippsland. Since 1988 Deborah Klein has held regular solo exhibitions and participated in group exhibitions in Australia and internationally. Her work is represented in public and university museum collections throughout Australia. This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. 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, handcoloured linocut depicting a butterly with a female head with braided hair.Edition 2/36artist, artwork, deborah klein, klein, butterfly, insect, animal, printmaking, linocut, parallel prints, alumni

Mary MODEEN (1953- ) Born United States of America Lives Scotland Mary Modeen is an artist/printmaker and interdisciplinary academic who also works in artist books, installations, and recently, in video and sound. She is also an academic of nearly 30 years full-time experience in higher education, residing in Scotland where she convenes the Art, Philosophy and Contemporary Practices at the Duncan of Jordanstone College of Art and Design, University of Dundee. Modeen’s research has several threads: perception as a cognitive and interpretive process, and place-based research, which tends to connect cultural values, history and embodied experience. In 2000, while a Visiting Research Fellow at the University of Ballarat (later Federation University Australia), Mary Modeen was commissioned to create a sculpture in a Public Art context for the campus. 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.An external sculpture commissioned in a Public Art context for the Mt Helen campus Business Building (B Building) by Scottish Artist and Visiting Research Fellow, Mary Modeen. Mary Modeen's three dimensional sculptures and installations draw on her interest in "light" relating to artworks and conceptual art. The 'plugs' in the sculpture represent students, while the blue acrylic disk represents alumni, and the spread and impact of our students throughout the community. art, artwork, sculpture, mary modeen, business school art collection

Vivienne McDERMOTT Working primarily in printmaking, drawing, mixed media and found/recycled object sculpture Vivienne McDermott lecturerf in Printmaking and Drawing at Ballarat University in 2000-2010 and collaborated with arts group Ratartat on public and community arts projects has taken her to many places throughout Australia. Her subjects include the Australian landscape, local characters and wildlife, the human condition and landscape. Now based in the Western Kimberley region of Australia Vivienne McDermott was Artist in Residence at Wulungarra Community School in 2012 -2013, and exhibits annually in Australia and New York City. 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.Abstract FigurativeFramed drypoint etching on Fabriano paper.vivienne mcdermott, mcdermott, apple, fruit, alumni, printmaking, available, drypoint, etching

Newspaper clipping from The Sun, 29 May 1987, titled "City's charm on the line!" about the place of trams in Melbourne at the time, The Met, Hong Kong tramcars, tourism, Light Rail development, Art Trams. Written by James Hutchinson, notes that it was taken from Singapore Airlines magazine "Silver Kris"trams, tramways, melbourne, restaurant tram, tourism, public transport, the met, hong kong, tram 793

Calendar - 16 pages - card cover, full colour, titled "Going Places - 1993 Calendar", published by the Public Transport Corporation featuring public transport photos and 8 postcards in the centre - perforated. Tramway items imaged along with a note about the photograph itself. image 1 - cover 2 and 3 - February - St Kilda Rd From the BP Building, looking north at Dawn 4 and 5 - April - B2 2038 outside the Princess theatre in Spring / Nicholson St 6 and 7 - June - Y 469 as "The Melbourne Tram" with Flinders St in the background. 8 - Postcards - W1 421 decorated for the Royal visit of , Flinders St station with cable and electric trams, Spirit of Progress on Test and the line up of Double deck buses at North Fitzroy. 9 and 10 - August - B2042 in the Bourke St Mall 11 and 12 - October - W5 816 as the Leunig Tram with Luna Park behind. 13 and 14 - December - W2 442 as the Restaurant tram with the Arts Centre behindtrams, tramways, ptc, y class, tourist trams, b class, restaurant tram, st kilda road, transporting art, flinders st station, double deck buses, bourke st, spring st, tram 462, tram 816, tram 2042, tram 442, tram 421, tram 2038