James Redmond Gilbert (sr) was born in 1837 at Hamilton, Ontario, Canada. He married Ellen Spouse. He , James Gilbert died on 26 July 1900 at Melbourne, and is buried at Boroondara Cemetery (Kew). J.R Gilbert lived at Running Creek (later Havilah) for some time, and during that time was employed in one of the bigger mines in the district. (Research by Ren at Havilah Research, 2019) Leatherbound ledger with hand written names, professions, residence and remarks relating to visitors to the Ballarat School of Mines. Sample Names: 1881 May 2 David Kerr Diamond Miner South Africa May 2 S. R. Dodds Diamond Miner South Africa May 3 Albert E. King Accountant Adelaide, South Australia "see signature 6 leaves back" May 6 William Morley Wesleyan Minister Auckland, New Zealand May 6 Rainsford Ravin Wellington, New Zealand May 7 Frank E. Lawrence, Lake River, Tasmania May 9 M. Richter Engineer Germany May 9 Dr Wilhelm Landall naturalist Berlin, Germany May 10 William Ralph Heaton Mercantile Birmingham May 11 Arthur I. Traill Grazier Llanpollen, New South Wales May 10 Marian Traill 1882 July 10 Arthur W.W. Brown London July 10 Benjamin Spargo Mining Mananger and owner Snowy Creek July 10 Thomas Cooke Miner Ballarat July 14 Robert H. Kenny July 14 Mr and Mrs Buston, [Indigo Planter?] Bengal, Indonesia July 14 Samuel H. Halker Ballarat July 14 Charles Phelan Talbot July 14 E. Walker Ballarat 1884 June 30 M.N. Cooper Dunedin, new Zealand June 30 Richard Hosking gardiner Gong Gong Well pleased with School June 30 Humphrey John Ballarat July 1 Cecily Gilbert Melbourne July 1 Florence Shrivall Melbourne July 1 [W.N. Marsh?] Colonial Secretary Hong Kong July 1 Louis Fause Engine Driver Dunolly July 1 John L. Bertram Blacksmith Melbourne July 1 Thomas Eardley Coachmaker London "Exceedingly obliged to Mr Oddie for a very pleasant instruction time spent in inspection of the various scientific appliances in the Ballarat School of Mines." (Donation 2/6) July 4 E. Goodwin [David?] Artist Spellbound July 4 W. Glumley Station Master Murtoa July July 4 James Thomas Miner Corrinondie, New Zealand "Very pleased with the School in all its branches. I hope to contribute to the specimen department. J.T." July 8 Robert Wall Engine Driver 1885 September 16 J.W. Springthorpe, M.D., Melbourne (very much pleased in every way) September 26 M. Oddie, Ballarat 1886 January 12 William Piekard, Leicester, England January 12 Robert Linford, Norwich, England January 12 H. Tipping, Draughtsman, Adelaide (Very instructive and should be taken advantage of by all who can) January 12 Fred H.K. Dreslecher, London (ditto) January 23 Walter Redgate, Manchester (ditto) April 7 Annie Bellingham, Richmond April 9 Fred Kruger, Landscape Photo, Geelong April 14 Mary Barry, Murtoa April 19 N.J. Tabuteau Accountant Napier, New Zealand April 19 George N. [Baroft?] Gentleman Cheshire, England April 21 Hon. George D'Almaine, Peer of England, London April 21 Lord Augustus Honour April 21 William Holt, South Melbourne April 21 H. Bartell, Gentleman, Smythes April 21 Fred Musgrove, Gentleman April 21 A. Chirnside, Squatter April 23 Alice Cravino, student, Buninyong April 24 East Melbourne Bicycle Club April 28 J. Kinnear, Kyneton April 28 J.P. Kinnear, Kyneton May 19 Bob Selby, Doctor, Ballarat May 19 J.W.M.. Quiggin, globe trotter, Picton (NS Wales) May 25 Arthur Night, Sutton Hotel, Ballarat (very fair) May 28 D. Kelly, attendant, China May 28 J. Kelly, schoolboy, China June 1 Joseph Jelbart, Blacksmith, Harrow September 9 David Ham, M.L.C. Ballarat ( A right to be pleased) September 9 J.J. Green, Merchant, Adelaide (Very much pleased with my visit to this intitiution it has my hearty sympathy and appreciation, Much pleased at what I have seen its value to the community) 9 December James H. Tappin, Agent, Ballarat (very pleased with instruction 1887 March 20 Thomas Bath Learmonth March 20 James R. Gilbert= Miner Running Creek March 20 C. Holtermann Out of business Adelaide 1890 21 May Mr and Mrs Fairchild, gentleman. Yarra house, Dalgety St, St Kildaballarat school of mines, visitors, j.w. springthorpe, chinese visitors, visitors' book, running creek, james redmond gilbert sr, havilah

This AC generator operated for the State Electricity Commission in the Ballarat North Power Station prior to World War Two. James Oddie of Ballarat has an association with Thomas Parker of Elswell-Parker. In early 1887 Oddie arrived in England seeking information on electrical knowledge and its developments. At this time Henry Sutton was teaching Electricity and Magnetism at the Ballarat School of Mines. Oddie stayed in the United Kingdom for around three years and during that time became a close friend of Thomas Parker and his family. The two first met at the first official running of the Blackpool tram, and Oddie was invited to visit Parker at Wolverhampton. Over the years Thomas Parker kept newspaper cuttings (mainly Australian) relating to James Oddie and his work. The following article is a description of the Wolverhampton works by James Oddie, and was collected by Thomas Parker. After the dinner at Blackpool, Mr. Parker visited me, and cordially invited me to see his extensive works at Wolverhampton, an invitation I was not slow to avail myself of. This was the keynote of the best friendship I made in England. I went shortly afterwards and stayed several days, visiting the works daily, as Mr. Parker gave me the run of the whole works. There I ordered the installation of a 60 light dynamo, with a 28 cell storage battery and paraphernalia, now doing duty at the Observatory. I subsequently visited the works frequently, sometimes for a week at a time, and I regard it as the brightest spot in my English constellation. Mr. Parker started his works in 1880, with one man beside himself. He never had a single day’s instruction in electricity in his life; now he daily instructs between 300 and 400 employees, who worship him as a father. He is said to be now the most practical electrical engineer and mechanist in Europe. During one of my visits I took with me an artist, who is painting for me a portrait, 6 feet by 5 feet, of Mr. Parker, surrounded by dynamos, secondary batteries, measuring instruments etc. Electric tram cars are going to be a big thing in England. Parker’s Company Limited, is now, with three other companies, in the hands of the Electric Construction Company, with Mr. Parker as manager of the lot. The whole of the works will be taken to Wolverhampton. Before I left, a tender for £50,000 was accepted for the construction of new works.AC Generator painted read and black on a stand. This AC generator operated for the State Electricity Commission in the Ballarat North Power Station prior to World War Twogenerator, ac generator, elwell-parker ltd, state electricity commission, sec, ballarat north power station, james oddie, wolverhampton

Part of a collection for Thomas Henry Anderson VX 34767Consummers copy of rationing certificate for tabacco to Ex-Service personnelConsumer's Copy/ National Security (Tabacco Rationing) Regulations 1942/ Specil Tabacco Ration for Ex-Service personnel/ Surname Anderson Christian Names: Thomas Henry/ Address: P.O. Red Cliffs/ Male or Female/ Service Number: VX 34767/ Identity Card No/ R(unreadable) No./ Monthly Quota Selected- Cigarettes... 8oz Tabacco/ see details on other side/Nominated Retailer x Stracos..(Unreadable)..P/L/ John..L (unreadable) & Co/ (to be filled in bt retailer)/ Quota to operate on and from ....../ National Security (Tabacco Rationing) Regulations 1942/ I declare that I am a genuine smoker, that all supplies to be/ drawn as above are for my own personal use/ and that I have no other source of supply./ ...... signature of Applicant/ c.812/9.45-c.5491/ Authorized by (faded Signature)/ Chairman, Tabacco Distribution Committee/ Place Melle Ror Date: 20 Feb 1946 (More details on back of sheet but it is glused to a board)discharge, thomas, 1942, anderson, tabacco, rationing, henry, cigarettes, regulations, nation, security

Book. ALEC H CHISHOLM COLLECTION. 259 page autobiography of ''Evans of the Broke'', Admiral Lord Mountevans. Includes 32 B & W photographs. He was 2IC of Capt. Scotts's last Polar expedition and Commander in Chief of the Royal Australian Navy , the African Station and the Nore. Published in 1946 by Hutchinson & Co. and printed by the Anchor Press, Essex. Catalogue sticker ''2244 MOU'' on spine. Reference made to A. H. Chisholm on page 169. Newspaper cutting from Sydney Morning Herald, 22/8/57 obituary notice for Mountevans. He died in Norway. Handwritten in green biro on flyleaf ''I do not recall having assured Teddy Evans, 'The good winds blow through your heart' but I hope I did. Anyway, he was an admirable bloke and that's even more creditable than being an Admiral. See p169 Alec Chisholm''Edward Evansbooks, collections, biography, alec h chisholm collection, admiral lord mountevans, biography, navy, explorer

COLLECTION OF RIGHT TO OCCUPY A RESIDENCE AREA -LAND (RESIDENCE AREAS ) Act 1935 / thick cardboard book -cloth and string binding / written on front in texter '1936' / numbers 901 to 1000 / inside - stubs of documents showing Granted to, of, period, Date of Right , Description of Land, Allotment, Section, City, Town, Borough, Township of, Parish of, Authorised Person . Rubber stamps show The interest of this Right has been transferred to / stub 905 has the relevant document attached stating RIGHT TO OCCUPY A RESIDENCE AREA . Know all men that I, the undersigned , being in that behalf duly authorized by the Governor of the State of Victoria , DO HEREBY , in pursuance of the Land (Residence Areas ) Act 1935 , and in consideration of the payment of an occupation fee of FIVE SHILLINGS, GRANT To. Of a RIGHT TO OCCUPY AS A RESIDENCE AREA the land herein specified , for a period of one year from subject to the conditions of the conditions set out on the back thereof. Authorised Description of land / the reverse of the document gives the CONDITIONS- (SEE RESEARCH FOR DETAILS//// note on Bendigo Historical Society Catalogue Sheet dated 12.6.2008 All butts completed and original application forms removed . Note -forms were originally in triplicate on one page with serrations for removal of two parts; butts remain .Residence areas in Central Goldfields.Bendigo City Council - Acquisition 1990organization, government, bendigo land office, right to occupy a residence area -land (residence areas ) act 1935/

Book. ALEC H CHISHOLM COLLECTION. 168 page hardcover book of verse by Douglas Ainslie. Psychedelic colours on covers. Preface by G.K. Chesterton. Published in 1926 by Leonard and Virginia Woolf at the Hogarth Press, London. Printed by Neill & Co., Edinburgh. A printed extract from this book, on a separate loose page, is pasted inside the front cover. Handwritten in ink on this extract is ''Wishing you a Happy New Year. Your home is a treasure-house for my poetry! Am in America talking to many ------. I want to come to Australia. Can you arrange it !? See British Who's Who --- ---. Douglas (not A.D.) Ainslie'' Catalogue sticker '2053 AIN' on spine.Douglas Ainsliebooks, collections, poetry, alec h chisholm collection, douglas ainslie, leonard & virginia woolf, poetry

Forty-five paged booklet ''Has a pioneer church a future?'' - A history of the Forest Street Uniting Church buildings, by L D Faulkner. Not dated but probably 1993 (see Ministers, p. 37). A detailed history comprising as per the Table of Contents; Introduction; Wesleyan Beginnings; First Permanent Buildings; Second Permanent Chapel; Vestries & Church Extensions 1877/78; Sunday School Additions; The 1900's; Conclusions; References; Bibliography; Appendices; Additional Papers i. Ministers, ii Trustees, iii Organists & Choir Leaders, Site Plan. Illustrated with (generally poor quality) B&W photographs.L D Faulknerchurch, history, uniting church forest street, l. d. faulkner. wesleyan church. jimmy jeffrey. golden gully, white hills, eaglehawk gully, long gully. thomas raston. edward stone parker. w.h. vahland. fincham pipe organ. j. watson.

Short handwritten note. 'Dear Gleeson I will be away all day but will See You tomorrow morning. In the meantime try and get the amount I have paid off the a/c. And oblige yours?? H. Lindy? 4/7/99.business, stockbroker, kelly & alsop, kelly & alsop collection - note, gleeson, ? h lindy?

RAILWAYS COLLECTION -BLACK AND WHITE PHOTO OF three men -TWO MEN SHAKING HANDS-write in ink on the back - A.Cullinan, I Fisher, J. Ennor - W/Shop Cricket Match 1959. (possibly at White Hills Oval as other photos support this - see 6894).The man on the left is holding an Iced Lolly. The man on the right is holding a book and wearing a hat and shorts.photograph, person

This douche, with the manufacturers object description of "heisswasserspulungen" which translates as healing water douche, came from the Edward Rowden White Estate. The heisswasserpular designed by Dr Walzer-Frank was used as a vaginal douche by attaching a rubber hose to the glass connector which was then inserted into the vagina. Acquired from Dr Harold Attwood, the Curator of the Medical History Unit, University of Melbourne, 2 April 1996. In a letter to Geoff Bishop ... " I think they are best held in your collection rather than here." (see accession file)Transferred from the collection of the Medical Unit (Brownless Medical Museum) University of Melbourne, from the Sir Edward Rowden White Estate. Sir Edward (1884-1958) was a Foundation Fellow of the Australian Regional Council of RCOG and was the first Chairman of the Arthur Wilson Foundation, and created (with his brother) the EA Rowden White and Edward R White Foundation for Medical Research at the Royal Women's Hospital in 1955. Black bakelite bulb with glass douche nozzle and irrigator connections at each end. Stored in original box. Handwritten in blue pencil on side of box: "Vaginal Douche".vaginal irrigation

An early Barratt photo of the Cockatoo Creek, looking towards the McBride St bridge. The four men depicted in the image, look relaxed and are taking in the serenity of the creek below.Dear Florrie, just a card to let you know I haven't quite ? altogether am up here among the ferns and ? It is a lovely place for a quiet holiday the fern gullys are just lovely you can see the Ranges in the distance as blue as the sea. This view is the bridge over Cockatoo creek near the R. Station. As space is short I will close Best Love from ?Original Barratt Photo, of four men standing on the McBride St bridge over the Cockatoo CreekRear of the postcard includes handwritten correspondence in ink, to someone called Florriea. t barratt, postcard, cockatoo creek, cockatoo, views of cockatoo,

Pewter mug, recovered by David Gunn from the Glasgow Arms Hotel, Kangaroo Flat. The Gunn family held the license in the early days of the hotel. Mug has an ornate handle and glass bottom. Piece of paper insider mug ' Pewter mug - recovered by David Gunn from the old Gunn Hotel 'The Glasgow Arms' at Kangaroo Flat. I became very friendly with Dave and his wife Nolly. Our Binks connection with Gunn famiy was by Aunt Sara Fraser' Signed Q,C, Binks C 1985. SEE ALSO Glasgow Arms Hotel foundation stone (7163)bendigo, hotel, glasgow arms

Ill, maps, p.127.non-fictionCome see my little dugout - way up on the hill it stands, Where I can get a lovely view of Anzac's golden sands.' The Anzac Book was the finest 'trench publication' produced during the Great War and was an instant bestseller when first released in 1916. Created by soldiers under enemy fire and in extreme hardship, the illustrations, stories, cartoons, and poems were intended as a Christmas and New Year diversion for soldiers facing a harsh winter in the trenches on Gallipoli. The way these young men powerfully captured their felt experiences and struggles in the trenches had a huge emotional effect on readers back home in Australia. From Desk to Dugout explores this particular moment in Australian literary and educational history and its intersections with the war at Gallipoli and the history of ANZAC.world war 1914-1918 - campaigns - gallipoli, gallipoli campaign - personal narratives

Ill, p.64non-fictionUndoubtedly the most famous fighter type to see service on either side during World War 1 the Fokker Dr1 was inspired by Sopwiths triplane of 1916-1917. The Dreidecker enjoyed immediate success with Germany's elite fighter unit, Manfred von Richtofen's JG1world war 1914-1918 - aerial operations - germany, fighter pilots - germany

Bendigo Advertiser "The way we were" from 2004. From the front: titled somewhere in France and dated November 14, 1916, this postcard was sent from Bert Burgess to his mate Herb Watson and brought in by Bert's son Alex, of Bendigo. "What do you think of the cheeky kid now?", Bert wrote. "Looks a bit weary and dangerous, doesn't he, but he is well and hopes that you are all the same. I say, what about a few lines, Herb, as it's a long time since I heard from you. Had a good fruit return this season, Herb. See you've had a dose of rain this year. Hear from Fred pretty regular. Wishing you a Merry Xmas and a Happy New Year. With best wishes to all, from the same old Bert Burgess".newspaper, bendigo advertiser, the way we were

Black and white postcard. On top LH corner 'Town Hall, Bendigo'. Image shows two storey Town Hall building with clock tower. Corner of Market Building on LH side. Early motor vehicle ( 1920's) in front of building. Written on back of card ' 1926, Dear Alf, just a line to say that we were very pleased hearing that you got back safely. The flowers arrived in good order. I was very pleased to get them. We were surprised to see that you had such a variety of carnations, sweet peas and marguerites also were very (illegible) Mother does not seem nearly so well she is certainly getting weaker, doctor was up again today, he said he could not prescribe anything different to what she is taking to keep up her strength' Card not signed. Receipt number 355/16bendigo, business, carwardine soap and candle

"This sculpture was inspired by the figures carved from the hillsides of the chalk downs in Britain. I wanted to produce a work that would become part of the landscape and was originally derived from the landscape. It is a white-faced heron which is a native water bird commonly found along the Merri Creek. The bird is looking upstream to the source of the creek and the other artworks along the creek."Made of scoria (a red-brown volcanic stone) laid in trenches, 'Earthwork Heron' was commissioned by the Merri Creek Management Committee as part of the Merri Creek Arts Plan and was donated to the City of Yarra in August 1997.Contemporary, LandartOutline of a Heron bird imprinted on a rolling hill in the landscape with volcanic stone (scoria). Accompanying plaque reads: 'This sculpture was inspired by the figures in the British Chalk Hills. I wanted Earthwork Heron to be derived from and become part of the landscape. The white feathered Heron a common native water bird is looking upstream to the creek's source." wildlife, landscape, ephemeral, landart, environment, site-specific

Photograph of a street sign in Baria Thanking the Royal Australian Forces in destroying the 45th North VN Regiment on Aug 18'66 War Long TanOn the back of the photgraph reads Vietnam 1966/67 1st APC Squadron 3 Cavalry Reg. "This is a sign that was erected in local village Baria. Somewhat exaggerated considering Aust Task Force made across North VN Reg many more times in following years. I often wonder of the safety of those who put it up. The VC would not have been happy to see such a bold display of appreciation. John (Bilco) Trebilco."photograph, long tan, the royal australian forces

Photograph taken in 2009Colour photograph, mountedI took this photo because I think it represents Ripponlea. The photo shows all of the different things Ripponlea has to offer like beautiful parks with native plants and seating where you can see fascinating views. The station is a great part of Ripponlea because the station is old, interesting and it's good to travel from because it is never busy and it's always very clean. By Tian Steuartripponlea, ripponlea station, ripponlea state school

Postcard advertising the Dandies, a collection of troupes, each of around a dozen performers that were popular in Australia throughout World War I. The Dandies were established in 1911 by Edward Branscombe.Unused postcard, yellowed white card printed in brown.the dandies, edward branscombe

Quat Quatta, Ropponlea, Lion statue on porchblack and white photograph, mounted, original, good conditionOn Back: The reason why I chose to take this photo is because Ripponlea has an historical background and this building is very old. I put the photo in black a nd white to symbolise this. As you can see in the photo there is a lion that shows royalty and that we are a strong community. Also, the plants in the photo are well cared for which shows our communities respone for nature. By Bailey Troeth

Band members: Anthony Bethell - bass guitar; Jamila Brogan - brass; Aicha Brogan - brass; Milisa Inglis - backing vocals; Steven Jones - guitar, brass, keyboard; Jeremy King - guitar; Finn Koren - keyboard; Timothy Miedecke - vocals, guitar, bass; Shaun Murray - brass; Samantha Simpson - vocals, drum; George Smpyrakis - brass; Deidre Waight - backing vocals. Also: Ian, Penny and Lex (horn arrangements) Aydin Abdullah (horn director) Colin Wiseman (photography.1 CD in jewel case. Includes playlist on the reverse and list of band members with black and white photograph inside the front cover. Produced by Milisa Inglis & Finn Koren. Engineered by Neil Gray at Trueform Studios. Made in Australia by Disctronics.See 2 images attached.music, williamstown high school, the wet reeds, committed to soul, mustang sally, destination anywhere, i feel good, take me to the river, chain of fools, shake your tailfeather, 1993

'Hepburn Pool is a forgotten treasure which many visitors to Hepburn Springs would never be aware of. The owners of the Bellinzona Grange hotel explained that it was once the hotel pool and was built in the 1930's. You can find it behind this hotel, downhill at a street called The Pool Way. Steps and a ramp continue down to the pool itself and the secluded park around it. It was built into Spring Creek and became a competition pool for state swimming championships. A concrete weir separates a shallow children's pool from the main pool. You can still see the numbers of each lane painted on the walls at the deep end. There are plenty of seats and a barbeque area. A sign says this is a sacred aboriginal spot and you can certainly feel something magical about the place. I wouldn't suggest swimming in the former pool, it looks rather murky now.' Review of Hepburn Pool by 'Jolyon67' on 'Tripadvisor', 3 June 2015'The Bunji: The Bunjil sculpture emerged from discussions with local indigneous Elders, as a dreamtime totem to the Sacred Pool at Hepburn Springs. The original idea was to create the 3 totems of the area...the Bunjil, The Crow and The Bat. Russell applied for, a council grant of $3,000 to design, create and install the Bunjil Sculpture to overlook the pool and reflect its powerful image in the water.' Information provided by Russell Petherbridge, December 2015Large scale steel sculpture depicting 'Bunjil', the dreamtime totem of the Hepburn Pool, an eagle in flight.art, public art, sculpture, installation art, aboriginal art, site specific art, hepburn shire, hepburn shire public art collection, russell petherbridge, bunjil, hepburn, hepburn pool, aboriginal significance, steel sculpture

Boyd muses over Melbourne and its "schizophrenic or split-urbanity", exploring the contrasts that make its character. Poses question "Why don't I live in Sydney?", weighing the "humility" of Melbourne versus the arrogance of Sydney. Every creative movement of importance in Australia in the twentieth century had its origins in Melbourne, therefore Melbourne, Boyd argues, is the moral capital of Australia.Original manuscript of an article published in "The Australian", 04.03.1969. This is the first of a series of three articles about Melbourne published on consecutive days (see D023 and D024).Typewritten carbon copy, quarto, 8 pagesPencil annotationsmelbourne, collins street, alexandra avenue, george miles, boomerang, robin boyd, manuscript

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