Herald Newspaper section shows various ads including one for a VIP refrigerator; main story features article about a murderess.non-fictionnewspapers, cape paterson, time capsule

In what appear to be working notes for his commissioned book ‘New Directions in Japanese Architecture’, Boyd is sourcing journal articles (journal, page numbers and dates) covering the key recent buildings of contemporary Japanese architects.Working notes for his commissioned book ‘New Directions in Japanese Architecture’.Quarto, 1 page, double-sided page of handwritten (pencil) notes.Deletions and notes throughoutnoriaki kurokawa, kenzo tange, kiyonori kikutake, kazuo shinohara, yoshinobu ashihara, koshi kawashima, takeo sato, daiichi kobo, sachio otani, masato otaka, arata isozaki, k. maekawa, tatsuhiko nakajima, hiroshi oe, fumihiko maki, junichiro ishikawa, hiroyuki iwamoto, murano & mori, junzo sakakura, robin boyd

A pink book titled 'The Life of Gustavus Adolphus the Heroic King of Sweden. The greatest character of the Thirty Years' War. The champion of an oppressed people; called by his contemporaries The Lion of the North, and the Bulwark of the Protestant Faith.' London : Ward, Lock & Co., Salisbury Square, E.C. 641 - 656 pgs.This booklet is one of a series of 53 ' Ward & Lock's Penny Books for the People.' 'Biographical Series.' Price one penny. There are also advertisements of notes.books, biography, gustavus adolphus, lydia chancellor, collection, sweden, swedish history, scandinavia, gustavus adolphus, ward & lock's penny biographies, ward & lock's penny books for the people, biographical series, biographies, male, individual, person, penny books, advertisements

Four rows of male and female persons in formal attire photographed with brick building [probably church] in background. Biro caption Second Top Row Mum's Mother' and Top Row 'Auntie Carrie' not contemporary with photograph exposure. Probable WG Dahl connection. Stamped upon reverse, WH Dahl, 79 Lansdownie St, Blairgowrie, 3942, Phone 86641. W H Robinson, Photographer Mundy St Bendigo stamped upon reverse.W H Robinson Mundy St Bendigobendigo, history, w g dahl family

Two page letter dated 16/1/2015 from Margaret Knight nee Barrass outlining her relationship with Margaret Barrass who died in a 1918 train smash in Tasmania. Two 1918 cuttings from the Bendigo Advertiser detail the funeral and the circumstances surrounding the accident. A contemporary brown manilla envelope printed with heading Vincent Barclay Studio, Beehive Buildings 94 Elizabeth Street Melbourne once held newspaper cuttings.bendigo, history, margaret barrass

Boyd article: ‘Architetta Italiana e Romande’ pp.8 -9. Shortened English version of Boyd article included in "Translations and Digests" insert. This Journal features the direction of contemporary italian architecture. It is a rare copy of the journal.architecture, italian architecture, aldo rossi, pier luigi nervi, italy, walsh st library

With a career spanning over 30 years as a painter, Stieg Persson is a well known figure within the Australian and international art world. Persson’s work is celebrated for his distinct (yet eclectic) style, which consists of elements associated with abstraction, figuration and decorative art, as well as the artist’s deeply intellectual interrogation of Australian culture and society. In this work titled, Duck and quail eggs, Italian herbs, Persson reflects on contemporary parallels in changes of taste and the desire for decadence as a political and social drive. Inspired by Brighton’s iconic Church and Bay Streets, the artist addresses the social currency of luxury and high-end cuisine by depicting rococo style blackboards which offer the latest in fine dining, alcohol, exercise classes, skin treatments and lavish linens. Persson is presenting a subtle critique of the contemporary obsession with food; as contemporary society places greater significance on the connoisseurship of eating, it does so in lieu of engagement with culture as it is traditionally conceived (music, theatre, literature and art).oil on linenstieg persson, brighton, signage, graffiti, food, chalkboard, bayside, painting

Includes typed transcriptions of historical newspaper articles, photocopies of historical newspaper articles, original newspaper articles, photocopies from books, some original contemporary photos relating to the Shire of Eltham War Memorial built at Kangaroo Ground. Spirax Sketchbook 19 sheets. Spiral boundFront: Kangaroo Ground War Memorial Park Tower of Remembrance Collection 1996-2001. Harry Gilhamharry gilham collection, kangaroo ground memorial, shire of eltham war memorial

The Banyule Banner is published bi-monthly by Banyule City Council to advertise upcoming events in the City of Banyule and to report on past events. This edition covers North East Link update, waste reduction and Hatch contemporary arts space. A record of events within the City of Banyule.20 pages (approx.), colour illustrations. banyule banner

[from a contemporary report:] The Shire of Eltham Historical Society participated in the parade with a float featuring a general historic theme, accompanied by the Victorian Folk Music Club. The Parade commenced from the assembly point in Cecil Street at 12 pm.Colour photographeltham festival, shire of eltham historical society, 1985, post office, victorian folk music club

Boomerangs of this sort were used for up close hunting with short throws and clubbing. This contemporary piece illustrates some fine art work. This piece was commissioned by Uncle Brien Nelson, Jaara Elder to preserve and pass on Jaara culture.This boomerang is in the form usually used for clubbing prey up close rather than long flight or returning. It has a gentle arc about 3 cm deep over its 49 cm length.This piece is beautifully decorated with a traditional Jaara design incorporating a blue tongue lizard motive.boomerang, decorated, jaara, close up hunting, blue tongue lizard

As the title suggests, Boyd explores the concept of Functionalism and questions the decline in popularity of the movement when Functionalism is still intertwined in contemporary design. Boyd challenges R.A.I.A.'s publication 'Australia Outrange' (a book that captures the unaesthetic aspects of Functionalism)The annotations indicate this was a lecture with slides.Typewritten, pencil edits / notes, quarto, 5 pages"Lewis?" Mitchell penciled on top left corner of first page, pencil notes on the left marginfunctionalism, r.a.i.a., australian outrage, max harris, robin boyd, manuscript

Hyams, Frederick. Pte 17982 4th F.TroopWorld War I Red Cross fund-raising badge. According to contemporary newspaper articles the Commonwealth Button Fund issued buttons of this design for a Victorian Red Cross appeal in July 1915. All funds raised during the appeal were to be used for the support of the Australian Red Cross and the servicmen in their care. Between 300,000-400,000 of the buttons were distributed. Pezikian & Anderson (2017: 14) identify the badge's maker as the Victorian Christian Endeavour UnionCircular pressed metal badge with a plastic coated obverse, metal back and attached pin. In the centre of the obverse, a printed illustration of a Red Cross flag and printed text appears on a red ink background surrounded by a white border. The badge is discoloured. The metal back of the badge is soiled and tarnished.

This issue includes an article 'Ornament and Crime' by Reyner Banham, pp 85-88. Reyner Banham was an English architectural critic who was a contemporary of Boyd's. Boyd followed his work with interest, evidenced by the extensive markups of the Banham article by Robin Boyd.Pencil markups in Robin Boyd's writing - many question marks.reyner banham, ornament and crime, walsh st library

Alexander McCook entered Ballarat College in 1889, peer year 1889.Son of Archibald McCook, Ercildoune. Prev SS Burrumbeet VI Form. This cup is attached to a contemporary stand and was awarded during 1985 – 1998 to the champion boy athlete in the Middle School. Significant indication of the place of athletics within the school program in the late 1800's.Small engraved silver cup Inscription on cup face: BALLARAT College / The Gift of the / MASTERS / 1886 Inscription on cup verso: A SNELL / 1st Hurdle Race / 1st / Throwing Cricket Ball alexander-mccook, a-mccook, 1889, ballarat-college, half-mile-cup, gift-of-the-girls-school

The Kew Historical Society, founded in 1958, is one of the oldest continuing historical societies in the Greater Melbourne region. From its beginnings, the Society has mounted exhibitions and/or displays, in early days in shop windows and in community spaces located in the Kew City Hall (later Kew Library), and since 2010 at the Kew Court House. Exhibitions typically coincided with the annual Kew Community Festival in March, but after 2013 evolved into three new exhibitions yearly at the Kew Court House. Smaller displays continue to be mounted in the Kew Library.A series of born digital photographs of the framed photographs in the exhibition which explored thirteen historic houses in Kew using old and contemporary photographs. The Houses included: Turanville, D'Estaville, Ivy Grange,Tarring, Charleville, Ramornie, Dalsraith, Heald Lawn, and the James Beament House. Each house was selected as representative of a particular decade. The curators of the exhibition were Robert Baker, Kerry Fairbank and Tony Michael. New photographs of architectural features were taken with the permission of the owner of the house.heritage - kew (vic), kew historical society - exhibitions, historic houses - kew (vic)

Contains articles by Alan Marshall, Albert Tucker and Clem Christesen (prior to his settling in Eltham) and an art review by Paul Haefligler on Seven Paintings From the 6th Annual Exhibition of the Contemporary Art Society of Australia (including Albert Tucker's "Images of Modern Evil")Alan Marshall, Albert Tucker and Clem Christesen were all notable identities of the Shire of Eltham districtSoftcover; 114 pages; 27.6 x 21 cmalan marshall, albert tucker, angry penguins (journal), clem christesen

Built soon after WW11 by Fred Moore for Reg and Hazel Bulmer, post war contemporary style, named 'Camelot'. Fred Moore, also built the Lakes Entrance Infant Welfare Centre, brick with tiled roof, of similar style, unfortunately demolished 1998.Colour photograph of a substantial brick dwelling with tiled hip roof, brick column supporting front porch, on the corner of Church Street. Low brick fence on boundary, at 16 Bulmer Street, Lakes Entrance Victoriafences, houses, heritage study

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Geographical area of around 35 sq. kilometres marked with physical features such as major roads, rivers, vegetation and properties, with contemporary notes on landowners, descriptions and comments on the land and its development. Bounded by Shire of Diamond Valley to the North, Darebin Creek to the West and Plenty River to the East.Black an white sketch map on white paperheidelberg, heidelberg - maps

Geographical area of around 35 sq. kilometres marked with physical features such as major roads, rivers, vegetation and properties, with contemporary notes on landowners, descriptions and comments on the land and its development. Bounded by Shire of Diamond Valley to the North, Darebin Creek to the West and Plenty River to the EastBlack and white sketch map on white paperheidelberg, heidelberg - maps

William Brian (Badger) BATES (1947- ) Born Wilcannia Barkantji Badger Bates is a Barkantji Elder, political activist and contemporary artist. Known primarily for printmaking, wood and stone carving, his work is intrinsically linked to his lifelong fight for the safety and health of the Barka (the Darling River).'Gitji Woman' is carved from a very old piece of log found at Wittabrinna Creek near Tibooburra, Western New South Wales. The tree was dead for 60-80 years, and was hollow inside. "I could see a figure in the wood so I folowed the shapes already three. The woman has a drawn out figure with long fingers and is coming out of the log, she is an ancestral spirit. I put the pink cockatoo and emu feathers in the leg in the way people used to decorate themselves for corroborees."badger bates, paakantyi, wilcannia, timber, aboriginal, barkantji

Simone MAYNARD (1974- ) Melbourne based contemporary artist SIMONE Maynard is primarily influenced by the 1980s, reflecting a period of increasing global capitalisation, political upheaval, world-wide mass media, wealth discrepancies and distinctive music and fashion characterised by hip hop and electric pop music.Portrait of a womanVerso: Looking East 40x3 20060 inches; acrylic, ink & collage, hand stitching on canvas. SIMONE MAYNARD DEC 2006available, portrait

Bendigo Art Gallery was founded in 1887 and has over the years undergone extensive building and renovation programs in recent years adding a new contemporary wing, storage areas, and a new entrance and gallery shop. This marquette was created to commemorate the new architecturally designed wing which was completed in 2014. Small folded anodised steel sculpture to commemorate the expansion of the Bendigo Art Gallery.bendigo art gallery / expansion 2014bendigo art gallery, city of greater bendigo tourism

Ash KEATING Among fifteen finalists this artwork won the 2012 Guirguis New Art Prize, a prestigious national acquisitive biennial art prize administered by Federation University Australia. The Guirguis New Art Prize (GNAP) is a national acquisitive $20,000 contemporary art prize which presents a selection of Australia's most exciting contemporary artists with works that explore and embrace new ways of artistic expression, utilising existing mediums and new technologies in innovative ways. Initiated and generously supported by local Ballarat surgeon Mr Mark Guirguis, this prestigious art prize is administered by the Federation University Australia (FedUni). As a local philanthropist and art collector, in developing the Prize, Mark Guirguis' aims were to celebrate the significance of the arts to communities and to Ballarat, emphasising contemporary art and 'living' culture, and to highlight FedUni's Arts Academy. Artist Ash Keating works across a conceptual, site-responsive and often collaborative art practice that incorporates painting, sculpture, installation, video, performance and public interventions, and has referenced a wide range of social and environmental issues within his art. Frequently working beyond the gallery, and often harnessing community narrative and energy, his work also draws upon myth, ritual and ceremony. 'West Park Proposition', 2012, is a three channel and screen video installation, utilising multiple camera video documentation of an endurance painting intervention undertaken on the morning of 01 September 2012 on the east facing wall of a newly built tilt-slab industrial building, situated on the direct edge of the current urban and rural boundary in Truganina, Victoria. The multi-screen work documents an endurance guerilla-style action painting intervention and ritualised painting performance in which a symbolic violence is enacted against a storehouse of commodity production and consumption. Upon winning the award artists Ash Keating said; “The work was made near Ballarat on the Deer Park bypass. It is an aesthetic comment about the way these new tilt-slab industrial buildings spring up without caring for the environment." The work, which took eight hours to create, was about reclaiming the space from “cost-effective architecture” without any aesthetics. The inaugural judge for the Prize, Jason Smith, Director, Heide Museum of Modern Art (MoMA) said, "Selecting the winner of this inaugural GNAP was exhilarating and excruciating: exhilarating because the seriousness of each artist's enterprise, and their uncompromising resolution of concepts, has created an inaugural exhibition of exceptional power. This first GNAP is a survey of some of the most poetic and provocative imaginations working in Australia today. Selecting one winner from such a show in which each of these artists has in some way transformed my thinking about the world was the excruciating part. Ash Keating's work West Park Proposition, 2012 kept drawing me back in the several hours I spent viewing the works. It simultaneously affirms the political and critical role of the artist as a key agent of change and action, and someone who reminds us of the beauty and resilience of humanity and nature in the face of unrelenting change. As a work combining performance, collaboration and hope, Keating's West Park Proposition is a work of immense and compelling poetry."artist, artwork, keating, ash keating, guirguis, guirguis new art prize, gnap, gnap13

Diggers & Mining: The Digging - The Diggers. Slide reads: Contemporary writers liked to compare a diggings to a great ants' nest; in many ways the scene must have been colourful and exciting. But to some observers, the general picture was an unattractive one. They saw the unsightly heaps of clay, the trees felled, the dust everywhere in summer and the mud in winter; the flies and the mice. The next two frames contain a description of the Forest Creek diggings taken from the Argus of March 22, 1852. Markings: 24 994.LIF:6. Used as a teaching aid.hanimounteducation, tertiary, goldfields