A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Anne Scott Wilson is a video and photography artist interested in memory, motion and the body. Her work often experiments with movement and light exposure over time. The images in Fly Rhythm series record landscapes from the Dandenong Ranges to Altona and were produced for an exhibition at the Wyndham Art Gallery called EXPERIMENT in 2012.australian art, australian photography, photography, female artist

Frame - Golden timber/mottled. Inner frame - Gold embossed. Mount - Maroon flecked cardboard. Male - Facing front Black open jacket/button holes on lapel/vest. White shirt and black button. Full beard. Receding hair line. Background - white and greyFront: H.E. Brewer. Esq. M.D. 1866.portrait photography, portrait, photography, civic photography

JUBILEE OF CLUNES PRESBYTERIAN SUNDAY SCHOOL OCTOBER 1922.PHOTOGRAPH, BLACK AND WHITE, GROUP OF ADULTS AND CHILDREN AT JUBILEE OF PRESBYTERIAN CHURCH IN 1922.JUBILEE OF PRESBYTERIAN CHURCH 60 YEARS OF SUNDAY SCHOOL OCT. 1922local history, photography, photographs, churches presbyterian

PHOTO OF CLUNES TOWN HALLlocal history, photography, photographs, clunes town hall

PHOTOGRAPH OF RICHARD PICKFORD (SON OF JOHN PICKFORD) TAKEN AT GOVERNMENT BRIDGE, CRESWICK ROAD CLUNES, ON A VISIT TO CLUNES IN 1997. SIXTH GENERATION PICKFORD FAMILY.THIS PHOTOGRAPH WAS TAKEN AT THE GOVERNMENT BRIDGE IN 1997. PHOTOGRAPH IS OF RICHARD PICKFORD, SON OF JOHN PICKFORD.SEE OVERlocal history, photography, photographs, bridges

PHOTOGRAPH TAKEN PRIOR TO THE BUILDING OF CHURCH SPIRE. COPIED FROM ORIGINAL PHOTOGRAPH LENT BY MRS. I. FOX OF BENTLEIGHPHOTOGRAPH OF WESLEY CHURCH, PARSONAGE AND SUNDAY SCHOOL HALL. PRIOR TO SPIRE INSTALLATIONlocal history, photography, photographs, churches - wesley

A PHOTOGRAPH OF THE YANKEE QUARTZ MINE IN CLUNES.1 SEPIA PHOTOGRAPH OF THE YANKEE QUARTZ MINING COMPANY, REGISTERED, CLUNES. .2 .3 SMALL PHOTO PRINTS OF SEPIA PHOTOGRAPH local history, photography, photographs, mining

LOANED BY MRS. MARSHALLSEA TO COPY.3 BLACK AND WHITE PHOTOGRAPHS OF THE METHODIST CHURCH, SERVICE STREET CLUNES. NOW THE WESLEYAN CHURCH AT WESLEY COLLEGElocal history, photography, photographs, churches - wesley

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. A. KERSHAW. VICE PRES. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR.C. FAWCETT. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. T. NICHOL. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. J.W. PRESTON. TRES (sic) MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. G. FRASER. VICE PRES. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. J. BURNS. SEC MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR.M. KENNEDY. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR.W. JENKINS. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR.T. FAWCETT. VICE PRES. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. J. FAWCETT. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. J. OXLEY. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. J. GALLAWAY. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club

SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD OF CLUNES TOWN HALL AND POST OFFICE, TELEGRAPH HOTEL AND OTHER BUILDINGS. BAILEY STREET, CLUNES POINTS OF INTEREST NOTED AROUND EDGE PHOTO TAKEN ABOUT 1890BAILEY STREET, CLUNES LOOKING EAST BEAUCHAMP PHOTOS 104 STURT STREET, BALLARATphotography, photographs, , town hall, post office

.1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD OF CRITERION QUARTZ MINE, CLUNES. .2 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD .3 SMALL BLACK AND WHITE PHOTO PRINT .4 ONE MEDIUM SIZE BLACK AND WHITE COPY .5 BLACK AND WHITE PHOTO PRINT .6 MOUNTED BLACK AND WHITED PRINT CRITERION QUARTZ MINING COMPANY, REGISTERED, CLUNES. HANDWRITTEN NOTES: PERIOD 1865, ON FLAT GROUND BELOW PORT PHILLIP HILL CREEK BROKE THROUGH INTO WORKINGS ABOUT 1861 VARIOUS NOTATIONS MARKING LOCATION OF BUILDINGS IN CLUNES, INCLUDING PICKFORDS STORE, VICTORIA HOTEL, CAMP HILL, ALBION HOTEL, CRITERION HOTEL, COMMERCIAL HOTEL, BOOT SHOPlocal history, photography, photographs, mining

.1 SEPIA PHOTOGRAPH OF CLUNES UNITED QUARTZ MINE .2 BLACK AND WHITE PHOTO PRINT .3 SMALL BLACK AND WHITE PHOTO PRINT WITH HISTORY WRITTEN ON BACK BY F C WEICKHARDT .4 SMALL BLACK AND WHITE PHOTO PRINT .5 SMALL SEPIA PRINTCLUNES UNITED QUARTZ MINING COMPANY, REGISTERED, CLUNES. WITH HANDWRITTEN NOTES: LOOKING FROM NORTH SIDE OF CREEK NEAR PORT PHILLIP HILL OVER LOWER FRASER STREET VARIOUS NOTATIONS INCLUDING LOCATION OF BUILDINGS, INCLUDING ALBION HOTEL, CRITERION HOTELlocal history, photography, photographs, mining