Created for Ballarat Apron Festival to present Ballarat's Aboriginal history, to be displayed along side the Festival's Ballarat Apron. Oil painting on handmade treated canvas apron. Two large thick cotton ties at waist and loop for neck. marlene gilson, ballarat, wadawurrung, aboriginal

camberwell, boroondara, war

64 pages with both colour and black and white photos

A small booklet with blue and white cover and a representation of 2 croquet mallets and 3 coloured balls. Black and white photos are included.non-fictionThis publication provides a social history of the Wodonga Croquet Club which was founded in 1924. It outlines key figures in the development of the club and stages in its regrowth. After experiencing a decline in numbers, the club was rejuvenated when it joined the North Eastern District Croquet Association in 1960. Little is known of the club in the 1970s and 1980s, but it was re-established and re-joined the Victorian Croquet Association in 2000.SInce then it has successfully hosted the Victorian Regional Championships and the Australian Championships in Wodonga.wodonga croquet club, sport and leisure wodonga

non-fictionBorn in Belturbet, County Cavan, Ireland in 1824, McIllree was the youngest son of a large family. He achieved much after running away from home, aged just 14, to escape being sent into penury as a clergyman. By the time of his untimely death at Wodonga in 1882, McIllree had packed a lot into his life. He had sailed the high seas as an Able Seaman, toiled as a miner, run the Wodonga pound for 19 years, bought town blocks, set up a farm, a vineyard and a short- lived butchery business, served on local boards, appeared in court, leased and bought Upper Murray grazing lands, established a horse and cattle breeding enterprise at Biggara, taken horses to India for sale, and visited Aotearoa/ New Zealand’s Rotorua spas for a heart disease cure. Perhaps the most important even in his life was marrying a young Irish girl, Isabella Johnston from Belfast, at Wodonga in 1855. Their marriage produced 11 children, seven of whom have descendants living in Australia, Europe, Indonesia, Kiribati, the Philippines, and the United States of America.henry mcillree, irish immigration, mcillree genealogy, wodonga pioneers

non-fictionA booklet describing the history of the Hume Dam in question-and-answer format, illustrated by photographs from the Albury City Collection and other sources. This booklet was produced to accompany the exhibition "Turning the sod: building the Hume Dam", on display at Lavington Library from 21 December 2019 -1 March 2020." hume dam, dams -- new south wales, hume dam history, dams -- new south wales -- design and construction

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of a goannasigned: R ROGERS Bush Ka (lower right)

"AN UNCANNY LIKENESS It’s difficult to escape the flight of the imagination in Lynda Draper’s new work. Set within a dream-like milieu, an anthology of wondrous and majestic objects float and bob in space. Referencing kings and queens, and the flamboyance of the French Baroque, these large filigree works are woven from clay, and while not explicitly figurative, possess familiar facial markers which bring into play the metaphysical qualities attributed to inanimate objects by human memory and experience. Draper spent the European winter near Versailles, where marble sculptures set among the gardens are shrouded in the winter months to prevent frost from taking its toll on precarious limbs. And while the influence from her residency is certainly evident, rather than stimulating work of this nature, it has merely activated and amplified elements of her recent practice. From smaller ‘tiaras’ in 2016, her work has evolved into sizeable ‘crowned portraits’ of clay. Hovering somewhere between the real and the unreal, these works are architectural and figurative, formed and formless, literal and fictional. They bewitch and amuse, revealing multiple characters and personalities only after careful observation. The medium of clay is so exquisitely anomalous in Draper’s work that it becomes, to the viewer, an afterthought rather than a dialogue prompt for works that are traditionally contextualised by their medium. And this is how it should be. Clay has undergone a renaissance in the past decade or so; no longer is it in the domain of craft. With a strong conceptual narrative and by pushing the medium beyond its natural limits, ceramicists like Draper can be counted among Australia’s significant artists who contribution is gaining ground in contemporary art discourse. And yet, it is the use of clay which makes Draper’s work so utterly extraordinary. Ambitious in scale, virtuosic in composition, she has the ability to make the unmakeable. Drawing from a conventional practice of coiling and handbuilding, the maker’s hand is evident on every square inch of her work. The uneven coils are shaped by the impressions of her grip on the responsive nature of the material. But Draper somehow dispenses with the inherent limitations of the soft clay medium, manipulating it in a way which defies physics and logic. Her award-winning installation for the Sidney Myer Australian Ceramic Award in 2019 is testament to an artist whose practice has consolidated. Her ambition, robust conceptual thinking and technical understanding of materials have reached a zenith which has been rewarded her with one of the most prestigious prizes in Australian art"

"Empty Avenues (Best of Season 1) reimagines the daily life of the artist through the formal languages of television sitcoms and YouTube ‘Best of’ compilations. By doing so the work engages the concept of narrative identity; questioning the extent to which identity is shaped through media influence, and our potential to reformulate understandings of self through narrative reconstruction. What emerges is an absurd, Existential sitcom that explores themes of meaninglessness, isolation, domesticity, and despair. Extended statement: The concept of narrative identity In other words, our understanding of ourselves, the values and goals that we possess, and our place within society can only be grasped within the context of a self-generated historical narrative. However, to what extent is our formulation of narrative identity shaped by pre-existing narrative structures? And how can the implementation of alternative narrative structures potentially reformulate our understanding of ourselves? Empty Avenues (Best of Season 1) explores these ideas by reimagining the narrative identity of the artist through the conventions of traditional TV sitcoms and YouTube ‘Best of’ compilations. Interactions, responsibilities, and leisure activities are taken from O’Brien’s daily life and restaged as scenes within a constructed domestic environment. Through the process of restaging, the work engages uncanniness as a way of generating critical distance and estrangement towards daily life. This process also allows the work to be instilled with a greater sense of subjectivity; utilizing mise-en-scène to externalise the experience of somebody struggling with Existential concerns. This blending of factuality and subjectivity emerges as a magical realist take on a traditional sitcom premise: the Odd Couple scenario. This cliché premise is depicted in Empty Avenues as the relationship between a man and a materialisation of ‘the void’ – a universal nothingness that permeates everything. In these terms, the relationship between the characters can be understood as an embodiment of the conditions that generate the Absurd. In terms of narrative structure, Empty Avenues is presented as a ‘Best of’ compilation instead of a traditionally chronological, cohesive narrative. Such compilations, typically assembled by fans and amateur video editors, feature fragments of scenes that have been removed from their original contexts and reassembled in ways that distort the sequence of events. By presenting Empty Avenues in this way, the work disrupts the temporal conditions of narrative identity that allow for the construction of meaning. As such, scenes are instilled with a greater sense of absurdity and meaninglessness, allowing the audience to share in the Existential perspective of the main character. As a result, both the character and the audience are confronted with a narrative world that is constantly on the brink of both creation and destruction, and are faced with the question of whether they can continue to engage with such a world. At it’s core, Empty Avenues (Best of Season 1) explores the enduring question: how do we find meaningful relationships and pursuits in an immutably meaningless world? "

In the 2000s Legacy released a range of Legacy Bears to expand the merchandise available for sale during Legacy Week and at other fundraising opportunities during the year. This bear is in an Australian Army uniform in a camouflage pattern. After a naming competition, Melbourne Legacy calls him Banjo. Sometimes special editions of the bears were produced. In 2021 the price was increased to $20 per bear.An example of the type of products sold along with Legacy Badges for fundraising in the 2010-2020s.Legacy bear dressed in army camouflage uniform with a printed cardboard tag.Printed tag gives the price as $15.legacy appeal, fundraising, legacy bear

In the 2000s Legacy released a range of Legacy Bears to expand the merchandise available for sale during Legacy Week and at other fundraising opportunities during the year. This bear is in an Australian Naval black uniform and white cap. Sometimes special editions of the bears were produced. In 2021 the price was increased to $20 per bear.An example of the type of products sold along with Legacy Badges for fundraising in the 2010-2020s.Legacy bear dressed in naval uniform with a printed cardboard tag.Printed tag gives the price as $15.legacy appeal, fundraising, legacy bear

In the 2000s Legacy released a range of Legacy Bears to expand the merchandise available for sale during Legacy Week and at other fundraising opportunities during the year. This bear is in a Royal Australian Airforce uniform with a blue shirt and navy trousers. Sometimes special editions of the bears were produced.An example of the type of products sold along with Legacy Badges for fundraising in the 2010-2020s.Legacy bear dressed in RAF uniform with a printed cardboard tag.Printed tag gives the price as $15.legacy appeal, fundraising, legacy bear

Working across installation, video and painting, Quandamooka artist Megan Cope investigates issues relating to colonial histories, the environment and mapping practices. Black Napoleon (Eulope) is part of a series of lithographs that highlights what Cope sees as ‘just one of the many stories of powerful and clever people defying Empire’ at the turn of the 19th century in Australia. The Black Napoleon series was produced as part of the Australian Print Workshop’s French Connections project. The project aimed to produce new work responding to the National Archive in Paris, with a focus on cultural materials relating to early exploration of Australia and the Pacific. It was important to Cope that she did not simply repeat the material of the archive, which was collected and conserved within a colonial framework. Instead, Cope’s work addresses Eulope’s sovereignty and role in resisting invasion. Eulope was a Quandamooka man named after Napoleon Buonaparte because of his leadership in battles against British forces, which invaded Stradbroke Island in the early 1800s.

ill, maps, p.248.non-fictionReminiscence of railway people working on the Commonwealth Railway from Port Augusta to Kalgoolie and Alice Springs. transcontinental railway - australia - history, australian folklore. special subjects: railway services. personal observations. collections.

index, ill, p.160.non-fictionTurbulent political times in South Australia and a remarkable railroading dog.railroad operations - south australia - history, railraod construction - south australia - history

ill, maps, p.226.non-fictionIllustrated history of the railway stations on the closed railway lines of the Victorian Pyrenees including the line to Navarre & Ararat to Maryborough.pyrenee range (vic.) -- buildings, structures, etc -- history, railroad stations -- victoria -- pyrenee range -- history

index, ill, maps, p.376.non-fictionA history of the Spirit of Progress passenger train between Melbourne and Sydney from the 1937 to 1986.railroad travel -- new south wales -- sydney -- history, railroad travel -- victoria -- melbourne -- history

index, ill, maps, p.312.non-fictionThe coming of the railway was a major event in the history of many towns and cities across Australia. This is the story behind every Railway Hotel; and the social, economic and political themes that have shaped society over the last 150 years.australia -- buildings, structures, etc -- history, bars (drinking establishments) -- australia -- history

index, ill, maps, p.337.non-fictionDetails of the architecture of railway stations building in Victoria Australia in the 19th century.railroad infrastructure - victoria, railroads - victoria - history

index, ill, p.202.non-fictionDetails and history of railway lamps and station lighting on the Victorian Railways.railroad infrastructure - victoria, railway lamps and lighting - victoria - history

Sha Sarwari is a multidisciplinary artist who works in sculpture, installation, photography, and performance. A Moth to a Flame is a commentary on the often-tragic dilemma that refugees encounter when escaping their country of origin to seek asylum. This piece comes from a series of works, also titled A Moth to a Flame, where this metaphor is used to show how the hopefulness of a new life can result in a dangerous, sometimes fatal illusion. In this work, Sawari aims to give a voice to the refugee experience, to reconcile cultural identity, new belonging and resilience in the face of trauma.

"Collider is a video site response work that investigates the physical and conceptual notions of Bundoora Homestead Art Centre and surrounding Bundoora Parklands as matter, memory and phenomena. The project spanned three years of the artist’s life, visiting as both a local resident and an exhibiting artist at the Centre, involving a long-term process of “mapping” the site. The work looks to make visible, the hidden frequencies embedded within the buildings and parklands, including the social and geological. A complicated space, once a volcanic vent (Mt Cooper, 9.5 million years ago), home to over 60,000 years of continuous First Australian culture, long term indigenous and (recent) settler land use, a place of respite for returned soldiers; visitors today generally experience the site as a place of leisure. Collider aims to disrupt this view, asking the viewer to look below the surface and experience a deeper sense of place. Using video sequences, this work places the Bundoora Homestead site within a shifting scale of material territories, molecular energies and entropic disorder. Collider includes both abstracted and live video sequences shot throughout the Homestead grounds and across the Bundoora Park and Mt Cooper area that appear to be capturing unknown, signalling phenomena. Time flowing and dissolving across the landscape."

index, ill, maps, p.196.non-fictionA history of the Caulfield to Oakleigh railway line in Melbourne Victoria.railroad construction - victoria - history, railroad operations - victoria - history

Penelope Davis was born and lives in Melbourne. Davis is primarily known as a post-photographic artist creating photographs without a camera. Using complicated sculptural techniques, Davis makes silicone moulds then resin casts of the now absent objects. Finally light is passed through the casts to expose photographic paper that is developed and printed. The result is an indexical trace of an object many steps removed from its origin. In doing so, the works record not only an image but a process - a chain of transformations and inversions - akin to the processes of photography itself but one that recasts photography in a new light. More recently Davis has been creating jellyfish forms from a collage of components in a similar way. Taking the detritus of contemporary technologies and combining these with organic source material such as leaves and seaweed, Davis makes casts in silicone, then uses these casts themselves as forms. The artist hand sews these ‘skins’ together to create delicate hybrid forms that resemble jellyfish. These works reflect on, and embody, a painstaking attempt to recuperate an appreciation for the natural world, our symbiotic relationship with it, and the necessity of our shared future. 9 x suspended silicone jellyfish sculpturesaustralian art, sculpture, female artist, climate art

A brick house at 404 Armstrong Street South, Ballarat with an iron fence in bluestone.armstrong street south, ballarat, brick, bluestone, architecture

Ballarat looking West from the Former Humffray Street Primary Schoolballarat, humffray street primary school, ballarat town hall, former ballarat state offices, former ballarat post office