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RMIT Design Archives
Posters, AASA Convention Sydney, 16-23 May
graphic design, architecture -
Robin Boyd Foundation
Journal, University of Melbourne Department of Architecture, Cross-Section, Issue 163, May 1966
Article on the Sydney Opera House Project. Whole issue devoted to the Sydney Opera House. Robin Boyd’s desk cupboard contained two exercise books (item D482.1-D482.2) and assorted articles, essays and other material regarding the building of the Sydney Opera House, inserted inside the front cover of Walkabout magazine, July 1966 (item P1377). This publication is one of those inserts. Many of these were collected by Boyd’s eldest daughter, Mandie, who recalls that her father was writing a book, but was very disillusioned with the way the entire Opera House saga unfolded.sydney opera house, utzon, sydney opera house project, walsh st library -
Robin Boyd Foundation
Journal, University of Melbourne Department of Architecture, Cross-Section, Issue 164, Jun. 1966
A long letter to the Editor on Utzon debacle" by Bryce Mortlock. Robin Boyd’s desk cupboard contained two exercise books (item D482.1-D482.2) and assorted articles, essays and other material regarding the building of the Sydney Opera House, inserted inside the front cover of Walkabout magazine, July 1966 (item P1377). This publication is one of those inserts. Many of these were collected by Boyd’s eldest daughter, Mandie, who recalls that her father was writing a book, but was very disillusioned with the way the entire Opera House saga unfolded.sydney opera house, utzon, sydney opera house project, walsh st library -
Robin Boyd Foundation
Journal, University of Melbourne Department of Architecture, Cross-Section, Issue 166, Aug. 1966
Opera House update news on narrow fold out (& Appletree Hill Estate). Robin Boyd’s desk cupboard contained two exercise books (item D482.1-D482.2) and assorted articles, essays and other material regarding the building of the Sydney Opera House, inserted inside the front cover of Walkabout magazine, July 1966 (item P1377). This publication is one of those inserts. Many of these were collected by Boyd’s eldest daughter, Mandie, who recalls that her father was writing a book, but was very disillusioned with the way the entire Opera House saga unfolded.sydney opera house, utzon, sydney opera house project, walsh st library -
Federation University Art Collection
Work on paper, Charles Blackman, 'Into the Beautiful Garden' by Charles Blackman, c1990
Charles BLACKMAN (12 August 1928-20 Aug 2018) Born Sydney, New South Wales, Australia Worked in England 1961–66 Charles Blackman left school at thirteen and worked with the Sydney Sun. He attended night classes in drawing and design at the East Sydney Technical College from 1942-1945 under Hayward Veal.Framed sepia limited edition etching.87/90charles blackman, printmanking -
Federation University Art Collection
Ceramic, Roswitha Wulff, Woodfired Bowl by Roswitha Wulff, 1986
"I am an Australian of German parents born in Persia. I was taught by Peter Rushforth, with a very strong Japanese influence. My work attempts to incorporate these four elements of my history. For form, my influence comes from Art Nouveau, or Jugendstil as it is called in Germany. Techniques are informed by pottery from Japan, China, Korea and Germany. My colours are inspired by the Australian landscape. Using the language of woodfiring, I create a personal vocabulary with new subjects, grammar and syntax, which make each pot a one-off object containing all my diverse influences." (Roswitha Wulff)Roswitha WULFF (1941- ) Born Tabrize, Iran. Arrived Austrqalia c1949 Roswitha Wulff spent her early childhood with her mother, potter Helma Klett, in Germany. In 1964, she obtained a ceramics certificate from the East Sydney Technical College. From 1964-65, she worked with Robin Welch and Ian Sprague at Sprague's Mungeribar Pottery in Upper Beaconsfield, VIC. In 1966 she worked at the Sturt Pottery in Mittagong, NSW under Les Blakebrough. Between 1967 and 1969 Roswitha Wulff travelled overseas, spending 6 monthe with Robin Welch after his return to England and 9 months as a full-time thrower at Briglin Pottery, London, as well as working in potteries in Denmark and Germany. From 1969-70, she worked in North-West Pakistan as a research scholar for the Smithonian Institute and the University of NSW. Returning to Australia in 1970, she set up a workshop in Paddington, NSW, with the help of an Australia Council grant and taught part-time at the East Sydney Technical College and the Willoughby Workshop Art Centre. Since then she has been a lecturer and Head of Ceramics in many institutions, including the National Art School. In the 1990s she moved her studio to Botany Bay, NSW.. While working with the vessel form, she sees her pots as abstract landscapes. Recently she has also been working with wall tiles. During a residency at the Canberra School of Art in 2002, she developed tiles that looked like woodfired pillows with soft rounded rims. In 2007, she used such tiles to create a mural commemorating the Sesquicentenary of St Vincent's Hospital in Paddington. Woodfired stoneware bowl with flay ashSigned on baseroswitha wulff, jan feder, jan feder memorial ceramics collection, woodfire, ceramics, gippsland campus, botany bay studio pottery -
University of Melbourne, Burnley Campus Archives
Newspaper - Newspaper Cutting, The Sydney Morning Herald, Women in Horticulture, 1917
Article about the first quarterly meeting of the Women Horticulturalists' Association of Victoria held at Burnley Gardens. J.P. McLennan, Principal, gave an address encouraging the profession for women.Photocopy of article in "The Sydney Morning Herald 28 March, 1917 the sydney morning herald, smh, women horticulturalists' association of victoria, burnley gardens, j.p. mclennan, principal -
University of Melbourne, Burnley Campus Archives
Newspaper - Newspaper Cutting, The Sydney Morning Herald, Horticulture for Ladies, 1899
Letter from female student rebutting the idea that women could grow flowers.Copy of letter to The Editor of The Herald in the Sydney Morning Herald 3 March, 1899 p. 8 from "One of Them." the sydney morning herald, the herald, female students, women gardeners, horticulture -
University of Melbourne, Burnley Campus Archives
Photograph - Colour prints and negatives, Tree Felling and Diseases, 1994-2000
2 sets of photographs in folder stamped 29 Mmar 1994. 1 set of 26 colour photographs showing steps in tree felling. 1 set of 21 colour photographs labelled "Sydney June 2000" showing various fungi and diseases of trees.tree felling, fungi, diseases, trees -
Federation University Art Collection
Painting, 'Wattamalla Scrub' by David Rankin, 1985
David RANKIN (1946- ) Born Plymouth, Devon, England Arrived Australia 1948. Leaving rural New South Wales David Rankin arrived in Sydney in 1967. A largely self taught artist he taught art between 1966 and 1974, with his first exhibition was held in 1968. During the 1970s he established Port Jackson Press publishing fine art prints. In 1983 David Rankin won the Wynne Prize for Australian landscape painting. Rankin lives and works in New York, New York., United States of America. His abstract work is distinguished by its loose, expressionistic use of line. 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.Abstract paintingart, artwork, david rankin, landscape, available, oils, oil on linen -
Federation University Art Collection
Artwork - Printmaking, 'Window Shopping' by Louis James, 1968
Louis Robert JAMES (22 September 1920-1997) Born Adelaide, South Australia Died Sydney, New South Wales Louis James worked as a draughtsman in Adelaide. Although he had no formal art training, he started painting after World War Two quickly acquiring a wide reputation in Australia and London. Known as a printmaker he worked in England between 1949 to 1964. 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.Framed black and white lithographart, artwork, louis james, printmaking, shopping, available -
Federation University Art Collection
Painting - Natural pigment on bark, Mawurndjul, John, 'Female Wayarra Spirit' by John Mawurndjul, 1995
Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. 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.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan -
Federation University Art Collection
Painting, Searle, Ken, 'Ballarat' by Ken Searle, 1998
Ken SEARLE (1951- ) Born Sydney, New South Wales Ken Searle worked on this commission through 1997 and 1998. Further works and sketches relating to this commission are held by the Art Gallery of Ballarat. Searle is a self-taught artist who first exhibited his paintings and drawings in the mid-1970s and is known for large, and often whimsical, paintings, of suburban and industrial areas in several Australian cities. From 1998 to 2001 Searle worked as a consultant at the school in the Aboriginal community of Papunya, Central Australia. 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 painting highlighting the artist's favoured aspects of Ballarat. Interested with scenes of suburbia for over twenty years, Ballarat is his first portrayal of a whole city. Searle’s view of Ballarat presents a deliberately untidy city seen from a number of viewpoints. Local scenes are portrayed no matter how pretty or garish, the subject matter providing a snap shot in time. Funded through the Commissions Program of the Visual Arts/Craft Fund, 1998 art, artwork, ken searle, ballarat -
Federation University Art Collection
Painting - Watercolour, 'Mount Dandenong' by Dr Sydney Pern
Sydney PERN (c1876-23 October 1967 ) Born Battley, England Dr Sydney Pern began practicing medicine in the Victorian town of Yarram before setting up practice in Ballarat. He was a competent artist, and as an amateur anthropologist collected Aboriginal artefacts during travels in Central and Northern Australia. 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.Watercolour landscape glued onto card depicting a view towards Mount Dandenong.art, artwork, sydney pern, landscape, mount dandenong -
Federation University Art Collection
Painting - Watercolour, 'Metung' by Sydney Pern, 1932
Sydney PERN (c1876-23 October 1967 ) Born Battley, England Dr Sydney Pern began practicing medicine in the Victorian town of Yarram before setting up practice in Ballarat. He was a competent artist, and as an amateur anthropologist collected Aboriginal artefacts during travels in Central and Northern Australia. 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. Unframed coastal landscape art, artwork, meetung, sydney pern, unframed -
Federation University Art Collection
Painting, Sydney Pern, [Seascape] by Sydney Pern, Pre 1967
Sydney PERN (c1876-1967) Dr Sydney Pern began practicing medicine in Yarram before setting up practice in Ballarat. He was a competent artist, and as an amateur anthropologist collection Aboriginal artefacts during travels in Central and Northern Australia. Dr Sydney Pern died aged 91 on 23 October 1967, and is buried in the Ballaarat New Cemetery. The ethnographic collection was housed at his home, 10 Raglan Street North, before being donated to the Ballarat School of Mines Museum. When the museum was closed in the 1960s Dr Pern requested that the collection pass to the City Council, and from there it was housed at the Gold Museum. An artwork by Sydney Pern was exhibited in the 1958 Crouch Prize at the Ballarat Fine Art Gallery. 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 oil on sketching paper seascape by Dr Sydney Pern Gift of David Alexander, 2013Signed lower right corner "S. Pern"art, artwork, pern, sydney pern, landscape, available -
Federation University Art Collection
Painting - Oil on canvas, Sydney Pern, Waterhole by Sydney Pern
Dr Sydney PERN (c1879- 23 October 1967 ) Sydney Pern was a doctor who practiced in Ballarat. He was a competent artist who also collected Aboriginal artefacts. 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 oil landscape on oil sketching paper.signed lower right 'S. Pern'art, artwork, sydney pern, pern, landscape, available -
Federation University Art Collection
Oil on Board, Henri R. Nolte, 'The Road, Crookwell' by Henri R. Nolte
Hermann Hans Rudolf (Henry) NOLTE (1900-1965) Born Albury, New South Wales Died Sydney, New South Wales Born Hermann Hans Rudolf Nolte he called himself Harry and signed his paintings Henri because of anti-German sentiment during the world wars. 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.Framed landscapeart, artwork, nolte, landscape, gumtree, hermann hans rudolf nolte, henry nolte, henri nolte, german artist -
Federation University Art Collection
Print - Artwork - printmaking, 'Messenger' and 'Woe' by David Frazer, 2002
David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002. These two wood engravings are the subject of the forthcoming Private Press book: ‘The Bookplates of David Frazer’ written by Robert C. Littlewood, The Lytlewode Press, Chateau Bosgouet, Normandie, France, 2014/2015. Two limited edition prints by David Frazer using the wood engraving technique. They have been framed together. .1) Messenger Wood Engraving Plate 10.0cm x 7.5cm Paper 29.0cm x 19.3cm Edition: 32/40 .2) Woe Wood Engraving Plate 10.0cm x 7.5cm Paper 29.0cm x 19.3cm Edition: 32/40 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, frazer, david frazer, wood engraving, framed bookplate, printmaking, bookplates, churchill, gippsland campus -
Federation University Art Collection
Print - Artwork, David Frazer, The Text Message [study] by David Frazer, 2015
David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002.Framed limited edition linocut on paper.lls '2/36' lc 'The Text Message (study)' lrs 'D. Frazer 15'artist, artwork, david frazer, parallel prints, printmaking, linocut -
Federation University Art Collection
Artwork - Printmaking, 'Blind Date' by Stewart MacFarlane, 1992
Stewart MacFARLANE (1953- ) Born Adelaide, South Australia Stewart MacFarlane entered the South Australian School of Art when 16 years of Age. He traveled to New York in 1975 to study at the School of Visual Arts for 2 years. He remained living and working in New York for several years, receiving residences and fellowships to Skowhegan School of Sculpture and Painting in Maine, the Fine Arts Work Center in Provincetown, Massachusetts and the MacDowell Colony, New Hampshire. He exhibited in group shows as well as having three solo exhibitions in New York. Firstly at Razor Gallery, SoHo in 1979, then Belanthi Gallery in 1979 and the Australian Consulate New York in 1983. MacFarlane returned to Australia in 1983, undertaking post-graduate studies at the Victorian College of the Arts in 1984. He taught at The Gippsland Institute of Advanced Education (now Federation University Gippsland Campus) in 1885, and the following year moved to Darlinghurst, Sydney to paint. Later that year, he was artist-in-residence in the Besozzo Studio, Italy. In 1987, MacFarlane lived and painted in Mornington, Victoria for several months before receiving an initial residency with the Roswell Artist-in-residence program, New Mexico, for a year. Over the next eight years he moved between Melbourne, Sydney and Roswell, producing one or more solo exhibitions each year. In 1994 he received a residency at The Bemis Center, Omaha, Nebraska, then traveled to Mexico to paint for 3 months. MacFarlane worked in Queensland upon his return, and for the next seven years. He moved to Hobart, Tasmania in 2002, returning to the mainland in 2011.(http://www.stewartmacfarlane.com/bio-cv/) A framed linocut. This linocut was one of the Patron Print Series produced as a fundraiser to assist Gippsland School of Art students.printmaking, artist, artwork, gippsland campus, stewart macfarlane -
Federation University Art Collection
Artwork - Lithograph, 'Seated Nude' by Brian Dunlop, 1985
Brian DUNLOP (1938-11.12.2009) Born Sydney Brian Dunlop was a still life and figurative painter who won the Sulman Prize in 1980. He was a finalist in the 2004 Archibald Prize. Dunlop painted portraits of public figures, including Queen Elizabeth II in 1984 for the 150th anniversary of the founding of Victoria, and held many exhibitions in Sydney and Melbourne. Framed limited edition of a lithograph of a nude. Donated through the Australian Gifts Programme by Katherine Littlewood.brian dunlop, available, nude, life drawing, printmaking, artist, artwork, cultural gifts -
Tatura Irrigation & Wartime Camps Museum
Folder, Japanese Internment Camp 4. New Caledonian Group
17 March 2005: Mami Yamade (author), husband Masani (artist), researching Japanese POW's at camp 13, 1944; 19 March 2005: New Caledonian group - Marijosee Michel Hon. Consul to Japan, from Noumea. Yuriko Nagata, ??? University and Mutsumi Tsuda (Japan) Emma Chaubet, Andre Nagata, his daughter Andree Verge, Henriette Guillot from New Hebrides, Rosemary Take, also Evelyn Suzuki from Sydney, ex internee Vicki Lawson, niece of Melba Oki, ex camp 4 internee. Visited Museum for research 20 March. 21st march tour of camp 4.Record of 2 visits by Japanese researchers, 17 March 2005. Black plastic cover with white writing "clear folder" in gold.mami yamade, marijosee michel, yuriko nagata, mutsumi tsuda, emma chaubet, andre nagata,, andree verge,, henriette guillot, rosemary take, evelyn suzuki, vicki lawson, melba oki, camp 4 internees -
Melbourne Athenaeum Archives
Theatre Program, Travelling North (play) by David Williamson performed by the Melbourne Theatre Company at the Athenaeum Theatre commencing 30 October 1979
The program indicates the play was presented by The University of Melbourne and the Melbourne Theatre Company in association with The Nimrod Theatre of Sydney. John Bell was the director of The Nimrod Theatre.Paper program athenaeum theatre, program, travelling north, melbourne theatre company, nimrod theatre company, david williamson -
Chiltern Athenaeum Trust
Domestic object, Stewart Dawson and Co, Unknown
Wilfred Clarence Busse was born in Chiltern, Victoria in 1898. His family first arrived in this region during the gold rush era, purchasing a piece of land adjacent to the Murray River. The spectacular scenery and rich history of the area is said to have inspired Busse in his writing. He attended Wesley College in his school days, before going on to study law at the University of Melbourne. After graduating from university, Busse would go on to become a barrister, but he is best known as a writer of fiction, publishing two novels: 'The Blue Beyond: A Romance of the Early Days in South Eastern Australia' and 'The Golden Plague: A Romance in the Early Fifties'. Busse died in 1960. This particular object was owned by Busse. It is a tie pin and, as inscribed on its box, it was manufactured by Stewart Dawson and Co, a successful jewellery company - founded in Sydney in the late nineteenth century - that is still active today. This object is significant as it was owned by Wilfred Clarence Busse, an accomplished barrister and writer from Chiltern, Victoria. It was also manufactured by Stewart Dawson and Co, a successful jewellery company, founded in the nineteenth century, that is still active today. A thin, curved, gold-coloured tie pin placed inside an open velvet-lined jewellery box. Inscribed beneath the lid are the words 'Stewart Dawson and Co. / Watch Manufacturers / and Jewellers / Sydney & London.Box open: Stewart Dawson and Co. / Watch Manufacturers / and Jewellers / Sydney & London w.c. busse, wilfred clarence busse, gold rush, gold rush chiltern, busse barrister, busse author, "the golden plague: a romance of the early fifties., "the golden plague”, "the blue beyond: a romance of the early days in south eastern australia", "the blue beyond", tie pin, jewellery, jewellery manufacturers, sydney jewellers nineteenth century, stewart dawson and co -
Nillumbik Shire Council
Painting: Penelope AITKEN (b.1967 Melb. AUS), Penelope Aitken, Mapping Mass & Void 10, 2008
Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015 -
Nillumbik Shire Council
Ceramic (tiles): Tom SANDERS, Untitled, c. 1970s early
Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals. Murals created during the second half of the 1960s and into the 70s can/could previously be found at Southland Shopping Centre in Cheltenham, Melbourne (1968) - now demolished, the National Mutual Centre, Melbourne (1964-5) - now demolished, Dee Why Library, Sydney (1966), Woden Valley High School, ACT (1967), Tullamarine Airport, Melbourne (1969, 1970), Perth Concert Hall (1971) and University of Melbourne (1975) (with John Olsen). Sanders has worked with many of Australia’s pre-eminent painters and ceramicists including Fred Williams and John Olsen. In 2015 Nillumbik Shire Council will be installing a mural by Sanders, donated by Tom and his family before Tom passed away in 2009, for the redevelopment of the Eltham Town Square. During the 1970s Sanders produced a number of tapestry designs. Highly respected artist and one time local resident Hilary Jackman worked with Sanders developing and adapting his tile designs to be translated into silk tapestries that were made in Japanese Mills of Kawashima Orimono in Kyoto. They were displayed in the big Hall in the NGV. Sanders gave these tiles to Jackman as payment for her work. The tapestries are based on abstract designs and have a cotton warp, and silk weft. The tiles are similar to Sanders’ other mural works such as Wall of the Moon (Homage to Miro) and the mural located in the Perth Concert Hall. It’s clear that Sanders was inspired by the Spanish surrealist artist Joan Miro from the 1930s in both philosophy and style. Miro’s work is quite playful, symbolic and imaginative. Miro’s preference for painting like this was “to express contempt for conventional painting methods, which he saw was a way of supporting a bourgeois society”. He "famously declared an "assassination of painting" in favor of upsetting the visual elements of established painting.” Three earthenware tiles, embossed with an abstract linear design. N/A -
Nillumbik Shire Council
Public Art: Tom SANDERS (b.1925-d.2008 Vic, Aus), Tom Sanders, Wall of the Moon (Homage to Miro) - (Location: Eltham Town Square, Arthur Street, Eltham), 1968
Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. In 1957 he left for Europe and while there was inspired by the Spanish artist Joan Miro’s unconventional painting style and large scale murals, in particular Wall of the Moon (1957). After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals, some of which were commissioned for Southland Shopping Centre in Cheltenham, Melbourne, 1968 (now demolished), the National Mutual Centre, Melbourne,1964-5 (now demolished), Dee Why Library, Sydney 1966, Woden Valley High School, ACT, 1967, Tullamarine Airport Melbourne, 1969-70 (now demolished), Perth Concert Hall, 1971 and The University of Melbourne,1975 (with John Olsen). This mural is one of only three remaining in the public realm by Tom Sanders (the others are at the Perth Concert Hall (1971) and at the University of Melbourne (1975). Ceramic mural (earthenware tiles) consisting of a playful/organic abstract design similar in style to the Spanish artist Joan Miro. Shades of blue, yellow and black glazes are layered onto matte black and shiny bronze tiles. N/Amural, public art, earthernware, pottery, ceramics, glaze, eltham, ekphrasis2017, eltham town square, joan miro -
University of Melbourne, Burnley Campus Archives
Booklet - Catalogue, Camellia and Azalea catalogues, 1947-1963
Catalogues from Camellia Grove (Sydney), Camellia Lodge (Noble Park), Hazelwood (Epping NSW). 4 cataloguesflowers, catalogues, camelai grove, camelia lodge, hazelwood -
University of Melbourne, Burnley Campus Archives
Slide - Glass slide, 1891-1905
Sydney Peppermint (Eucalyptus piperita, SM.)' Photograph of pages from books. Line drawings of parts of the plant. australian native plants, eucalyptus