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

Pottery with flower design.ceramics, australian studio pottery

australian studio pottery, ceramics

Bookplate featuring a vase of flowers"HELEN MANIFOLD"bookplate, vase, flowers, helen manifold

This is one of an original pair.Trench Art. Brass shell casing, made into a vase. The top has been flared out, near the top has 3 rolled folds around the diameter. On each side are ornamental handles. Inside is a plastic cylinder to hold water. The surface has been given a roughened appearance going from a bronze colour to black.military history - souvenirs, arms - ordnance, metalcraft- brassware

Small blue and cream vase with basket weave pattern and small opening in top.Made in Japanornaments, ceramic, vase

Specimen flower vase. Glass with hobnail pattern, brass top with holes for flowers.ornaments, glass, vase

Small bisque vase with cupid and 2 rabbits, green and gold floral decorations.No 8530ornaments, ceramic, vase

Bisque shell shaped vase with attached figure of boy attired in blue and pink outfit.DEP/J/7318ornaments, ceramic, vase

Small lustre ware vase made in West Germany in tones of brown, gold and lemon.West Germany 923 65domestic equipment, ornaments, vase

Clear glass specimen vase with fluted top, swirled thin stem and star pattern in base.domestic equipment, ornaments, vase

Small clear glass specimen vase with fluted top, star pattern in base and thin swirled stem.domestic equipment, ornaments, vase

Squat Cloisonne bowl/vase decorated with flowers & butterflies in shades of blue,green,yellow with inside and base turquoise.ornaments, cloisonne, vase

Part of Mitcham RSL collection (WW2)Brass shell casing inscribed with Chinese and Japanese characters forming a vase,See Supplementary file (5303)ww2, trench art, japan, mitcham rsl, vase

The 3 items in this display - bell, crystal vase and cake server- were presented to the Wodonga Auxiliary of the Royal Victorian Institute for the Blind (RVIB) marking 50, 60 and 70 years of service respectively. This auxiliary was formed in March 1932 with K.D. Watson as the Inaugural President. Its purpose was to raise funds to assist blind and visually impaired people across the state of Victoria. The volunteers over 70 years spent countless hours door knocking in the annual fundraiser, and selling raffle tickets at street stalls. As the City of Wodonga expanded the areas to be door-knocked increased, creating a challenge for the mainly elderly members of the Auxiliary. Eventually it closed down in 2002 when the RVIB amalgamated with Vision Australia. The longest serving member of the Auxiliary was Mrs. Jean Burbidge.These items have local and state significance as they represent the work carried out by a local group of volunteers to support an important state wide institution.3 awards received by the RVIB Wodonga Auxiliary for recognition of their service. They include a crystal vase, a gold bell and a silver cake server. 18/10 is stamped on the reverse of the cake slicer. This relates to the percentage of chrome and nickel within the steel.On the bell: 'Presented to Wodonga R.V.I.B. Auxiliary 50th Anniversary" Around the middle of the vase: 'Presented to RVIB Wodonga Auxiliary 60th Anniversary, 1992" On the cake server: "Presented to RVIB Wodonga Auxiliary for 70 years service March 1932 to March 2002" On back of cake server:" 18/10 and initials FK inside 2 circles.royal victorian institute for the blind, rvib wodonga auxiliary

Pair square shaped vases, rough cast cream coloured surface with pottery dark pink rose and green leaves attached.ornaments, ceramic, vase

The Cambridge Glass Company was chartered in 1873 by a group of Cambridge, Ohio businessmen. But it was not until 1899, when the site was purchased by the newly formed National Glass Company, that funds became available to start the construction of this new glass factory. n 1901, The Cambridge Glass Company was organized by the owners of the National Glass Company of Pennsylvania Arthur J. Bennett, a native of England, was hired to manage this new factory. Having experience in the china and glass trades. Many of the patterns were of Mr. Bennett's own design. Sometime around 1903-1904 the company's first trademark came into being, the words "Near Cut" pressed into the glass. Cambridge Glass soon became known worldwide for quality in both "crystal and colours, pressed and blown’. 1984. The National Cambridge Collectors purchased many of the moulds, all of the etching/decorating plates and other assets of Cambridge Glass from Imperial. The Cambridge Glass factory building was demolished in 1989A shallow factory made, frosted green glass vase. The central "frog" is a figurine in the shape of a draped lady, with ten holes at her base to hold flowers. The lady's shape is poorly moulded, indistinct and would have been cheaply made. No Makers Mark. Appears to be similar to vases made by Cambridge Glass Co, Ohio, America, (1901 - 1958), during the Depression. glassware, cambridge glass company, ohio, bennett arthur j., orme wilber l., national glass company, pennsylvania, imperial glass company, bellaire, pioneers, early settlers, herron john, bentleigh, market gardeners, moorabbin, cheltenham

This vase was gifted to ANZCA during a visit to the college by fifteen members of the Chinese Society of Anesthesiology (CSA). This visit signified an exchange of education, research and friendship. A Memorandum of Understanding (MOU) was signed between the ANZCA President, David A Scott, and the President of the CSA to signify the spirit of collaboration. Medium sized, round shaped vase, glazed red, possibly lacquerware, decorated with raised relief creme coloured dragons among scrolling clouds. Attached to a square brown plinth. Vase came with a perspex cover and presented in a red, fabric box decorated with gold flowers.lacquerware, wood, corporate collection

Squat china vase with 3 feet, fluted opening, blue top and handles with gilding on body and decorated with green vine leaves and red grapes.domestic equipment, ornaments, vase

Small squat china vase with fluted opening, blue top, feet and handles, gilded decoration, white body decorated with vine leaves and grapes.domestic equipment, ornaments, vase

Pair of copper vases, with long cylindrical necks and wide, rounded bases. Two handles, made of brass, one on each side, follow shape of vase, made of flattened metal. Necks have decorative embossing with floral motifs. Rim also made of brass.No visible markingsdomestic items, ornaments, vase, flowers, decorative

Small china lustre vase with two containers in shape of flowers on top of leaves with a small Cherub on top in tones of blue and green.ornaments, ceramic, vase, di517

Venetian clear glass flower vase in the shape of a Palm tree, ornate decorations of leaves around top and base and thorns on stem.Reg No 100004ornaments, glass, vase, dr259

The First Australian Exhibition of Women's Work was held at the Exhibition Building, Melbourne, from 23 October to 30 November 1907. It was opened by Lady Northcote (the wife of Australia’s Governor General) and Pattie Deakin (wife of the Prime Minister), who also ran a model creche during the exhibition. The five week exhibition showcased the work of women musicians, artists and craftswomen with over 16,000 exhibits in all fields of artistic endeavour. It was attended by approximately 250,000 people. Exhibits were divided into Classes, including Fine Arts; Applied Arts; Photography; Plain Needlework; Cookery, Preserves and Laundry Work; Horticulture; and Medical and Nursing. This item was owned by Mrs. Alice Yardy nee Dinsmore, grandmother of Mrs. Jean Raper.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A small green glass vase with gilt edge which was produced as a souvenir of the Australian Exhibition of Women's Work held at the Exhibition Building in Melbourne in 1907. It has been inscribed in gold lettering. "Alice Women's Exhibition 1907"vase, glassware, decorative items