1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Made by craftsman in Camp 3. Care had to be taken to curve the Australian Penny without damaging the face.Circular brooch. Australian penny with clip/pin soldered on backAustralia Penny 1936. Raised impression of a kangaroo in "flight"brooch, australian penny, beck h, camp 3, tatura, ww2 camp 3, costume, accessory, jewellery, 1936 penny

This is an instruction manual describing in detail the construction of the templates used for producing map compilation sheets from aerial photographs, and how the system works.Foolscap size, soft carboard covers, 9 x numbered pages, 3 x fold out pages containing two photos on each. Australian Survey Corps Badge on cover. Stapled and re-stapled on Left hand edge.Front Cover, "15" Top Left and Bottom Left corner, "COOPER" and stamped "58" in Top Right, "AHQ/Misc/0015" Bottom Left Corner, Stamped "Eastern Command Survey Service copy 5"royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

A brown colour cover with black details. Top right corner reads 7610-66-018-6712. In the middle is the insignia of the Australian Military Forces. There are four punch holes down the left hand side. (note the pages in this manual are loose)australia - armed forces - service manuals, drill manual, australian military forces

A green plastic coloured cover with black information. Top right corner reads 7610-66-024-4121. The Australian Coat of Arms and under this is the title of the booklet. the booklet is held together with two metal screws and this is done on the inside cover.australia - armed forces - service manuals, administration support

A green plastic coloured cover with black information. Top right corner reads 7610-66-024-4121. The Australian Coat of Arms and under this is the title of the booklet. the booklet is held together with two metal screws and this is done on the inside cover.australia - armed forces - service manuals, administration support

A green plastic coloured cover with black information. Top right corner reads 7610-66-024-4121. The Australian Coat of Arms and under this is the title of the booklet. the booklet is held together with two metal screws and this is done on the inside cover.australia - armed forces - service manuals, administration support

A green plastic coloured cover with black information. Top right corner reads 7610-66-024-4121. The Australian Coat of Arms and under this is the title of the booklet. the booklet is held together with two metal screws and this is done on the inside cover.australia - armed forces - service manuals, administration support

A cream coloured cardboard cover with black information. Top right hand corner reads 7610-66-027-1609. There is the Australian Coat of Arms Insignia with the title of the booklet under this. There are two metal staples down the left hand sideaustralia - armed forces - service manuals, raasc, expenses, fuel/light and forage

A khaki green coloured cardboard cover with black information on the front. Top right hand corner reads 7610-66-104-8356. Unde the Australian Army Insignai is the information of the booklet. The booklet is held toether by a rusty metal slide.australia - armed forces - service manuals, land warfare, ordnance training, field supply company

The manual is cover with yellow plastic with a window at the front. On the cover under the RAAf insigia reads Royal Australian Air Force. Through the wind reads the details of the manual. The manual is held together with a large metal slide which in on the inside of the coverroyal australian airforce - manuals, resetting fire detectors

The manual is cover with yellow plastic with a window at the front. On the cover under the RAAf insigia reads Royal Australian Air Force. Through the wind reads the details of the manual. The manual is held together with a large metal slide which in on the inside of the coverroyal australian airforce - manuals, engineering publication, fatigue meters

A yellow plastic cover with a window. Under the RAAF insignia reads Royal Australian Air Force and Engineering Publication. Through the window on ellow paper is the information of the manual. The manual is held together by a large metal slide which is inside the cover.royal australian airforce - manuals, engineering publication, aircraft clocks

A speckled blue coloured cardboard cover with black information on the front. Under the Australian Coat of Arms reads Infantry Training. The booklet is held togeher with two metal screws on the inside. The booklet is cover with a plastic cover and stored in a plastic bag.australian army, infantry training, the battalion

This Pewter Mug Collection is a set of 32 trophies won by Australian Alpine skiers Ross and Malcolm Milne between 1959 and 1964. Ross and Malcolm grew up on their family's tobacco property in Myrtleford, and began skiing at Falls Creek at an early age. They were both taught by Austrian Sigi Haberzettl, who was chief coach at Falls Creek for 17 years. Ross went on to win the North-Eastern District Ski Association (NEDSA) Junior Championships for three years in a row. In 1961 Ross was a member of the Australian team which competed against New Zealand in the Inter-Dominion Championships. In 1963, he won the Downhill and Alpine Combined title at the Australian Championships, while placing second in the Grand Slalom event. Ross Milne was selected in the Australian team that participated in the 1964 Olympic Winter Games at Innsbruck, Austria. A few days before the opening of the Games, on 25 January 1964, he tragically lost his life when he crashed into a tree during a training run for the Men's Downhill. He was only 19 years of age. Malcolm became a member of the Australian Junior Ski Team to Japan at the age of 14. He won all of the NEDSA children’s races and won the State Title in 1966. Malcolm continued to achieve great success, winning the Australian Championships for the next five years. At the end of 1969 he won Gold in the Val d'Isere FIS Alpine Ski World Cup Downhill, Australia's first Alpine Ski World Cup medal. He was on the Australian National Ski Team for eight years, representing his country at the 1968 and 1972 Olympic Games and the 1966 and 1970 World Championships before turning professional in 1972. Malcolm Milne was inducted into the Sport Australia Hall of Fame in 1985. In 2000 he received the Australian Sports Medal for his contribution to skiing. In 2004, Ski & Snowboard Australia granted Milne Life Membership for the contribution he made to the sport by becoming the first World Cup medal winner in Australian winter sports history, and the subsequent impact his performances have had on future athletes. Malcolm Milne was awarded the Medal of the Order of Australia (OAM) for services to skiing in 2016.This item is significant because it is part of a collection which documents the career of two outstanding Australian sportsmen.A pewter mug awarded as a trophy for the 1964 Australian Junior Slalom Championships. Engraved on side of mug: AUSTRALIAN JUNIOR CHAMPIONSHIPS SLALOM 1964ross milne, malcolm milne, milne brothers, australian alpine skiers

A brown coloured cardboard cover with black information on the front. Top right side reads DSN 7610-66-041-6376. Under the Australian Army Insigia are the details of the booklet. There are two punch holes down the left hand side of the booklet.australia - armed forces - service manuals, raasc, pol, petroleum, oils and lubricants, organization andoperation

A speckled blue coloured cardboard cover with black information on the front. Under the Australian Coat of Arms reads Infantry Training. The booklet was held togeher with two metal screws on the inside - these are mising. The booklet is cover with a plastic cover and stored in a plastic bag.australian army, infantry training, the battalion

A blue coloured cardboard cover with black information on the front. Top righ hand corner reads DSN 7610-66-043-7060. Under the Australian Army insigia are the details of the booklet. There are two punch holes down the left hand side.australia - armed forces - service manuals, infantry training, 7.62mm self loading rifle and bayonet., 7.62mm automatic rifle

A blue coloured cardboard cover with black information on the front. Top righ hand corner reads DSN 7610-66-043-7060. Under the Australian Army insigia are the details of the booklet. There are two punch holes down the left hand side.australia - armed forces - service manuals, infantry training, 7.62mm self loading rifle and bayonet., 7.62mm automatic rifle

By 1914, when Australia joined the war against Germany, there were 23 Light Horse regiments of militia volunteers. Many men from these units joined the Light Horse regiments of the Australian Imperial Force (AIF). Initially Australia promised four regiments of Light Horse, 2000 men, to fight in the British cause. By the end of the war, 16 regiments would be in action.The Light Horse were seen as the “national arm of Australia’s defence” and young men, most from the country, flocked to join. Framed and glass covered photo of a Regiment of the Australian Light Horse on the March in Jerusalem in Palestine"A Regiment of the Australian Light Horse on the March in Jerusalem in Palestine."ww1, world war 1, australian light horsemen, palestine, lara r.s.l.

A brown coloured cardboard cover with black information on the front. Top right hand corner reads 7610-66-019-4164. Under the Australian Coat of Arms are the details of the booklet. There are two rusty metal staples down the left hand side of the booklet.australian army, the enemy

A blue coloured cardbaord cover with black information on the front. Top right hand corner reads DSN 7610-66-048-1126. Under the Australian Army Insignia are the details of the booklet. There are two punch holes down the left hand side of the booklet.australia - armed forces - service manuals, engineer range practices

A yellow plastic cover with a clear window. Under the RAAF insignia reads Royal Australian Air Force and Engineering Publication. The details of the manual can be seen through the clear window. The manual is held together with a large metal slide which is inside the cover. royal australian airforce - manuals, engineering publication, gyro horizon

A blue coloured cardboard cover with black information on the front cover. Top right hand corner reads 7610-66-101-0497. Under the Australian Army insignia is the description of the manual. There are two punch holes down the left hand side of the manual.australia - armed forces - service manuals, land warfare, infantry training, m 60 machine gun 7.62

A blue coloured cardboard cover with red information on the cover. Top right corner reads 7610-66-026-3591. Under the Australian Coat of Arms are the details of the booklet. There are two metal screws down the left hand side. The booklet is covered with a plastic cover. australian military forces, infantry training, infantry platoon weapons, fieldcraft and target detection

A blue coloured cardboard cover with red information on the cover. Top right corner reads 7610-66-026-3591. Under the Australian Coat of Arms are the details of the booklet. There are two metal screws down the left hand side. The booklet is covered with a plastic cover. australian military forces, infantry training, infantry platoon weapons, fieldcraft and target detection

A green plastic covered booklet with black details on the front. Top right hand corner reads 7610-66-021-1631. There is the Australian Coat of Arms and under this read The Soldier's Handbook. The booklet is held together by two metal screw from the inside of the cover. The name Glasson is written in black texta on the inside of the coveraustralia - armed forces - service manuals, soldiers handbook

A green plastic covered booklet with black details on the front. Top right hand corner reads 7610-66-021-1631. There is the Australian Coat of Arms and under this read The Soldier's Handbook. The booklet is held together by two metal screw from the inside of the cover. The name Glasson is written in black texta on the inside of the coveraustralia - armed forces - service manuals, soldiers handbook

A green plastic covered booklet with black details on the front. Top right hand corner reads 7610-66-021-1631. There is the Australian Coat of Arms and under this read The Soldier's Handbook. The booklet is held together by two metal screw from the inside of the cover. The name Glasson is written in black texta on the inside of the coveraustralia - armed forces - service manuals, soldiers handbook

A khaki coloured cardboard booklet with black information on the front. Top right hand side reads 7610-66-096-4848. Below the Australian Army Insignia are the details of the Booklet. There are two punch holes down the left hand side. The booklet is covered in plastic.australia - armed forces - service manuals, land warfare