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National Wool Museum
Photograph - 07 Panels, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 08 Pinhole, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
Federation University Art Collection
Painting (tryptich), Ricordi Souvenir Series, c2013
This work was exhibited in the 2013 Flanagan Art Exhibition "For her project, Ricordi – Souvenirs, the artist delves into history, culture and identity. She tests her ideas by inviting friends and fellow artists to share their own ‘souvenirs’ for scrutiny. The artist filmed and interviewed each participant enquiring as to the meaning and context of their precious objects, their memories of the past. Interviewees trusted the artist with their stories after which she re-configured their anecdotes using the mediums of print and sculpture. Her investigation begins with the question, ‘do souvenirs tell us something about the purchaser, mark a particular time and place and/or refer to popular culture?’ Ultimately Covino-Beehre facilitates all participants, including herself, to connect to each other through common experience and the need to belong." (http://www.acovinobeehre.com/styled-3/styled-12/styled/index.html)artwork, artist, printmaking, covino-beehre -
Vision Australia
Administrative record - Text, RVIB Annual Report 2001-2002, 2002
An overview of activities and achievements during the past financial year. Articles in annual report include: launch of Project Nexus (to merge with RBS and VAF), 'Egypt by Touch' exhibition, inaugural Dare to Date ball and Aqua Dance party, production of Braille and Large Print in Tetun language for Timor, publication of "I'm posting the pebbles", and the RVIB Fair held for the first time since 1985.1 printed volume of information about the RVIB during the financial yearroyal victorian institute for the blind, annual report, trevor anderson, doug kent, chris baillie, lui palombi, debbie deshayes, jenny pring, chery kurnow, robyn guymer, chris edwards, jamie kelly, tim mitchell, molly meldrum, john so -
Vision Australia
Administrative record - Text, Royal Blind Society Annual Report 2002-2003 "Working together", 2003
An overview of activities and achievements during the past financial year. Articles in annual report include: opening two new offices in Coffs Harbour and Canberra, merging library services with RVIB and VAF, development of the "Do It Yourself" package with the University of Sydney and launched by Benita Collings, Behind the Budget luncheon with H.G. Nelson, Wendy Harmer and Peter Berner, a tactile art exhibition with the Sydney's Object Gallery, building a new volunteer Speakers Network and profiles of volunteers Clarys Churchill and Ian Carswell, and clients Emily McNeil, Tess Herbert, Nelson Rufatt, Jonathan Mondy, Fiona Williams, James Pittar, Rita Lucas, Noni Guthrie, Alexandra Sugis and Elizabeth Ford.1 printed volume of information about the RBS during the financial yearroyal blind society of nsw, annual reports, lauren rapley, emily mcneil, graeme innes, pearl stapleton, dick smith, clarys churchill, tess herbert, benita collings, erica chiandotto, nelson rufatt, natalie kaine, jonathan mondy, annette hayes, fiona williams, james pittar, rita lucas, cem oztan, noni guthrie, alexandra sugis, elizabeth ford, paula-jane robinson, ian carswell, andrew daddo, wendy matthews, tayla fitten, dion milton, peter berner, wendy harmer, h.g. nelson, marie bashir, walter bolin, victoria maggs, katherine purcell, michael simpson, john landau, denis lister, carol ireland, stephanie peebles, barry chapman, christopher cullen, charles cowper, frank martin, ivan cribb, keith barton, michael brown, john mumford, owen van der wall, roslyn lambert, tony miller -
City of Greater Bendigo - Civic Collection
Booklet, City of Bendigo, Golden Bendigo, 1950's
Primarily a promotional publication to attract new residents and encourage tourism to the district. This publication espouses the many attractions and benefits of life in Bendigo while not relying heavily on its gold rush past. 'In the restful atmosphere of a provincial city Bendigo's 40,000 inhabitants are contented and friendly, ever ready to make a newcomer at home'. Booklet promoting the climate, character and industries of the City of Bendigo and surrounding districts. Includes black and white and colour photographs, drawings, and text describing various facets of life in regional Victoria. Publication art work and design are particularly striking. councillor alec craig, city of greater bendigo tourism, mayor w cambridge, cambridge press, making a nation exhibition -
Melbourne Legacy
Newspaper - Document, article, 25,000 Returned Soldiers, Headed By Their Leader, Sir John Monash, Marched Past The Cenotaph On Anzac Day, 05/05/1928
A newspaper photo of returned servicemen and nurses marching past the original First World War memorial during an Anzac Day march in 1928. It was published as a centre page spread on 5 May 1928 in the The Weekly Times. '25,000 Returned Soldiers, Headed By Their Leader, Sir John Monash, Marched Past The Cenotaph On Anzac Day.' A war memorial to the 1914-1918 war was originally erected in Spring Street outside the Victorian Parliament Building (at that time it was the being used by the Australian Federal Parliament, from 1901-1927 when it moved to Canberra). Anzac Day services were held at this memorial in the 1920s and early 1930s. Items were in an envelope with other photos and programmes from different items relating to the Shrine of Remembrance - including discussions on its location and design. Labelled 'Shrine of Remembrance S1 - S14' it was part of an old archive numbering system (S=Shrine), that showed there has been efforts in the past to collect, order and save items of Legacy's history. From articles in Trove: The temporary cenotaph was the original first world war memorial until the Shrine of Remembrance was dedicated in 1937. The cenotaph was a half size replica of the London Symbol of Remembrance in Whitehall. It was made from timber and plaster and was initially meant to only last for the 1926 Anzac day service and be removed. With annual upkeep it remained until at least 1934 when ex-service men proceeded from the incomplete Shrine to the cenotaph on the steps of Parliament House on Anzac day.A record of an Anzac Day ceremony at the old First World War memorial in Spring Street in 1928. Not many photos are available of the original memorial. The size of the march past (reported as 25,000 soldiers) points to the enormous number of Victorians who served in the First World War. Black and white newspaper article about ANZAC Day at the old First World War memorial in Spring Street in 1928.Title: '25,000 Returned Soldiers, Headed By Their Leader, Sir John Monash, Marched Past The Cenotaph On Anzac Day.' Caption: " Scene at Parliament House, Melbourne, where the Governor, Lord Somers, took the salute, as returned Soldiers and Nurses passed, on they way to the Commemorative Service at the Exhibition.'anzac day, wreath laying ceremony -
Melbourne Tram Museum
Slide - Set of 3, Keith Caldwell, Oct. 1978
Set of 2 Agfa colour slide, blue and white plastic mount, photo by Keith Caldwell 10/1978 of: .1 - Z64 outbound in Nicholson St at Gertrude St, route 88 for West Preston Tyler St with the Carlton Gardens South in the background. .2 - Z76 in Nicholson St just before Gertrude St, showing City Spencer St, route 95 prior to reversing at the cross over just past Gertrude St. .3 - Z72, as .1 - Route 88..1 and .2 have "MLB 10/78 BK" written on them in penciltrams, tramways, nicholson st, exhibition, route 88, east preston, z class, route 95, tram 64, tram 76, tram 72 -
Merri-bek City Council
Digital print on archival paper, 24 karat gold leaf, Hootan Heydari, Nostograph 1, 2022
Born in Tehran before moving to Australia in 1985, Nostograph 1 is part of Hootan Heydari’s enquiry into ideas of displacement, memory and disruption. Nostograph 1 is a key work from Hootan Heydari’s solo exhibition Yeki Bood, Yeki Nabood, which was held at the Counihan Gallery in 2022. ‘Yeki bood, yeki nabood’ means ‘one was there, one was absent’ in Farsi. It’s a phrase used to begin a story, similar to ‘once upon a time’. Yeki Bood, Yeki Nabood explored the compulsion to return to the past; to process trauma, but also to resist historical and cultural erasure. Yet memory is slippery; repeated exposure to images of the past blur and conflate with the artist’s memory. In Nostograph 1, Heydari attempts to remember and outline rooms and spaces from his childhood, as described by delicate strips of gold leaf. The gold leaf overlays an archival photograph of a crowd gathered during a mass demonstration during the 1979 Islamic revolution. In Nostograph 1, personal and public histories intersect.