This is a book of 136 pages. The cover has been bound with tape and shows a colour image of a female skier on a blue background on the front cover and an advertisement on the back cover. The pages contain articles and advertisements (printed text). The cover is a little damaged and the pages are dog-eared.non-fictionAspects of health and physical and mental well-beinghealth and well-being, warrnambool physical culture groups, physical culture 1924, physical culture magazine, physical culture publication

Vol. 5, No. 2, May-Jun 2000 CONTENTS ALAN MARSHALL SHORT STORY AWARD 2000 3 JOHN BRACK: DIRECTOR Exhibition review 7 GARDENS, MEMORY & IMAGINATION Book review 9 IT'S ALWAYS POSSIBLE Book review 12 BRUSH WITH PARADISE Peter Oyston interview 14 FELIX BOSARI, 1945-2000 Obituary 15 TOP ARTS VCE 1999 16 JEFFERY SMART Exhibition review 18 THE DENNIS GARDEN 19 WORDS AND MUSIC BY … Book review 22 TRAVELS IN 1840S IRELAND Book review 23 CD REVIEWS 24 RECIPE 26 CD REVIEW Betty Scarlet 27 ARTIN ABOUT 28 WINING & DINING 30 ARTISTS SERVICES 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, john brack, museum of modern art at heide, alan marshall short story award, kinglake gallery, bahnhof cafe, gwen ford, plenty views golf park, carlucci's, eltham wiregrass gallery, peter oyston, felix bosari, top arts, jeffrey smart, helen dennis, craig horne, jill blee, dynamic vegies, faces coffee place, montsalvat, maria sangiorgi, helen lucas, were street cafe

Booknon-fictionUsing paintings, posters, photographs, film stills and sculpture the author explores how propaganda art can be determined and defined.war, feminism, installation art

Softcoverwalsh st library

Discusses the state of art and culture in Australia, in particular the artists, the art boom, art appreciation and cultural maturity. Beginnings of Australia's own sense of direction in the arts and moving to an Australian identity rather than relying on overseas influencesTypewritten, quarto, (carbon copy), 7 pages. (Two copies)art, culture, artists, painters, australia, australiana, australian identity, sydney opera house, robin boyd, manuscript

'Mungo Moon' by Don Barrett is the first sculpture erected on the Churchill Art and Culture Pathway. It was officially unveiled by Professor David Battersby on 15 April 2015 From Churchill & District News 16 October 2014 The Churchill Art and Culture Walking Pathway will have its official public opening on Saturday October 18, with a walk finishing at Federation University Australia’s Switchback Gallery at the Federation University Gippsland Campus. ... An important link on the newly developed pathway was recently completed with a path south of the FedUni Student West Residences. The path now allows walkers to turn off the Eel Hole Creek path before reaching Glendonald Estate and to follow a picturesque, tree lined walkway to join up with the footpath on the Eastern side of Northways Road. From there the footpath joins into Federation University’s network of walking paths that proceeds past the Switchback Art Gallery, down through the pine plantation and along Lake Kretlow and the Churchill Golf Course. Project Manager Mike Answerth, said the opening of the West Residences section of the path means there is now only one short link to complete. “We’re now very close to realising the project’s objective to join up all these walking paths to provide a continuous pathway that encompasses town, campus and parkland. The next stage of the project will be the completion of Latrobe City’s East West Link and the enhancement of the walking path with artistic and cultural features.” said Mr. Answerth. Head of Federation University Australia Gippsland Campus, Dr Harry Ballis, said the project had been made possible through the contributions of the five former Gippsland Education Precinct (GEP) partners. “The Art and Culture Pathway represents another important step in joining the Churchill township and the university campus as a physical and social entity,” Dr Ballis said. “This was an initiative of the GEP and it is pleasing to see it coming to fruition.” The path now reaches as far as the golf driving range but plans are already under way to connect with the Mathison Park board walk and pathway, which surrounds Lake Hyland in Churchill. When the loop is completed, residents and visitors will have an approximately 5km circular walking path which links up the Churchill town centre, Federation University Australia and Mathison Park. There are already art features along this route, including primary schools’ Bug Blitz totems near the Kurnai College school crossing, native vegetation and history panels near the Hare Homestead in Mathison Park, and outdoor sculptures in the pine trees near the Federation University Switchback Gallery. contemporaryA large sculpture in five pieces set in an external location. It is part of the Churchill Art and Culture Walking Pathway. Don Barrett’s work is mainly in concrete with added coloured oxides to portray the feeling of the Australian landscape. Barrett focuses on concepts of Australia’s short history and indigenous history. churchill art and culture pathway, barrett, don barrett, gippsland campus, federation university, churchill, sculpture

Bendigo Advertiser ''The way we were'' from 1999. Place of culture: the Bendigo Art Gallert.newspaper, bendigo advertiser, the way we were

In 1984 Nat Young released his ground breaking documentary The History of Australian Surfing. This DVD of that film tells the story of the evolution of surfing in Australia from its origin in Sydney through to the development of wooden, fibreglass and short surfboards. The film features footage of Australia's greatest surfers including Midget Farrelly, Mark Richards, Tom Carroll, Wayne Lynch and many more.Groundbreaking documentary that for the first time attempted to tell the unique history of Australian surfing on film.Colour cover art including barrel background and images of surfing and beach culture forming the films titles.Distributors logocheyne horan, nat young, tom carroll, mark richards, wayne lynch, midget farrelly, michael petersen

Hard Cover Book slightly larger than A5. Almost black cover with gold bee embossed on the front. Title is imprinted & very hard to read 472 pages + index Comes with a CD of the background on the copy of the bookTo the throngs of eager, questioning brothers & sisters in the art of bee culture In our own & other countries This work is respecfully dedicated by the author

Picture of late 19th century double storey, double fronted mansion with wrought iron pillars and balcony lace work on upper ballistrade. Built for Moritz Michaelis in 1870. Part of Donald McDonald collection of images.Alfred Kursteiner, Moritz Michaelis. Backed but unmounted black and white copy in good condition.Linden, 26 Acland Street, for Moritz Michaelis, merchant and founder of Jewish Synagogue Charnwood Cres, now used as art and culture centre by COPP'

The Bendigo School of Mines was opened in 1873 to meet the scientific and technical needs of the mining industry on the local gold fields. Mining, chemistry, geology, metallurgy and art were taught. In c.1907 a Junior Technical School commenced to operate at the School of Mines and Industry. This was to enable boys who had completed primary school the opportunity to continue their education and learn skills to assist them in their future. In c.1961 the Junior Technical School ceased to operate with that function being transferred to the White Hills and Kangaroo Flat technical schools.Grey soft covered booklet with green printing. The prospectus outlines preparatory courses in Trade, Art and Science. Photographs include Physical Culture, Geometrical Development, Science Laboratory, Design, Sheetmetal, Woodwork and Modelling.Handwritten on front Cover A.W. Steanebendigo junior technical school, prospectus, head master, a e tutton, mathematics and science master, j a donald, woodwork and sheet matal, h f day, crafts master, k c abbott

Canwen Zhao was awarded the $10,000 We The Makers Acquisitive Prize for '35 Life' in 2023. Artist Statement: "35life" is a sustainable fashion project that transforms second-hand clothing materials into urban street outdoor-style products. Highlighting prominent Chinese classic red and green colours not only conveys eastern aesthetics but also adds a sense of unity to the clothing collection. The high-saturation and high-brightness full-colour palette keeps the clothing consistently "fresh," allowing any trendy colours to seamlessly integrate into the project's designs, thus extending the lifespan of the garments. Additionally, all clothing items can quickly transform into a stylish bag for convenient daily carrying and home storage. These bags are made from leftover fabric generated during the production process and serve as original packaging for sale. This approach not only reduces excessive packaging but also enhances the chances of resale in the second-hand market. The project draws inspiration from the traditional Chinese cultural concept of "huo feng ding," meaning "exchange the old for the new." it's also influenced by the designer's personal experience with health issues, making the designs suitable for individuals who can't be exposed to sunlight for extended periods, adapting to the changing urban lifestyle. 35life aims to provide visually pleasing and comfortable dressing experiences for urban dwellers who are busy with work and experience high levels of stress. Unlike traditional design patterns, this project adopts a unique design approach. It selects 3-5 pieces of raw materials based on their colours, and then disassembles them through structural lines. While retaining most of their functionality, these materials are rearranged and assembled on a flat surface before being shaped on a dress form. Subsequently, various ways of creating storage bags are derived from the initial clothing prototypes. After refining the designs, the final products are developed, and similar materials are used to create samples. Therefore, under this design methodology, even for the same garment, it is impossible to produce two identical pieces of clothing. Each garment is truly one-of-a-kind, which enhances its rarity and contributes to the longevity of the fashion pieces. The project includes various types of clothing, each with unique storage methods. This yellow look, named "elegant beach sunscreen monarch," draws its fashion inspiration from traditional Han Chinese attire and its storage concept from the Chinese cultural concept of "jiu jiu gui yi." the design employs flat pattern cutting, utilizing materials from the second-hand market such as beach towels, children's waterproof clothing, and women's dresses. Similar colours and patterns are reassembled through cutting and combining. For the sleeves, quick-drying, sun-protective sport fabric forms the base, overlaid with discarded silk fabric dyed with turmeric and plant dyes. This not only ensures functionality but also adds a sense of elegance. The length can be adjusted using drawstrings. Artist Bio: Zhao Canwen is a multidisciplinary fashion designer with a strong passion for integrating art, history, culture, and sustainable design. With over 15 years of experience in painting, she draws inspiration from ancient Chinese philosophy and aesthetics, which gives her a unique sense of beauty. After 8 years of fashion and art training, she possesses a keen insight into current trends and tends to combine art with commercial needs. Zhao's design style is diverse, characterized by a multidimensional approach, a focus on colour application, and storytelling through details.Outfit consisting of six pieces: - Orange plastic eye wear with green paint - Pair of red and green metal clip on earrings - Red beaded phone case with attached beads on string - Pair of red and green painted running shoes - Yellow and green hooded garment with red piping and zips - Brown bag with green beaded handlessustainable, fashion, we the makers, art, culture, design, chinese philosophy, prize

Comprehensive text with maps, coloured photos etc., dealing with all of Indigenous Australia. Provides historical references. Details of the Mabo finding.maps, b&w photographs, colour photographs, illustrations, word listsculture, travel guide, tourism, art, food

Paperback; 84 p. : ill., ports ; 30 cm.ISBN 064612403buildings, monuments, social customs, art, culture, conservation

Robin Boyd wrote this when he was a Trustee of the National Gallery of Victoria. This article is a critical assessment of Australia's and Australians attitude to art and artists and culture.australian culture, arts, artists, walsh st library

Part of a speech that Boyd gave on receiving an honourary Doctorate of Letters awarded by the University of New England. Boyd proposes that Architecture is the Third Culture, combining art and science.Handwritten, pencil, incomplete, quarto, one page, finishes mid-sentencedefinition, third culture, speech, robin boyd, manuscript

Booknon-fictionBookfeminism, feminist art, exhibition, abstraction, art education

Boomerangs of this sort were used for up close hunting with short throws and clubbing. This contemporary piece illustrates some fine art work. This piece was commissioned by Uncle Brien Nelson, Jaara Elder to preserve and pass on Jaara culture.This boomerang is in the form usually used for clubbing prey up close rather than long flight or returning. It has a gentle arc about 3 cm deep over its 49 cm length.This piece is beautifully decorated with a traditional Jaara design incorporating a blue tongue lizard motive.boomerang, decorated, jaara, close up hunting, blue tongue lizard

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

Given away at 2013 City of Whitehorse Spring Festival, Whitehorse Civic Centre, Nunawading.Ecru calico carrybag printed on one side with 'Explore Whitehorse - Arts & Culture' in red headline. Underneath is a green map with numbers marking 1. Box Hill Community Arts Centre; 2. Whitehorse Art Space at Box Hill Town Hall; 3. Box Hill Library; 4. Blackburn Library; 5. Nunawading Library 6. Whitehorse Centre; 7. Vermont Library 8. Schwerkolt Cottage and Museum Complex; Contact details for Whitehorse City Council & Logo.City of Whitehorse; Explore Whitehorse-Arts & Culturecivic mementoes, souvenirs

Daniel HENDERSON In 207 Daniel Henderson won a Ballarat Arts Foundation Award. After graduating from University of Ballarat Arts Academy (now Federation University) Daniel Henderson has worked as the City of Ballarat Manager of Arts & Culture. 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.Large paintingart, artwork, daniel henderson, available, abstract

This is a tape of broadcast material from the procession of the Warrnambool Florado Festival in 1960. The Florado Festival was a week of festivities held in Warrnambool in the second week of March with the aim of advancing local art, culture, education and recreational activities. The Festivals were held in the 1950s and 60s. This tape is of some importance to researchers and others interested in the 1950s and 60s Florado festivals. They were a good example of the popularity in Australia of these types of festivals during those decades.This is a blue cassette tape (C120) designed to be played in a cassette machine.C120, BASF, unbespielt, unrecorded, vierge, 2 X 60 min., LH, Made in Germany. White sticker with ‘W’Bool Florado, 1960’warrnambool, florado procession

This is a CD of broadcast material from the procession of the Warrnambool Florado Festival in 1960. The Florado Festival was a week of festivities held in Warrnambool in the second week of March with the aim of advancing local art, culture, education and recreational activities. The Festivals were held in the 1950s and 60s.This CD is of some importance to researchers and others interested in the 1950s and 60s Florado festivals. There were a good example of the popularity in Australia of these types of festivals held during those decades. This is a Compact Disc Re-Writable 700B, made in Taiwan.On disc – 3YB Broadcast 1960 Florado Procession Warrnanmbool On back of paper accompanying the disc – 3YB Florado Procession Broadcast 1960 On front of paper – TDK, 700 MB, CD-RW80, CD-RW, CD – Re-Writable, 4 x Multi Speed Compatible, Compact Disc Rewritableflorado festivals warrnambool, 3yb

The Fashion & Design collections of Kew Historical Society include a number of art or household textiles manufactured or created in the United Kingdom as well as in Australia. As other cultures opened to Australian travellers in the 20th century, members began collecting and donating textiles produced in a number of other countries.Embroidered doily in the shape of Australia commemorating the ‘Royal Visit 1954’. The multicoloured embroidered images used on the include koalas and eucalyptus flowers on a cream fringed ground. doilies - patriotic, doilies - symbolic, soft furnishings, royal visits

The Fashion & Textiles collections of Kew Historical Society include a number of art or household textiles manufactured or created in the United Kingdom as well as in Australia. As other cultures opened to Australian travellers in the 20th century, members began collecting and donating textiles produced in a number of other countries. Evening bag constructed from two silk embroidered Chinese rank badges. Authentic badges would have been used on Imperial court costumes in the Ming and Qing Dynasties. The badges that comprise the bag are identical and were probably sold as souvenirs in Hong Kong during the 20th century. bags, evening bags, mandarin squares, chinese rank badges

This self-portrait exemplifies Karl and Slawa's shared interest in the art forms of other cultures - also seen in the significant number of Viennese art books on these topics in the Duldig Studio library. It takes inspiration from Egyptian sculptures and is strikingly similar to the cover image of Götter Ӓgyptens (Gods of Egypt) by Alexander Scharff (Library) although her short hair puts a stylish and very modern slant upon the image. The sculpture is hollow, with a large opening at the rear. Slawa on full face, eyes downcast, hair parted in the middle & pulled back in bun with large comb. Drapes across both shoulders. modernism