booknon-fictionA collection of essays by international academics and critics addressing the meaning, forms, effects and places of postmodernism.theory, modernity, feminism, avant-garde, cross-disciplinary art, museology

Boyd argues that there is little that is truly avant-garde or revolutionary in architecture. Boyd defintes 'antiarchitecture' as architecture which rejects aestheticism, an approach explored by constructivists, Archigram and Venturi. Boyd indicates that he suspects that architecture can never fully escape aestheticism.Original manuscript of the article published in The Architectural Forum, Vol. 129, No. 4, November 1968, pp. 84-86.Typewritten (c copy), quarto, 6 pagesAnnotation on p2radicalism, venturi, archigram, reyner banham, buckminster fuller, new brutalists, constructivism, john m johansen, paul rudolph, charles moore, japanese metabolism, george nelson, aestheticism, robin boyd, manuscript

Photograph of Mrs Oates and Archbishop Dann with Museum sheet.The mitre was made for the consecration of the Anglican Archbishop, the Rt. Rev. Robert Dann. The front, embroidered by Morna Sturrock represents the resurrection. The back, embroidered by Mrs Oates, represents the cave, crucifixion and burial. The mitre is meant to be worn at Easter. The background fabric for the embroidery is a gold silk colour, the lining is blue. The mitre was considered very avant-garde for it's time.embroidery, mitre, australia, gold work, metal thread

Luterma was a famous trademark and brand name used by the A.M. Luther woodworking factory, a major Estonian furniture and plywood manufacturer founded in Tallinn in the late 19th century. It grew into one of Europe's largest producers of innovative bentwood and molded plywood items, collaborating with modern architects and avant-garde designers before operations ceased due to mid-20th-century.Four vintage cream painted Luterma bentwood kitchen chairs. Three have the original seat with a punch hole floral shaped design and one has been replaced with a plain homemade wooden seat with holes. These have a traditional curly shaped back with curved supports at the sides, slightly curved legs, and a circular brace under the seat. This is attached with screws and bolts.Underneath the seat is stamped in black lettering, an oval patterned shape with: ' LUTERNA Fabrique En Estonia' 'Made in Estonia'furniture, chairs, seating furniture, kitchen chairs

This dress is aestheticaly and historically significant as an intersection of Melbourne's mid-century fashion elite and its pioneering architectural movement. Designed by acclaimed couturier Jill Kemelfield (née Marty), it reflected her emerging interest in the late Mod / Space-Age glamour era, This avant-garde hostess gown was owned and worn by Dione McIntyre, one of Melbourne’s most celebrated and influential modernist architects.The dress’s design—which brilliantly blends the outer elegance of a traditional evening gown with the internal, functional structure of integrated catsuit tights—perfectly mirrors the core philosophy of mid-century modernism: where form flawlessly meets innovative function. McIntyre's choice of this garment highlights how Melbourne's creative vanguard expressed their design ethos across both the built environment and personal style during the late 1960s and early 1970s.A two-piece illusion evening ensemble featuring a sleeveless, floor-length maxi outer dress in an off-white/stone Lurex georgette fabric. The dress features a high boat/slash neckline, clean princess-line tailoring through the bodice, and a full column skirt. The left lateral seam features a high-thigh split fastened with a vertical line of matching cloth buttons or loop details. Built directly into the internal structure of the dress chassis is a pair of in-sewn matching tights/catsuit bodysuit legs, constructed from the same reflective Lurex textile to allow for dramatic, uninhibited leg movement when the side slit parts.Label: JINOEL OF MELBOURNEaustralian fashion - melbourne - 1960s, jinoel of melbourne (vic), mcintyre collection, evening wear, women's clothing, dione mcintyre

Boyd questions the public's and architect's architectural taste - especially developing a style that would define Australian Architecture. He addresses the lack of commissioning of Modern Architects while Modern Architecture became the main preference in architecture 30 years prior to the written text. Frustrations towards people selecting styles that are 'familiar' rather than trying to be 'avant-garde'. Otherwise, Boyd challenges architects looking towards American Architecture as precedents.This appears to be a unpublished lecture. It is marked up for presentation with slides (indicates LIGHTS) when delivering a speech.Handwritten (pencil), quarto, 15 (page numbers on centre top up to 16, page 10 missing) pagesSpots of coffee stainsaustralian school, architecture, american embassy in new delhi, walter richmond butler, robin boyd, manuscript

Jean Appleton (1911–2003) Born Sydney, New South Wales A painter and art teacher who studied at the East Sydney Technical College, completing a diploma in drawing and illustration in 1932. In 1935 she travelled to London on a cargo ship. Strongly interested in modern art, she studied under Mark Gertler and Bernard Meninsky at the avant-garde Westminster School.With the outbreak of the war she returned to Australia, thereafter teaching at Canberra Grammar and then at the Julian Ashton and National Art Schools in Sydney. Portrait of a male by Jean Appletonportrait, jean appleton

Bendigo Advertiser "The way we were" from Tuesday, May 11, 2004. Girl power: with mitts and bats at the ready, some of these players of the Royals softball team, pictured in 1947-1948 at Londonderry Reserve, were also sporting very avant garde caps. Back row from left: Biddy Brown, Normie Warner, Robin Burnett, Fay Cowling, Dosi Warner, Pat Paterson, Amy McCormick, Jean Burnett, Addi Duggan, Ruth McCormick. Front row: Shirley Smith, Effie Bell, Nola McCullaugh, Gladys McCormick.newspaper, bendigo advertiser, the way we were

Prue Acton launched her label in Melbourne in 1963. Initially celebrated for capturing the youthful energy of the 1960s "Youthquake" movement, her brand underwent a significant maturity shift during the late 1970s and early 1980s. As her original teenage and twenty-something clientele entered the professional workforce, Acton transitioned her designs from playful boutique mini-dresses into sophisticated, structured, and upscale ready-to-wear pieces. This wrap day dress perfectly exemplifies that evolutionary step. It offers practical utility for the contemporary working woman while maintaining the high-impact visual flair she was known for. This specific garment reflects her obsession with pure, interacting hues. The combination of saturated teal against coral-red and gold metallic trimmings is a masterclass in complementary color dynamics. Instead of relying on traditional printed patterns, she used the structural trim itself to dictate the architecture of the dress. The wrap dress style allowed for physical ease in warmer climates, while the sharp graphic lines gave it an assertive presence. A midi-length day dress in deep teal featuring a wrapped crossover V-neckline, short fluttering tulip sleeves, and a defined waist. The dress is accompanied by a wide, matching self-tie fabric belt. The garment features striking, avant-garde contrast borders in coral-red and gold metallic ribbon. This graphic trim accents the length of the belt, forms a bold, geometric zig-zag pattern around the lower hips, and finishes in parallel horizontal bands directly above the hemline. While the tailored cotton construction echoes late-1970s daywear, the hyper-saturated colorblock palette and bold geometric patterns strongly align with Prue Acton's transition into the vibrant, structured aesthetics of the early 1980s.Label 1: "Prue Acton" Label 2: "Size 14 ..."prue acton, australian fashion -- melbourne -- 1970s, dresses

Ludwig HIRSCHFELD-MACK (1893-1965) Born 11 July 1893, Frankfurt am Main, Germany In 1940 Hirschfeld-Mack was deported to Australia from England as an enemy alien in the Dunera. He was interned at Hay and Orange, New South Wales, and at Tatura, Victoria. There he made a number of woodcuts that illustrated life under detention. Released in 1942 through the sponsorship of (Sir) James Darling, headmaster of Geelong Church of England Grammar School, Hirschfeld-Mack was appointed its art master. He promoted his pupils' self-knowledge, introduced them to avant-garde painting techniques, and encouraged wood-carving, weaving, musical instrument-making, leatherwork and other crafts. (http://adb.anu.edu.au/biography/hirschfeld-mack-ludwig-10510, accessed 29 June 2016) He died on 7 January 1965 at Allambie Heights, Sydney Framed abstract paintingSigned in pencil lower left hand side 'L.H.Mack 1959'art, artists, mack, hirschfeld-mack, ludwig hirschfeld-mack, ludwig hirshfeld-mack, printmaking, monoprint, bauhaus

The Arrow Of Gold: A Story Between Two Notes Author: Joseph Conrad Publisher: T Fisher Unwin Date: 1919 Blue hardcover book with title and call numbers on spine, and handwritten pencil inscription on ply page. Also stockers on the front end paper have inscriptions and a stamp. The book is part of the Pattison Collection. fictionSet in Marseille and the Mediterranean during the 1870s against the backdrop of the Third Carlist War in Spain, The Arrow of Gold: A Story Between Two Notes follows a young sailor (Monsieur George) who becomes involved in running guns to support the royalist Carlist forces. Along the way, he falls deeply in love with the enigmatic Doña Rita, an heiress and benefactor of the Carlist cause. The novel is heavily autobiographical, drawing directly on Conrad’s own youth as a seaman in Marseille, his involvement in Mediterranean gun-running, and a formative early romance.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, joseph conrad, captain joseph conrad, maritime author, marine author, nautical author, sailor, seafarer, georg stage, 1882 ship, danish ship, training ship, boys killed, alan villiers, ship joseph conrad, mystic seaport, museum ship, warrnambool mechanics institute, pattison collection, warrnambool library, ralph eric pattison, corangamite regional library service, the arrow of gold

Sybil CRAIG (18/11/1901-09/09/1989) Born London, England Arrived Melbourne 1902 Died Melbourne, Victoria Sybil Frances Craig was a student of John Shirlow in 1920 who introduced her to French avant-garde artists such as Matisse and Gauguin. In 1924 she studied at the National Gallery of Victoria Art School. She also underook private classes with George Bellfor several months where individual expression was encouraged, and she became associated with a group of Modernist artists including Sam Atyeo. In 1945 Sybil Craig became the third woman to be appointed as an official war artist. Based in Melbourne she worked for fourth months at the Commonwealth Ordinance Factory at Maribyrnong, becoming the first female artist to paint women working in the munitions factories. In her work Craig was attracted to many changing ideas and continued to explore line, rhythm, colour, simplicity and design. 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 pencil sketch.art, artwork, sybil craig, australian war artist, kitchen

Sybil CRAIG (18/11/1901-09/09/1989) Born London, England Arrived Melbourne 1902 Died Melbourne, Victoria Sybil Frances Craig was a student of John Shirlow in 1920 who introduced her to French avant-garde artists such as Matisse and Gauguin. In 1924 she studied at the National Gallery of Victoria Art School. She also underook private classes with George Bellfor several months where individual expression was encouraged, and she became associated with a group of Modernist artists including Sam Atyeo. In 1945 Sybil Craig became the third woman to be appointed as an official war artist. Based in Melbourne she worked for fourth months at the Commonwealth Ordinance Factory at Maribyrnong, becoming the first female artist to paint women working in the munitions factories. In her work Craig was attracted to many changing ideas and continued to explore line, rhythm, colour, simplicity and design. 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 texta sketch of a correa.art, artwork, sybil craig, craig, flora, available, leaves, texta, texta colour, correa

As the founder of SHIYO, I am driven by a vision to reshape fashion into an art form that celebrates cultural depth, sustainability, and fearless individuality. SHIYO is more than a brand — it’s a commitment to defy conventions and embrace innovation. Each piece we create is infused with influences from Persian and Japanese artistry, brought to life with avant-garde materials that push the boundaries of traditional craftsmanship. This top is crafted entirely from three M.J. Bale shirts, using eucalyptus leaves and tea bags for the dyeing process. No cutting or sewing machines were used — only hand stitching with the traditional Sashiko technique. One shirt was transformed into a smocked sleeve, while the other two form the main body, adorned with vintage beads. Completely zero-waste, this piece offers two distinct styling options. The leather layering piece is made from deadstock leather and fully hand-stitched, while the skirt is also created from deadstock fabric. I believe that fashion should empower, inspire, and transcend, inviting wearers to express who they are without limits. Through SHIYO, I hope to craft a movement that not only speaks to personal style but also embodies a conscious, sustainable future. Winner of the 2025 We The Makers Sustainable Fashion Prize for Designer of the Year.Three piece outfit consisting of a grey top made with three shirts and adorned with beads, a black skirt and a black belt.fashion, design, sustainability, we the makers, acquisitive award, prize, shiva yousefpourshahrivar, shiyo

Newspaper article: A sustainable award, Diamond Valley Leader, 1 November2006, Architect and building Llewellyn Pritchard won resource Efficiency Housing Award, finalist in HIA Greensmart Building of the Year Award. House – Environmental Leader (Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p186) In 2006 environmental awareness was mushrooming in the community, which is reflected in the award-winning house at Main Road near Wattletree Road, Eltham. At first sight, the building appears a mix of a classic Eltham mud-brick house and an avant-garde building style. The crown of solar panels stretching along the width of the curved roof, indicates that this is no ordinary house. In fact it signals a new building trend of minimal impact on the environment. Yet it utilises the environment with high technical expertise to achieve comfort and cut running and maintenance costs. In recognition of this, its designer/builder, Conscious Homes, won the 2006 National HIA Greensmart Resource Efficiency Award. For Conscious Homes director, Llewellyn Pritchard, this house reflects a philosophy, strengthened by his connection with Aboriginal culture, through his foster siblings. Pritchard believes the sustainable way indigenous Australians lived and their spiritual connection with land, demonstrates how humanity is part of the ecology. His interest in environmental design stemmed from growing up in bushy Eltham Shire, with its mud-brick tradition. This was followed by studying Architecture at RMIT in the early 1980s, and learning about passive solar design. Pritchard says this house demonstrates that environmental sustainability is not about sacrifice, but about exceptional levels of occupant comfort, savings in running costs and modern fittings and appliances.1 The solar panels on the north roofs are intentionally obvious to make a statement about what the building is doing. But inside the systems are hidden and interactive with conventional services, such as the underground water tank. The house is water and energy self-sufficient and at 12 squares is much smaller than conventional houses, to minimise resources. Yet it accommodates his family of four with three bedrooms, a living/dining and kitchen area and a bathroom/laundry. Importantly the building is designed to last hundreds of years, by being able to be modified as the need arises, such as for commercial use. In this way the structure minimises its environmental impact. The solid double mud-brick walls (which are insulated) include steel beams and supporting frame, allowing the future removal or alteration of any section. The materials are local, recycled and of low toxicity where possible.2 Inside and out, the mud-brick is rendered and sealed with a combination of cement and sand and a mud-based coating in a soft golden hue increases its life. Inside, the golden-brown timber is plantation Mountain Ash and the concrete floors throughout – of local stone aggregate with a clear seal – have a natural looking random stone appearance. The house sustains a stable temperature of around 20 degrees, assisted by the concrete slab floor. The many large double-glazed windows and highlights (windows set high on walls) provide cross-flow ventilation. The north-facing living area maximises heating from the lower winter sun and is cooler in summer, because the sun is higher. Heating comes from a solar hydronic slab system. All appliances and fittings are high efficiency energy or water rated. Appliances in the timber kitchen include a gas stove and a dishwasher, using the building’s own power and water. French doors open from the living area to a deck, concealing the treatment system for all waste water. This is pumped through sub-soil drippers to the indigenous garden beds and no-dig vegetable patch. Below the carport is the 80,000-litre rainwater tank and at the back, the boiler room houses the solar boiler, water tank access, domestic water supply pump, filter gear and hydronic slab heating controls. The solar system is backed up with gas, which is needed to heat water only in winter. Gas used is less than one quarter of that for an average home with ducted heating. Excess power is fed back to the grid and the building uses about one quarter of the mains electricity of an average home. Other local builders have followed Pritchard’s lead in resource efficiency for minimal environmental impact.main road, eltham, businesses, llewellyn pritchard, hia greensmart building of the year award., efficiency housing award, conscious homes australia pty ltd