Showing 82 items
matching barkly place
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Bendigo Historical Society Inc.
Photograph - EDITH LUNN COLLECTION: HOME OF LACHLAN MCLACHLAN, BARKLY PLACE, BENDIGO
... EDITH LUNN COLLECTION: HOME OF LACHLAN MCLACHLAN, BARKLY...photograph of Strathlachlan, Barkly Place, Bendigo... Edith Lunn photograph of Strathlachlan, Barkly Place, Bendigo ...photograph of Strathlachlan, Barkly Place, Bendigo. The home of Lachlan McLachlan, known as 'Bendigo Mac' house built in 1858Edith Lunn -
Bendigo Historical Society Inc.
Document - COHN BROTHERS COLLECTION: SHARE TRANSFER CERTIFICATE 1894
... Agnes Levy of Barkly Place Bendigo.... to Agnes Levy of Barkly place Bendigo dated 5th December 1894... BENDIGO Industry cohn bros brewery Agnes Levy of Barkly Place ...Cohn Bros Vic Brewery share transfer from Jacob Cohn to Agnes Levy of Barkly place Bendigo dated 5th December 1894. Duty stamp one penny affixed.bendigo, industry, cohn bros brewery, agnes levy of barkly place bendigo. -
Bendigo Historical Society Inc.
Document - CONTRACT OF SALE - 11 JUNE 1895 - WILLIAM HENRY CUNDY TO ARTHUR ALLSOP AND MICHAEL KELLY
... Barkly Place... of 'Hiring and Letting' between William Henry Cundy of Barkly Place... Michael KELLY CRABBE COHEN KIRBY John F GLEESON Barkly Place Wills ...Contract of sale - 11 June 1895 - William Henry CUNDY to Arthur Allsop and Michael Kelly. Contract of sale and contract of 'Hiring and Letting' between William Henry Cundy of Barkly Place, Bendigo , Surveyor and Arthur Allsop and Michael Kelly, Financiers of Wills St, Bendigo Document witnessed by John F Gleeson, Managing Clerk to Crabbe, Cohen, Kirby, Solicitors, Bendigo The document consists of four pages and a memorandum of agreement between WH CUNDY and Arthur ALLSOP and Michael KELLY for the purchase and re-hire of a building and it's contents. There is a detailed list of contents for each of the rooms in the house. This number also includes a research sheet re the death of Mr. Charles Cohen, Solicitor.bendigo, history, housing/cultural, william henry cundy, arthur allsop, michael kelly, crabbe, cohen, kirby, john f gleeson, barkly place, wills st, milroy st. -
Bendigo Historical Society Inc.
Document - TELEGRAM - 100TH BIRTHDAY OF ANNIE LANSELL, 1960
... , Barkly Place, Bendigo... Birthday of Miss Annie Lansell, Barkly Place, Bendigo Document ...Telegram from Queen - 100th Birthday of Miss Annie Lansell, Barkly Place, Bendigoperson, individual, lansell family -
Bendigo Military Museum
Book - BOOK, SOLDIERS PAY WW1, 16.7.1915
... Barkly Place Bendigo".... 64 Barkly Place Bendigo". Ref Reg No's 2057P & 2058.3P. pay ...Ref Reg No's 2057P & 2058.3P.Army Book No 64. Soldiers Pay Book for use on Active Service. Relating to George Ross FREEMAN No 2485, 57th Battalion AIF. Contains details of pay & transactions.Written in green ink: "Next of Kin - Father G V Freeman 64 Barkly Place Bendigo".pay, military history, book -
Bendigo Historical Society Inc.
Photograph - T C WATTS & SON COLLECTION: BARKLEY PLACE BENDIGO, 1928
... . Barkly Place, Bendigo. Written on back of photoboard..., on hill. Barkly Place, Bendigo. Written on back of photoboard ...Black and white photograph mounted on rectangular grey board. House, brick and render, corrugated iron roof, large portico at front, wooden slat fence, lattice fernery LHS, 2 chimneys, adult male in front garden. House elevated, on hill. Barkly Place, Bendigo. Written on back of photoboard ' A. Cattram, Barkly Place, £1650'Frank A. Jeffree. Photo. Bendigoplace, building, residential, stamped on back in rectangle. ''t.c. watts and son/auctioneer/estate agents/253 mitchell street/bendigo'' stamped on back in circle ''royal historical society of victoria, bendigo branch'' stamped on back ''25 aug 1928'' -
Bendigo Military Museum
Photograph - PHOTOGRAPHS WW1, 1) & .2) J E Barnes, Press Outdoor Photographer, enlarged post 1918
... : "Demosthenes 16.7.1915" .3) "G R FREEMAN Barkly Place Bendigo"... Barkly Place Bendigo" .1) & .2) Troops onboard included 7th ....1) & .2) Troops onboard included 7th Reinforcement to the 5th Battalion AIF. Re G R FREEMAN No 2485 & A MACKAY No 2486. Refer Reg No's 2057P & 2058.3P..1) Photo, original, black & white showing a group of soldiers onboard transport ship Demosthenes on 16.7.1915. .2) Photo, original, black & white showing transport ship Demosthenes with troops lined up on deck on 16.7.1915. .3) Photo, original, black & white showing soldiers in a built up trench system of sandbags. .1) On rear: "Demosthenes 16.7.1915" .2) On rear: "Demosthenes 16.7.1915" .3) "G R FREEMAN Barkly Place Bendigo"photographs, 5th bn, 57th -
Bendigo Historical Society Inc.
Document - COHN BROTHERS COLLECTION: SHARE TRANSFER CERTIFICATE 1894
... to Dalmar Cohn, Barkly Place, Bendigo dated 5th December 1894... to Dalmar Cohn, Barkly Place, Bendigo dated 5th December 1894 ...Cohn brothers Vic Brewery share transfer from Jacob Cohn to Dalmar Cohn, Barkly Place, Bendigo dated 5th December 1894. [Daughter?] Duty stamp one penny.bendigo, industry, cohn bros brewery, dalmar cohn [daughter of jacob?] -
National Wool Museum
Document
... 2 BARKLY PLACE, FOOTSCRAY / Footscray, W.11 _____193 / M... the Alva Woollen Manufacturing Company, Footscray, 1930s. 2 BARKLY ...Unused invoice / receipt from the Alva Woollen Manufacturing Company of Footscray, from the 1930s.Document (unused invoice/receipt) from the Alva Woollen Manufacturing Company, Footscray, 1930s.2 BARKLY PLACE, FOOTSCRAY / Footscray, W.11 _____193 / M ________ / ALVA WOOLLEN MANUFACTURING CO. / Makers of Fancy Woollens, Shawls, Scarves and Blanketswoollen mills, alva woollen manufacturing company -
Bendigo Historical Society Inc.
Document - KEN HESSE COLLECTION: COUNCIL OF TRAMWAYS LETTER
... Letter addressed to Ken Hesse 43 Barkly Place Bendigo... TRAMWAYS History ken hesse Letter addressed to Ken Hesse 43 Barkly ...Letter addressed to Ken Hesse 43 Barkly Place Bendigo. The letter is typewritten on Council of Tramways Museums of Australasia letterhead. The letter is from Bill Kingsley Executive Officer apologising for not being able to attend the civic reception in Ken honour.tramways, history, ken hesse -
Bendigo Historical Society Inc.
Postcard - COHN BROTHERS COLLECTION: 1894 POSTAL LETTER CARD
... note with illegible signature from Barkly Place Bendigo address..... Reverse handwritten note with illegible signature from Barkly ...Postal Letter card cancelled by Kangarro Flat Post Office Duplex handstamp dated June 26th 1894 addressed to Hastings esquire Cohns Brewery Collins St Melbourne. Reverse handwritten note with illegible signature from Barkly Place Bendigo address.bendigo, industry, cohn bros brewery -
Bendigo Historical Society Inc.
Book - H.A. & S.R. WILKINSON COLLECTION: ADVERTISMENT BOOK
... " and "Vahlands" , two historic Bendigo homes situated in Barkly Place... historic Bendigo homes situated in Barkly Place, that were due ...Advertisement book from 01/10/1983 to 10/11/1984. The book has 159 pages. This book contains photos of "Lansellstow" and "Vahlands" , two historic Bendigo homes situated in Barkly Place, that were due to auctioned on Wednesday, March 14, 1984.organization, business, h.a. & s.r wilkinson real estate, yellow label 594. -
Bendigo Military Museum
Journal - JOURNALS WW1, 1914 - 1918
... .1) "G R Freeman 64 Barkly Place Bendigo" .2) "Army Book... 1 Nov 1918 ending 10 Dec 1918. .1) "G R Freeman 64 Barkly ...The journals were written by George Ross FREEMAN No 2485 - 57th Battalion AIF. .1) This journal was written from the notes in .2) & .3). .2) & .3) Were notes taken during the war. Refer Cat No's 2057P, 2058.3P..1) Black fabric covered exercise book, ruled, written in ink, beginning Aug 1914, ending Mar 1919. .2) Brown cardboard covered blue lined grid squares written in pencil beginning Jan 1918, ending Dec 1918. .3) Light green cardboard cover, ruled pages, written in pencil beginning 1 Nov 1918 ending 10 Dec 1918..1) "G R Freeman 64 Barkly Place Bendigo" .2) "Army Book 152, Correspondence Book (Field Service)" .3) "November 10th, G R Freeman , London etc Nov - Dec 1918"journals, 57th -
Bendigo Historical Society Inc.
Document - ELMA WINSLADE WELLS COLLECTION; ENVELOPE ADDRESSED TO MISS ELMA WELLS
... An envelope addressed to Miss Elma Wells, 51 Barkly Place... DOCUMENT An envelope addressed to Miss Elma Wells, 51 Barkly Place ...An envelope addressed to Miss Elma Wells, 51 Barkly Place, Bendigo, Victoria, Australia from the Fleetway House, Farringdon St. London E.C. 4. There is a two pence red king George V stamp with a cancelled mark London EC Nov. 2 1921, 6.15pm. The envelope contains letter catalogue number 1388.51.Bdocument -
Bendigo Historical Society Inc.
Book - BARTLET BROTHERS OF BENDIGO, 2009
... , The Photographic Studio in Williamson St and the Residence at Barkly Place... St and the Residence at Barkly Place. Illustrated with B&W ...16 page soft cover booklet 'Bartlett Brothers of Bendigo' This booklet commemorates the Bartlet Family Reunion at Bendigp in January 2009 Contents include The Bartlet Bros in Australia, The Photographic Studio in Williamson St and the Residence at Barkly Place. Illustrated with B&W photos. Includes a lift out copy of the program of events for the reunion. (Rev 3) and list of attendees.Peter Bartlet (Port Macquarie) -
Bendigo Historical Society Inc.
Document - H.A. & S.R. WILKINSON COLLECTION: BENDIGO ADVERTISER INVOICE
... account Barkly Place'' for a total of 5 pounds 15 shillings 0... Barkly Place'' for a total of 5 pounds 15 shillings 0 penny ...The Bendigo Advertiser Newspapers invoice to H.A. & S.R. Wilkinson dated 23/06/1955. The invoice has four entries ''sale account Barkly Place'' for a total of 5 pounds 15 shillings 0 penny. A receipt n. 9119 dated 14/07/1955 is stapled to the invoice recording the cash payment. A 2 penny stamp duty is attached to the receipt. The receipt is in a manilla folder.organization, business, h.a. & s.r wilkinson real estate, yellow label 595. -
Bendigo Historical Society Inc.
Document - H.A. & S.R. WILKINSON COLLECTION: CONDITION OF SALE
... in certificate of title volume 6403, folio 473 situate at No. 158 Barkly... 6403, folio 473 situate at No. 158 Barkly Place, Bendigo ...Contract of sale of land dated 10th August, 1953 between Mr. N.V. Wodetzki (seller) and Mr. D. & Mrs. E.M. Phillips for land being part of Crown allotment 7 section 31C described in certificate of title volume 6403, folio 473 situate at No. 158 Barkly Place, Bendigo, together with all registered appurtenant easements. Brick dwelling and all sundry. Price 1,950 pounds.organization, business, h.a. & s.r wilkinson real estate -
Bendigo Historical Society Inc.
Document - H. A. & S. R. WILKINSON COLLECTION: CONTRACT OF SALE
... and situate 49 Barkly Place, Bendigo, together with 6 room... 49 Barkly Place, Bendigo, together with 6 room weatherboard ...Contract of sale dated 1st April, 1955 between Mr. C. S. Trewhella (vendor) and Mrs. D. L. Putman (purchaser). Property: allotment 5 section 54C Parish of Sandhurst city of Bendigo being land described in certificate of title volume 3239 folio 714 and situate 49 Barkly Place, Bendigo, together with 6 room weatherboard dwelling and all sundry, also all blinds, electric light fittings and shades with the exception of the one in the hall, all floor coverings with the exception of the carpet and material under the carpet and the carpet in the hall. Price: 3,900 pounds. -
Halls Gap & Grampians Historical Society
Photograph - B/W, C 1900s
... The photo shows wattle-bark stripping, taking place.... The photo shows wattle-bark stripping, taking place at Roses Gap ...The photo shows wattle-bark stripping, taking place at Roses Gap (western end). The identity of the men is unknown.The photo shows three men in a cleared area of bush, one is standing holding a bundle of wattle bark, another is behind and to the left of him also holding bark and a third is standing to the right and is scrapping bark from a tree above his head with a long stick . There is a hut in the background, the right side of which is just a frame. timber industries, wattlebark stripping, scenery, roses gap -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, 1900 c
... of vertical sheets of bark held in place by horizontal battons... of vertical sheets of bark held in place by horizontal battons ...Second identical copy 04618.1Black and white photograph of a bark hut showing walls of vertical sheets of bark held in place by horizontal battons. On the roof overlapping sheets of bark are held in place by a horizontal log attached to the saddle pole on the roof ridge by vertical timbers. Nails were not used wooden pegs or greenhide strips kept the frame stable. This building believed to be in the Lake Tyers area Victoriahouses, land settlement -
Bendigo Historical Society Inc.
Document - H. A. & S. R. WILKINSON COLLECTION: CONTRACT OF SALE
... (purchaser). Property: land situate No. 70 Barkly Place, Bendigo... situate No. 70 Barkly Place, Bendigo at present occupied by Mr. C ...Conditions of sale by private contract dated 9 July, 1946 between Mr. J. W. W. + Mr. H. S. P. + Ms. A. A. Challenger executors of estate of E. Challenger (vendor) and Mr. A. R. Thomson (purchaser). Property: land situate No. 70 Barkly Place, Bendigo at present occupied by Mr. C. Thomson as tenant, being part of Crown allotment 4 section 33C Parish of Sandhurst City of Bendigo, land described in certificate of title volume 4751 folio 950016 - Secondly land being part of Crown allotment 14 section 33C described in certificate of title 3547 folio 709284, together with 6 roomed brick and weatherboard dwelling, all sundry outbuildings except those belonging to the tenant. Subject to existing weekly tenancy. Price: 840 pounds.organization, business, h.a. & s.r wilkinson real estate -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
photograph, 1910 c
... Bark roof held in place by log framework attached to ridge... Entrance gippsland Bark roof held in place by log framework ...Bark roof held in place by log framework attached to ridge pole. Mended in one place by two sheets of corrugated ironBlack and white photograph showing five cows and four men engaged in activities at a bark roofed milking shed. One man appears to be either an inspector or a vet. Location believed to be Gippsland Victoriaaccommodation, historic buildings -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, 1915 c
... Shed behind workers in clad and roofed with bark sheets... Entrance gippsland Shed behind workers in clad and roofed with bark ...Shed behind workers in clad and roofed with bark sheets held in place with horizontal timbers. The contractor with steam engine travelled around the district as requested by land ownersBlack and white photograph of fire workers baling hay using small steam engine to power the baler on a farm in East Gippslandagriculture -
Halls Gap & Grampians Historical Society
Photograph - B/W, C 1902
... of bark, held in place by saplings. One of the men is sitting... of bark, held in place by saplings. One of the men is sitting ...The dwelling is said to be the store at the Stoney Creek diggings, with some members of the Langley family. From left Alice Maria Langley, Lucy, ?, ?, Charles Langley (old man) & three friends.Photo shows three women and three men standing and sitting outside a slab hut. The roof of the hut appears to be constructed of bark, held in place by saplings. One of the men is sitting against the side of the hut and is holding a dog. Another man is crouched over a gold pan while an onlooker appears happy with the contents of the pan."Store at Stoney Creek diggings ?1902. Alice Maria Langley, Lucy ? ? Charles Langley (old man) & three friends." written on back in blue pen.people, langley, mining, gold mining -
Shepparton RSL Sub Branch
Light Horse Tent Pegging number 5 ??, c.ww1
Any further information great fully accepted Wooden shaft bark covered with lead base held in place with small brass tacks figure 5 cut out of leatherFigure 5light horse, tent pegging -
Shepparton RSL Sub Branch
Light Horse Tent Pegging number 1 ??
wooden bark covered tent pegging marker with lead base held in place with small brass tacks and figure 1Figure 1 -
Federation University Historical Collection
Photograph - Black and White, Ballarat Synagogue, 1861
The Ballarat Synagogue was built in 1861 and regarded as a highly orthodox synagogue in its early years. It is one of the few surviving nineteenth century synagogues in Victoria and is one of the oldest still operating on the mainland of Australia. (http://www.dpcd.vic.gov.au/__data/assets/pdf_file/0007/36862/ballarat_synagogue.pdf)Black and white photograph of a brick building in Barkly Street, Ballarat East. The building is known as the Ballarat Synagogue. It is a place or worship for the Ballarat Hebrew Congregation.ballarat, synagogue, religion, hebrew, jewish, 1861 -
Seaworks Maritime Museum
Williams Trimometer, Henry Browne & Son, London
Rectangular open box with doweled edges. Measuring instruments are visible inside, as well as a pendulum that still moves. Two metal knobs located on the outside of the box. ‘The/WILLIAMS TRIMOMETER/ No 57/MANUFACTURED BY HENRY BROWNE & SON LTD/BARKING & LONDON’ -
Federation University Art Collection
Painting - Natural pigment on bark, Mawurndjul, John, 'Female Wayarra Spirit' by John Mawurndjul, 1995
Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. 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.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2008
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