Bib, notes, p.561.non-fictionAn anthology of modern Irish fiction, edited and introduced by Dermot Bolger.irish fiction, ireland - social life and customs - fiction

Hardcoveraustralian history, indigenous tasmania, colonialism, contemporary fiction, walsh st library

Women's magazines developed rapidly through the 1800's reflecting marketing and social changes. Publications evolved from being journals aimed at the middle class to cheaper, chattier more domestic magazines more widely available. Alice Letitia Swan was the daughter of Edward Swan (tinsmith and plumber at Orbost) and Emma Dinah Jefferson. Alice married Herman Oswald (Ossie) Wehner (blacksmith, Orbost) on 4-4-1923. She was born in 1899 in Omeo and died 14-6-1979, aged 80 in Orbost.(info. from John Phillips)These are early 20th century examples of English women's magazines. They give practical advice on needlework and they evidence the widespread interest in contemporary fashion. In doing so they show what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests in fiction at that time.Two magazines, titled The Lady's Companion. 2424.1 was printed on 21.1.1911 and cost one penny. 2424.2 is dated 25.11.1916 and is titled Leach's Lady's Companion and has a pink cover. Both contain illustrations of the current fashions, interesting facts and selected fiction. 2424.2 : on back in red pen - Miss Alice Swan Nicholson St Orbostwomen's-magazines lady's-companion swan-alice

Angus McMillan named the Avon River after the river of the same name in his native Scotland. In 1840 he established a pastoral run at Bushy Park, north-west of the township. William Odell Raymond established a run in the area in 1842, and built his house, Strathfieldsaye, during 1848–54. European settlement did not take place without resistance, and in return, massacres were inflicted by Angus McMillan and others on Gunai people, especially between the years of 1840 and 1850. (wikipedia) The first application for the 'Bushy Park' run appears in the “Port Phillip Gazette” on 13 August 1843. It was taken up by Angus McMillan, who also took up the 'Boisdale' run for his employer Lachlan Macalister at the same time. In March 1844 a Licence to occupy the 16,000 acre 'Bushy Park' was granted to McMillan. In the late 1840s Andrew Martin and Matt McCraw built Angus McMillan's Bushy Park homestead. Aboriginal killings in Gippsland area most often were never formally recorded, but lived on in folklore, mainly in place names pinpointing what some historians now refer to as "massacres", and others as "conflicts". There is Boney Point, on Lake Wellington, Butchers Creek, near Metung, Slaughterhouse Gully, at Buchan, Skull Creek, at Lindenow, and, notoriously, Warrigal Creek, at Woodside. "Here, according to a couple of contemporary - though not eyewitness - reports, between 50 and 150 blacks were killed in an orgy of revenge after the murder and mutilation of a leading Scots settler, Ronald Macalister. If anybody had any doubts about the fitness of commemorating McMillan's name, no one voiced them then. Gippsland was, and still is, dotted with stone cairns tracing his route from Omeo, down the Tambo Valley to the fertile plains where he was to make (and lose) his fortune. And where, according to a growing body of opinion, he was to lead the "Highland Brigade", a band of armed settlers, against the Kurnai. History is fiction agreed on, and it is written by the winners. For most of the past 150 years, McMillan has been hailed as a trail-blazing pioneer. The legend began to crumble 20 years ago with publication of new histories, which at first outraged Gippsland historical societies and old residents, but which have gradually changed the way McMillan is viewed. ... Still, not all McMillan's contemporaries agreed with the "Highland Brigade" and its methods. Henry Meyrick, an English-born squatter, wrote to relatives in disgust about his neighbours. He estimated that 450 had been killed, and wrote: "Men, women and children are shot down whenever they can be met with. Some excuse might be found for shooting the men by those who are daily getting their cattle speared, but what they can urge in their excuse who shoot the women and children I cannot conceive." (http://www.theage.com.au/articles/2002/04/26/1019441303552.html, accessed 20 September 2016.) The Gippsland electorate is called 'McMillan' in his honour. Black and white image of a man wearing a coat and beret. He is Scottish born Victorian Squatter Angus McMillan of Bushy Park, Gippsland.angus mcmillan, squatter, aboriginal massacre, bushy park, gunai, avon river, pioneer

Angus McMillan was born in 1810 at Glenbrittle in the Isle of Skye. He was one of fourteens sons of Ewan McMillan. Angus McMillan arried i New South Wales in January 1839, and became an overseer for Captai nLachlan Macalister. I n 1839 Angus McMillan travelled south. He settled for a time on Jame MacFarlane's statin at Currawong. IOn 28 May 1839 Angus MacMillan stated travelling southward toward the coast. Angus Macmillan named the Avon River after the river of the same name in his native Scotland. In 1840 he established a pastoral run at Bushy Park, near Maffra. William Odell Raymond established a run in the area in 1842, and built his house, Strathfieldsaye, during 1848–54. European settlement did not take place without resistance, and in return, massacres were inflicted by Angus McMillan and others on Gunai people, especially between the years of 1840 and 1850. (wikipedia) The first application for the 'Bushy Park' run appears in the “Port Phillip Gazette” on 13 August 1843. It was taken up by Angus McMillan, who also took up the 'Boisdale' run for his employer Lachlan Macalister at the same time. In March 1844 a Licence to occupy the 16,000 acre 'Bushy Park' was granted to McMillan. In the late 1840s Andrew Martin and Matt McCraw built Angus McMillan's Bushy Park homestead. Aboriginal killings in Gippsland area most often were never formally recorded, but lived on in folklore, mainly in place names pinpointing what some historians now refer to as "massacres", and others as "conflicts". There is Boney Point, on Lake Wellington, Butchers Creek, near Metung, Slaughterhouse Gully, at Buchan, Skull Creek, at Lindenow, and, notoriously, Warrigal Creek, at Woodside. "Here, according to a couple of contemporary - though not eyewitness - reports, between 50 and 150 blacks were killed in an orgy of revenge after the murder and mutilation of a leading Scots settler, Ronald Macalister. If anybody had any doubts about the fitness of commemorating McMillan's name, no one voiced them then. Gippsland was, and still is, dotted with stone cairns tracing his route from Omeo, down the Tambo Valley to the fertile plains where he was to make (and lose) his fortune. And where, according to a growing body of opinion, he was to lead the "Highland Brigade", a band of armed settlers, against the Kurnai. History is fiction agreed on, and it is written by the winners. For most of the past 150 years, McMillan has been hailed as a trail-blazing pioneer. The legend began to crumble 20 years ago with publication of new histories, which at first outraged Gippsland historical societies and old residents, but which have gradually changed the way McMillan is viewed. ... Still, not all McMillan's contemporaries agreed with the "Highland Brigade" and its methods. Henry Meyrick, an English-born squatter, wrote to relatives in disgust about his neighbours. He estimated that 450 had been killed, and wrote: "Men, women and children are shot down whenever they can be met with. Some excuse might be found for shooting the men by those who are daily getting their cattle speared, but what they can urge in their excuse who shoot the women and children I cannot conceive." (http://www.theage.com.au/articles/2002/04/26/1019441303552.html, accessed 20 September 2016.) The Gippsland electorate is called 'McMillan' in his honour. Photographs of the remains of a timber home used by squatter Angus McMillan at his "Bushy Park" property on the Avon River. angus mcmillan, bushy park, avon river, squater

Maryanne COUTTS (1960- ) Born Australia Maryanne Coutts studied at the Victorian College of the Arts (VCA), The University of Melbourne, 1979 -1981, the University of NSW (UNSW),1984 and achieved a PhD at Federation University Australia in 1999. She has exhibited extensively throughout Australia and internationally including UK, Spain and Thailand and is currently Head of Drawing at the National Art School, Sydney. Dr Maryanne Coutts was the first successful Visual Arts PhD from the Federation University Arts Academy. She won the Portia Geach Memorial Award in 2007. 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.Maryanne COUTTS (1960- ) This work by Maryanne Coutts was undertaken during her Doctorate undertaken at the University of Ballarat (a predecessor of Federation University). Here thesis. 'Using narrative strategies in contemporary figurative painting', applies an analysis of narrative, its elements, strategies and devices to figurative painting within the practical project of producing visual narrative fiction. art, artwork, maryanne coutts, coutts, thesis, phd, doctorate, oil on canvas, alumni

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation