Showing 216 items matching aboriginal art
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Bunjil Park Aboriginal Education & Cultural Centre
grinding stone, Double sided grinding stone with multiple hollows
... aboriginal food and art... aboriginal food and art ...Grindstones like this were not carried but hidden in special places with subtle indicators known only to the same tribe or nation. The small and deep nature of the pits suggests this rock may have been used for ochre with the smaller pits being used for water or fat to mix with the pigments. The very hard and dense nature of the rock means materials would not be contaminated during the grinding process.This rock is likely to be very old and is potentially significant from ceremonial perspective. Stones like this have been known to be passed on through multiple generations and been in use for hundreds and possibly thousands of years.This grindstone has hollows on both sides. One large hollow on one side measures approximately 7 cm across and 2 cm deep. The opposite side is distinguished by 3 pits, one large (5 cm wide by 3 cm deep) and two small indentations 2cm by 1cm. The hollows have been chipped and smoothed. The base rock is in the shape of a flattened and slightly elongated sphere, it appears to have been water worn.The side with three pits also bears recent scratches believed to be cut by a disk plough. It also appears to have a capital "W" inscribed in the largest pit.jaara, hidden, grindstone, ochre, quartzite, multiple hollows, pits, aboriginal food and art -
Koorie Heritage Trust
Booklet, Albert, Trish, Stories through art, 2009
... Aboriginal Australian -- 21st century. | Art... -- 21st century. | Art Aboriginal Australian -- 21st century ...11 Indigenous artists discuss their work and motivation.32 P; plates; photographs; ill.11 Indigenous artists discuss their work and motivation.artists, aboriginal australian -- 21st century. | art, aboriginal australian -- 21st century. | australian -
Koorie Heritage Trust
Book, Abdulla, Ian W, Tucker, 1994
... literature. | Aboriginal Australians in art -- Juvenile literature ...Ian's narrative paintings recall the stories of his youth with refreshing simplicity, while their rich textures and brilliant colours evoke a deep love for a time and a place that are never very far from his imagination.He has mounted seven solo shows and fifteen joint exhibitions and represented in many galleries throughout Australia, including the National Gallery.38 unnumbered pages colour illustrations, map ; 26 x 31 cm.Ian's narrative paintings recall the stories of his youth with refreshing simplicity, while their rich textures and brilliant colours evoke a deep love for a time and a place that are never very far from his imagination.He has mounted seven solo shows and fifteen joint exhibitions and represented in many galleries throughout Australia, including the National Gallery.abdulla, ian w., 1947-2011 -- childhood and youth. | aboriginal australians -- murray river region (n.s.w.-s.a.) -- food -- juvenile literature. | aboriginal australians -- south australia -- food -- juvenile literature. | aboriginal australians, in art -- juvenile literature. | painting, australian -- south australia -- aboriginal artists -- juvenile literature. | wild foods -- murray river region (n.s.w.-s.a.) -- juvenile literature. | wild foods -- south australia -- juvenile literature. -
Koorie Heritage Trust
Book, Abdulla, Ian W, As I grew older : the life and times of a Nunga growing up along the River Murray, 1993
... in art -- Juvenile literature. | Painting Aboriginal Australian ...As I Grew Older affirms the culture of rural Aborigines who, despite being dispossessed, have been determined to stay onb their own land. The painting of Ian Abdulla offer us a window on to the life of an Aboriginal Family on the Murray River in the mid-twentieth century.40 unnumbered pages : colour illustrations, 1 colour map ; 26 x 31 cm.As I Grew Older affirms the culture of rural Aborigines who, despite being dispossessed, have been determined to stay onb their own land. The painting of Ian Abdulla offer us a window on to the life of an Aboriginal Family on the Murray River in the mid-twentieth century.abdulla, ian w., 1947-2011. | aboriginal australians -- murray river region (n.s.w.-s.a.) -- biography. | aboriginal australians -- south australia -- juvenile literature. | aboriginal australians, in art -- juvenile literature. | painting, aboriginal australian -- south australia -- juvenile literature. | murray river region (n.s.w.-s.a.) -- biography. | australian -
Koorie Heritage Trust
Book, Sabbioni, Jennifer, Indigenous Australian voices : a reader, 1998
... -- Literary collections. | Aboriginal Australians in art ...An impressive collection of the poetry, artwork, and prose of thirty-six contemporary Aboriginal and Torres Strait Islander writers and artists. . . . The world views and the expression of the contributors are compelling. . . . It is an exploration of Ôthe dreamingÕ that organizes the text, in the sense that individual and kinship relationships to the origin stories of ÔdreamtimeÕ inform both a resistance to the genocidal heritage of Australian colonization as well as a unique focus for indigenous identity.xxxi, 310 p. : ill., map ; 24 cm. An impressive collection of the poetry, artwork, and prose of thirty-six contemporary Aboriginal and Torres Strait Islander writers and artists. . . . The world views and the expression of the contributors are compelling. . . . It is an exploration of Ôthe dreamingÕ that organizes the text, in the sense that individual and kinship relationships to the origin stories of ÔdreamtimeÕ inform both a resistance to the genocidal heritage of Australian colonization as well as a unique focus for indigenous identity.australian literature -- aboriginal australian authors. | aboriginal australians -- literary collections. | aboriginal australians, in art. | -
Koorie Heritage Trust
Book, Robson, Merryl K, Designs in wood: Aboriginal artifacts of southeast Australia, 1987
... . Art Aboriginal Australian -- Australia Southeastern ...An exhibition catalogue to publicly introduce the local Wintercooke and Fitzpatrick Collections, as well as to display selected items from The Victorian Aboriginal Cultural Heritage Trust on loan through the Museum of Victoria.32 p. : ill. ; 19 x 21 cm.An exhibition catalogue to publicly introduce the local Wintercooke and Fitzpatrick Collections, as well as to display selected items from The Victorian Aboriginal Cultural Heritage Trust on loan through the Museum of Victoria.art, aboriginal australian -- australia, southeastern -- exhibitions. | aboriginal australians -- australia, southeastern -- implements -- exhibitions. -
Federation University Art Collection
Painting - Acrylic on Board, Stuart Harradine (Wudja Waran), 'Tandurrum Jukuprrpa' by Stuart Harradine (Wudja Waran)
... Waran Aboriginal Horsham Campus Art Collection Stuart Harradine ...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.A stretched painting on canvas with Aboriginal motifs and colouring. If you can assist with information on this artist or artwork please make contact via the 'comments' link belowart, artwork, stuart harradine, wudja waran, aboriginal, horsham campus art collection -
Federation University Art Collection
Painting - Artwork - Painting, Newton, Tim (T'Bone), 'Tribal Land - Jukurrpa' by Tim Newton, 1996
... Treasure' in 2007. art artwork tim newton t'bone aboriginal Horsham ...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. If you can assist with information on this artist or artwork please make contact via the 'comments' link belowart, artwork, tim newton, t'bone, aboriginal, horsham campus art collection, horsham available -
Federation University Art Collection
Artwork - Batik, Leoda Atkinson, [Untitled], 2003
... atkinson batik aboriginal available Koorie art and design Leoda ...Leoda ATKINSON A student in the Koorie Art and Design at the School of Mines and Industries, Ballarat, she was taught batik by Val D'Angri. Val D'Angri purchased the batik from Leoda Atkinson after teacher her the technique at the Ballarat School of Mines. In 2003 she donated to the University's At Collection. 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 batik in red, yellow and white. Gift of Val D'Angriart, artwork, leoda atkinson, batik, aboriginal, available, koorie art and design -
Orbost & District Historical Society
money, 1853 - 1910
... , coat of arms and Aboriginal art. 2366.2 and .3 are $2 notes... with the queen's head, coat of arms and Aboriginal art. 2366.2 and .3 ...These items were on display in the Slab Hut (Orbost Visitor Information Centre).These items are examples of pre-decimal Australian currency and British coins no longer in use.Three decimal notes and nine coins. There are two $2 notes and one $1 note in a plastic sleeve. The nine coins are separate in small white cardboard frames with black print descriptive labelling. 2366.1 is an Australian $1 note with the queen's head, coat of arms and Aboriginal art. 2366.2 and .3 are $2 notes with John McArthur and sheep and William Farrer with wheat. There are seven coins dating from 1853 - 1897 with the head of Queen Victoria on them. There are two coins, 1902 and 1910 with the head of Edward V11 on them.currency bank-notes-australian-decimal coin-british -
Federation University Historical Collection
Book, Freund, Peter, Victorian Indigenous Art Awards, 2013
... Australian Aboriginal Art. The awards were presented at the Art... Aboriginal Art. The awards were presented at the Art Gallery ...The Victorian Indigenous Art Awards started in 2005. The awards celebrate the quality and diversity of current art practice of aboriginal and Torres Straight Islander Victorians and showcase and raise the profile of the uniqueness of South-East Australian Aboriginal Art. The awards were presented at the Art Gallery of Ballarat for the first time in 2013. In 2013 the University of Ballarat (now Federation University Australia) sponsored The University of Ballarat Acquisitive Award for Work Reflecting Victoria's Western District.Red soft covered book of 64 pages. The book has coloured reproctions and artist's overview on the works exhibited at the Art Gallery of Ballarat as part of the Awards. Artists include Ray Thomas, Georgia MacGuire, John Duggan, Peter Waples-Crowe, Bindi Cole, Bronwyn Razem, Lucy Williams-Connelly, Jack Anselmi, Deanne Gilson, Marlene Gilsonvictorian indigenous art awards, ray thomas, georgia macguire, john duggan, peter waples-crowe, bindi cole, bronwyn razem, lucy williams-connelly, jack anselmi, deanne gilson, marlene gilson, alumni -
Federation University Art Collection
Gouache on paper, Larwill, David, 'On the Picks' by David Larwill, 2003
... art, Aboriginal art and abstracted figuration of the 1940s... by movements as diverse as tribal art, Aboriginal art and abstracted ...David Larwill was a founding member of Melbourne’s Roar Studios. His work is influenced by movements as diverse as tribal art, Aboriginal art and abstracted figuration of the 1940s and 1950s. Larwill’s paintings are characterised by their simplified forms and overall pattern. Figures and animals populate his images, painted in an almost child-like naïve manner that is technically very sophisticated. 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.art, artwork, david larwill, larwill, gouache -
Kew Historical Society Inc
Decorative object - Figurative boomerang-shaped metal dish, c.1890
... Nineteenth century household object employing an Aboriginal.... Nineteenth century household object employing an Aboriginal shape ...Nineteenth century household object employing an Aboriginal shape with art nouveau figurative designDiecast metal plate. Impressed with the figure of a naked figure with a wand in his or her hand touching the nose of a head (the moon?), causing it to sneeze. Lady lying on a bed of flowers. Three stoppers on the reverse to hold the plate above the surface.metal dish, art nouveau - australia -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Ballarat and District Aboriginal Cooperative, Koori Art Poles - Western Bed by Koori Artist Tom Clarke
... Ballarat and District Aboriginal Cooperative. Koori Art... and District Aboriginal Cooperative. Koori Art Poles - Western Bed ...Ballarat and District Aboriginal Cooperative. Koori Art Poles - Western Bed by Koori Artist Tom Clarke.john garner collection, ballarat botanical gardens, aboriginal, koori artist, tom clarke, gardens, ballarat -
Federation University Art Collection
Work on paper - Printmaking - Screenprint, Lin Onus, 'Garkman' by Lin Onus, 1991
... to the recognition of Aboriginal art in the contemporary Australian art...> Lin Onus was integral to the recognition of Aboriginal art ...Lin ONUS (1948-1996) Lin Onus was integral to the recognition of Aboriginal art in the contemporary Australian art landscape. His work expresses the dynamism of living culture; Onus was a prominent figure in renegotiating the history of colonial and Aboriginal Australian. An early influence of this dedication was his father, who was the founder of the Aboriginal Advancement League in Victoria and a maker of artefacts. As a young boy Onus was subsequently exposed to visiting Aboriginal artists and assisted his father in decorating artefacts. His painting Barmah Forest won the Aboriginal Heritage Award in 1994; Onus also received a Member of the Order of Australia “for service to the arts as a painter and sculptor and the other promotion of Aboriginal artists and their work.” (https://www.portjacksonpress.com.au/artists/lin-onus)Unframed colour screenprint with a limited edition of 60.lin onus, frogs, aboriginal, screenprint, printmaking, gippsland campus, print council australia -
City of Ballarat
Artwork, other - Public Artwork, Diana Nikkelson, Goanna Ground by Diana Nikkelson, 2006
... of the Aboriginal art and culture in the region. The artwork is in-set... and the dynamic regeneration of the Aboriginal art and culture ...This is an Aboriginal artwork that depicts a Goanna Totem. Designed by Ballarat-based, Gunditjmara artist Aunty Diana Nikkelson, the design is inspired by the artist’s totem and is a tribute to the first artists of the region, the Wadawurrung people. It acknowledges Aboriginal survival and the dynamic regeneration of the Aboriginal art and culture in the region. The artwork is in-set to the basalt paving along Police Lane by a series of etched footsteps, which evolve from human footprints to goanna prints as viewers approach the rear of the Art Gallery of Ballarat. The artwork was originally located only outdoors and half of it was brought into the Art Gallery of Ballarat in 2011, when the former Federation Plaza was enclosed to form the Art Gallery of Ballarat's McCain Annexe. The artwork was created in 2006 as part of the cultural festival of the Commonwealth Games. The artwork is of cultural and aesthetic significance to the people of BallaratSand blasted petroglyph forms into bluestone on laneway surface. The carved inlay of the Goanna Totem design into the bluestone of Police Lane (beside Art Gallery of Ballarat) continues inside the building.goanna totem ballarat, goanna totem, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara -
Victorian Aboriginal Corporation for Languages
Book, John Mathew, Eaglehawk and crow : a study of the Australian Aborigines, including an inquiry into their origin and a survey of Australian languages, 1899
... observations and theories on the origin of species of Aboriginal people... of species of Aboriginal people, traditional lifestyles, art ...Original text featuring Mathew's comprehensively detailed observations and theories on the origin of species of Aboriginal people, traditional lifestyles, art and social customs.maps, b&w illustrations, word lists, tablesjohn mathew, eaglehawk and crow, stories -
Victorian Aboriginal Corporation for Languages
Book, Hetti Perkins, Crossing country : the alchemy of Western Arnhem Land art, 2004
... the history of aboriginal art in the area, there are biographies... details the history of aboriginal art in the area ...Hetti Perkins introduces this collection of reproductions of of Western Arnhem Land bark paintings, rock art, woven fibre art and wooden sculpture that was exhibited by the Art Gallery of NSW in 2004, emphasising the cultural foundations of the Kuninjku artists, their beliefs, artistic conventions and innovations. The book includes interviews with traditional rock and bark artists (including some language), and essays describing the connection of the people to the land, their spiritual beliefs and their art. There are also reproductions of works on paper and woven forms and an essay on the role of women in producing these art forms. An essay by Professor Jon Altmann is entitled "Brokering Kuninjku Art: Artists, Institutions and the Market. A chronolgy details the history of aboriginal art in the area, there are biographies of the artists whose works were included in the exhibition, a list of the works themselves, a glossary of place names, art terms, aboriginal, linguistic and anthropological terms, and a select bibliography. The list of contributors includes, as well as the two mentioned above, Dr Murray Garde, Apolline Kohen, Steven Miller, Cara Pinchbeck and Dr Luke Taylor.Colour photographs -
Eltham District Historical Society Inc
Journal, Peter Doughtery, ArtStreams: Banyule, Darebin, Manningham, Nillumbik, Whittlesea & Yarra; Vol. 7, No. 4, Sep-Oct 2002, 2002
... Nettleton 16 Book review: Contemporary Aboriginal Art 18... Aboriginal Art 18 Susan McCulloch Poetry News and Reviews ...Vol. 7, No. 4, Sep-Oct 2002 CONTENTS Comment 2 War Heroes: the blood and the glory 3 Geoff Todd tells it all in paint John Patrick on trees and environmental survival 8 Pam Dougherty Short Story: Treading water 10 David Fettling Rivers of Life: Paintings by Kerry Kaskamanidis 13 Jill Orr: performance artist 14 John Jenkins Making Art with Liz Nettleton 16 Book review: Contemporary Aboriginal Art 18 Susan McCulloch Poetry News and Reviews 20 John Jenkins CD Reviews 22 Geoff Achison, Mirth, King Kadu On Various Bards 24 John di Mase Artin'about 27 Wining and Dining 30 Poetry by Ian McBryde 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, aboriginal reconciliation, bundoora homestead, jacqueline healy, willy wonka's ice cream gourmet food, melbourne rudolf steiner school, eltham fullife pharmacy, montsalvat, trees, landscape degeneration, urban development, david fettling, dynamic vegies, nillumbik artists' open studios, kerry kaskamanidis, jill orr, john jenkins, thompson's pharmacy, liz nettleton, st andrews hotel, hurstbridge nursery, chris pittard, mary-lou pittard, eltham wiregrass gallery, john di mase, eltham warrandyte pottery open studio, ian mcbryde, bulleen art & garden centre -
Stawell Historical Society Inc
Book - History, The People of Gariwerd, by Gib Wettenhall, 1999
... Archaeology Rock Art Sites Aboriginal Heritage and History... Archaeology Rock Art Sites Aboriginal Heritage and History Koori ...Archaeology Rock Art Sites Aboriginal Heritage and History Koori Brambuk Grampians Orange and Black in Colour with Photo of sun behind mountains, Hand Prints and figure. Aurthor Gib Wettenhall Published 2019first people -
Warrnambool and District Historical Society Inc.
Swap Card Albums (2), Mid 20th century
... aboriginal art work. They are all of high quality and many are very... Games, some matching pairs and a couple of Australian aboriginal ...The 120 cards in these two albums are very varied in content. There are many of birds and animals, some of great artwork reproductions, some of famous places and buildings, a couple of V.F.L. footballers, two from the Melbourne Olympic Games, some matching pairs and a couple of Australian aboriginal art work. They are all of high quality and many are very beautiful. Swap card collecting was a popular activity for young girls throughout the 20th century and cards were swapped with friends and sometimes sold. Usually the cards, bought from newsagents and fancy goods shops, were kept loose in a school bag or pocket and so the number of cards and the type varied from week to week. Boys also often saved cards of a particular nature – sports cards, nature cards etc though the idea of ‘swapping’ was not so prevalent among the boys. Card collecting, usually promoted by a business concern or a toy company, is still a pastime for young people today. The cards in these two albums are of considerable interest as they are of good quality and are aesthetically pleasing. They also are good examples of a popular hobby of girls in the 20th century. .1 & .2 These two albums are similar in size and design. Both have grey/pale green covers with red printing on the front cover. Both are bound with two staples and both contain 10 pages with inserts to hold three cards each side of the page. The inserts are edged with a green decoration. Both albums contain 60 coloured cards. There is evidence of silverfish damage on the front covers of both albums. hobbies of the past, history of warrnambool -
Victorian Aboriginal Corporation for Languages
Book, John Mathew, Eaglehawk and crow : a study of the Australian Aborigines, including an inquiry into their origin and a survey of Australian languages, 2005
... observations and theories on Origin of Species of Aboriginal People... of Aboriginal People, Traditional Lifestyles, Art and Social Customs ...Original text of comprehensive detail of Mathew?s observations and theories on Origin of Species of Aboriginal People, Traditional Lifestyles, Art and Social Customs. Includes maps and word lists and meanings. -
Federation University Art Collection
Artwork, other - Artwork, 'Reconciliation' by Shanaya Sheridan and Josh Muir, 2018
... , Shanaya is influenced by a traditional style of Aboriginal art..., Shanaya is influenced by a traditional style of Aboriginal art ...This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan -
Orbost & District Historical Society
emu egg
... decorating is a traditional Aboriginal art. The carving of emu eggs... decorating is a traditional Aboriginal art. The carving of emu eggs ...Emu eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and its aesthetic appeal.An emu egg which has been painted white and decorated with glued on cord/thread to make a pattern of flowers and leaves.emu-egg ornament handcraft -
Greensborough Historical Society
Poster, Victoria. Department of Natural Resources and Environment, Site identification mini poster (#1-2, 4-6, 8-10, 13-14), 2002
... Aboriginal coastal shell middens; 14 Aboriginal rock art.... Aboriginal coastal shell middens; 14 Aboriginal rock art. aborigines ...This set produced by the Victorian Department of Natural Resources and Environ met and Aboriginal Affairs Victoria. Mini poster 1: Aboriginal scarred trees; 2 Aboriginal mounds; [3 missing]; 4 Aboriginal flaked stone tools; 5 Aboriginal burials; 6 Aboriginal surface scatters; [7 missing]; 8 Aboriginal ground-edge axes; 9 Aboriginal grinding stones; 10 Aboriginal stone arrangements; [11 missing]; 12 Aboriginal axe-grinding grooves; 13 Aboriginal coastal shell middens; 14 Aboriginal rock art.11 parts of incomplete set, each two sided, text and photographsaborigines - victoria, aboriginal affairs victoria -
Orbost & District Historical Society
eggs
... is a traditional Aboriginal art. The carving of emu eggs by Indigenous..., etched or decorated. Emu decorating is a traditional Aboriginal ...These eggs could be ostrich eggs from an ostrich farm which operated just out of Marlo. It is likely that they were donated by Kate and Richard Earle who ran the enterprise. Emu and ostrich eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and aesthetic appeal.Two painted eggs on stands. 1907.1 is painted black and has white emus or ostriches painted on it. 1907.2 is painted white and has black emus or ostriches painted on it. Both stands are wooden with brass pedestals. The eggs are possibly ostrich eggs.handcraft emu-egg ornament ostrich-egg -
The Beechworth Burke Museum
Animal specimen - Wombat, Trustees of the Australian Museum, 1860-1880
... , wombats are depicted on Aboriginal rock-art that date back as far... on Aboriginal rock-art that date back as far as 4,000 years ago ...Wombats are short-legged, muscular, nocturnal marsupials that live in a wide variety of habitats throughout Australia. A common wombat can grow up to 1.2 metres in length and weigh up to 35 kilograms. The name “wombat” comes from the Darug language spoken by the Aboriginal Darug people, who originally inhabited the Sydney area. The wombat was first recorded in 1798 by explorer John Price on a visit to Bargo in New South Wales, however, wombats are depicted on Aboriginal rock-art that date back as far as 4,000 years ago. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. Medium sized stocky wombat with a broad head and two muscular forelegs and two weaker hind legs that are met with long sharp black claws. The hair is long, thick and coarse in brown/yellow shades. The head features two small black eyes that have been made from glass, two short pointed ears and a bare nose pad. On wooden mount: BMM 5901 /taxidermy mount, taxidermy, wombat, animalia, vombatidae, burke museum, beechworth, australian museum, skin, reynell eveleigh johns -
Federation University Art Collection
Work on paper - Printmaking - Silkscreen, 'Walawala Garrkman' by Lin Onus, 2001
... Onus played a pivotal role in the recognition of Aboriginal art... in the recognition of Aboriginal art as an expression of a contemporary ...Lin ONUS (1948-1996) Language: Wiradjuri / Yorta Yorta Lin Onus played a pivotal role in the recognition of Aboriginal art as an expression of a contemporary and dynamic living culture. Prior to his premature death at just 47 years of age he was a prominent, strident, yet non-confrontational agent in renegotiating the history of colonial and Aboriginal Australia. His father, Bill Onus, was the founder of the Aboriginal Advancement League in Victoria and a prominent maker of artefacts in Melbourne. As a young Koori growing up, Lin lived in a cultural environment that included exposure to visiting Aboriginal artists, including Albert Namatjira. He began his artistic life assisting his father in decorating artifacts, went on to develop skills working with metal and painting with air brush as a panel beater; and by 1974 he was painting watercolors and photo-realist landscapes. In the 1970's he completed a set of paintings on the first Aboriginal guerrilla fighter Mosquito, which holds pride of place on the walls of the Advancement League in Melbourne, to this day. Lin Onus was a largely self-taught artist. Particularly important in his development was his visits to Garmedi (Arnhem Land) starting in 1986. Jack Wunuwun, the Yolngu artist, introduced him into the Murrungun-Djinang clan and gave him permission to use some of traditional images in his paintings. His cultural education on the Aboriginal side was also provided by visits to Cummeragunja with his father, and stories told by his uncle Aaron Briggs, known as 'the old man of the forest' who gave him his Koori name - Burrinja, meaning 'star'. They would sit on the banks of the Murray River within view of the Barmah Forest, Lin's spiritual home, the subject of many of his later paintings and his final resting place. Lin's father had been of the Yorta Yorta people from the Barmah Forest country, and Lin also used images from this area in his paintings. The images in his works include haunting photorealist portrayals of the Barmah red gum forests of his father's ancestral country, and the use of rarrk cross-hatching-based based painting style that he learned (and was given permission to use when in Arnhemland). His painting Barmah Forest won Canberra's national Aboriginal Heritage Award in 1994. (http://www.cooeeart.com.au/aboriginal_artist/lin_onus/A, accessed 18 May 2015) 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 limited edition silkscreen.Signed 'Onus' lower right (posthumously by Tiriki Onus) Edition 68/80art, artwork, lin onus, onus, printmaking, screenprint, aboriginal, dreaming, frogs -
Federation University Art Collection
Ceramic, Gladys Reynell et al, Blue Bowl By Osrey, 1923
... with designs inspired by both Aboriginal art—one of the earliest to use... with designs inspired by both Aboriginal art—one of the earliest to use ...Gladys REYNELL (04/091881 - 16/11/1956) Born Glenelg, South Australia Gladys Reynell was South Australia's first studio potter and the first Australian artist to apply modernist principles to the crafts. For four years she worked from Ballarat. Osrey Pottery Ballarat operated between 1922 and 1926 by Gladys Reynell and George Osborne. The name of the pottery was an acronym formed from their surnames. Gladys Reynell, her sister Emily and brothers Rupert and Carew supported the war effort during World War One. Rupert Reynell was a neurologist who valued handicrafts in the rehabilitation of shell-shocked soldiers. He influenced Gladys and Margaret Rose (Rose) McPherson (later known as Margaret Preston) to learn pottery at the Camberwell School of Arts and Crafts, London, in 1916. Next year a friend sent Gladys some Kangaroo Island clay which excited her: 'I thought then that it could be the most delightful thing on earth to make pots in Australia from virgin clay'. In 1918 Gladys and Rose began teaching pottery to soldiers at Seale Hayne Neurological Hospital, Devon. In September 1919 Gladys Reynell came home in September due to her father's illness. She established the Reynella Pottery and became responsible for all stages of pottery production. Using a seasoned dump of buff-coloured clay from a well at nearby McLaren Vale Gladys Reynell built and fired her own kiln; threw simple, robust forms based on early European folk pottery; and decorated them with designs inspired by both Aboriginal art—one of the earliest to use this as a source. Gladys Reynell decorated her earthenware pottery with the characteristic rich 'Reynella blue' slip. On 14 August 1922 at St Mary's Church, Edwardstown, Gladys married George Samuel Osborne, an ex-serviceman and gardener at Reynella; they had no children. Between 1922 and 1926 they set up Osrey Pottery In Ballarat. Gladys produced pottery for sale at fairs with George as her assistant. She would throw her pots in the street, causing a sensation. In 1926 George contracted lead poisoning from lead in the glazes. They moved to rural Curdievale where Gladys resumed painting and making woodcuts. From 1939 Gladys and George lived in Melbourne. In World War II she worked in the army pay corps, in the Taxation Office, and as a translator of French. Gladys died of cancer on 16 November 1956; her husband scattered her ashes at Reynella. Her ceramics, the work of one of Australia's earliest studio potters, have been avidly collected since the late 1960s and are in most major art galleries. Small blue glazed ceramic bowl incised around the top with a decorative frieze. Incised on the base "(Dam Clay) Ballarat 1923, Osrey"gladys reynell, osrey pottery, blue bowl, incised bowl, australian studio pottery, ceramics, native clay -
Federation University Art Collection
Work on paper - Digital Prints, Gilson, Deanne, 'Wadawurrung Axe Heads 1-4' by Deanne Gilson, 2011
... in Aboriginal Contemporary Art & Craft 2010 Cultural Heritage Management... in Aboriginal Contemporary Art & Craft 2010 Cultural Heritage Management ...Dr Deanne GILSON (1967- ) Country: Wadawurrung Deanne Gilson is a Federation University alumni, and an award-winning multi-disciplinary artist. Her practice draws its inspiration from ‘Ancestral marks’ and design on cultural objects found in museum archives and family oral histories. Deanne’s practice seeks to interrogate the colonial legacy of settlement and the western hegemonic systems of class, race and representation in historical photographs that were imposed on her Ancestors. Her work also explores the matriarchal role through her feminist perspectives, looking at the history of marriage and the oppressive function it has played within her family. Deanne has completed the following educationala achievements. 2014 – 2015 Masters by Research (Visual Art), Deakin University Geelong 2013 Graduate Diploma in Education Secondary, Federation University 2011 Certificate IV in Aboriginal Contemporary Art & Craft 2010 Cultural Heritage Management Course, Lakes Entrance 1 Week 2007 – 2010 Graduated, Bachelor of Visual Arts with Honours, University of Ballarat 1984 Diploma of Art, School of Mines & Industries TAFE 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.This work depicts an axehead found on Wadawurrung country and is a responce to workign alongside archeologists untertaking land surveys of her ancestral lands and the visual documentaiton of artefcts.art, artwork, deanne gilson, gilson, wadawurrung, stone axe, aboriginal, alumni