Identity Disc originally possessed by Lieutenant Alfred Leonard Bacon from Warrnambool, Victoria. He served in the First AIF from 1915-1918 and appears to have died of complications from war wounds before 1921.

This item was donated by L/Cpl Leslie Graham Newton (1201056) who was with the Royal Australian Infantry Corps. He served in Vietnam with the 3rd Battalion, the Royal Australian Regiment from December 1967 to November 1968 and February 1971 to October 1971.Australian Army Identity Card for L/Cpl Leslie Graham Newton. On the front is a coloured passport photograph and personal information. On the reverse there are several messages relating to the card. See media for more information.l/cpl leslie graham newton, 1201056, royal australian infantry corps, 3rd battalion, the royal australian regiment, australian army identity card

The WW2 identity card was issued to Norma Madeline WATTERS who lived at 400 Williamstown Road, Port Melbourne and was employed at the Myer Emporium, Bourke Street , Melbourne.norma madeline watters, war - world war ii

WWII Australian Citizens Identity Card. Inscriptions: Geoffrey John B Miller, 284 King St, Bendigo. Date stamped 'Bendigo 1942'person, individual, basil miller

Handwritten draft for a speech, date uncertain. Considers the question of Australian identity: whether it exists, what can be done to foster it in the arts, design and culture as a whole. Boyd argues that the only route to a distinctive Australian identity is to develop and foster new ideas rather than taking cultural cues Britain or America.Handwritten, quarto, 3 pagessydney opera house, australian identity, australian culture, robin boyd, manuscript

Standard issue item as used by Australian servicemen during the conflict in Vietnam. National Serviceman Pte R M Bowd served in 3 RAR, Vietnam 1971.A small double sided card with a photo of the holder and relevant details...e.g date of birth, place of birth etc. Reverse side has information in red about use of card.australian army, id card, 3797139, vietnam, identity, bowd

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

On A4 white paper are coloured copies of various cards issued to AATTV members in 1964-65 to Ian Teague: Australian Army Identity Card, US Advisor's Identity Card, US Identity Card (USOM) (issued to Aust CIA Officers), US Advisor's Mess Card for Quang Ngai, US Government Vehicle Licence and Vietnamese Driving Licencecards, drivers licence, australian army identity card, us advisor's identity card, us identity card (usom), us advisor's mess card for quang ngai, us government vehicle licence, vietnamese driving licence, ian teague, lt col ian teague, major ian charles teague, 35803, royal australian infantry corps, aattv, australian army training team vietnam (aattv), australian army force, 1st special air service sqnuadron

See Cat 4867.2This is a khaki, cardboard cover, single sheet of cardboard, printed on both sides. Front side is like a postcard with some Govt information ad lines for name and address. Rear side - many lines of Govt instructions. Lines for holder and the signature witness to be filled out.Stamped “Bendigo PO - 1942” Front side has written - “married on 1 Jan 1943 at Bendigo to Robert Charles Letts. Emma Olsson, 34 Calum St. Bendigo NR V4 F18 22248” Rear side - “Witness E L Hood, 34 Calum St, Bendigo, E Olsson Signature, 179 Mitchell Street. With lots Officer NRS”identity card, ww2

This is a review of Robin Boyd's book 'The Great, Great Australian Dream'.Article on page 48great, great australian dream, blowfly, blowey, australian identity, walsh st library

Boyd comments on Australian life and culture in the first half of the twentieth century up until 1959. He reflects on changes - is it progress? - from the pastoral to the industrial, briefly on housing and construction, and emphasises US influences in design (especially cars) and politics, and the lingering, conservative influence of the UK. Robin Boyd wrote this article anonymously. He was a member of the 'Round Table', a English based group on imperial and commonwealth matters.Original manuscript of an article published in The Round Table, "The Commonwealth Journal of International Affairs", Vol 50, Issue 159, pp 26-31, 1959.Typewritten, quarto, 6 pagesAnnotations and corrections in pencilaustralian identity, taste, automobile design, they're a weird mob, nino culotta, 1959 australia, cyril pearl, on the beach, so you want to be an australian, sidney nolan, john ely burchard, robin boyd, manuscript

In Wealth for Toil #2, Raquel Ormella continues her ongoing exploration of Australian identity and our relationship to winning and money. It is one in a series of banners which explores gold as both a precious metal and as a metaphor. The artwork’s title references the Australian National Anthem. Raquel critiques some of the less desirable aspects of Australian patriotism – specifically the national public outcry when the Australian swimming team did not come back with gold at the 2012 London Olympics, despite thousands of dollars being poured into the Australian Institute of Sport. Australian currency incorporated into the workaustralian identity

Boyd argues that Australia needs confidence in creative thinking so our products can cut through established formulas to contribute to our growth as a nation. He outlines four stages of architectural development in every community, and describes Canada in these terms. He posits that Australia overall is only at stage two (imported sophisticated), Brisbane/Hobart/Adelaide at stage one. Boyd argues the Australian dream of individual identity is impossible now, to move to stage 3 Australia needs to be encouraged to have confidence in Australian artists of all kinds, allowing creative people to flourish, be themselves. He indicates that Canberra is close to third stage, with architecture designed by international figures in 1960s but now Australian John Andrews brought out to do an architecturally creative office complex in Belconnen - Canberra, signalling growth of a national identity.Typewritten (c copy), pencil edits and additions, quarto, 7 pages - p12-18confidence in creative thinking, australian national identity, four stages in architectural development, canberra architecture, john andrews, robin boyd, manuscript

W F R.BUDGE VX48105, refer Cat No 2721 for his service details.Set of 2 Australian Identity discs, held together by tape, cotton. .1) Metal ID disc, round shape. .2) Metal ID disc, octagonal shape..1) & .2) Engraved front: VX48105 - BUDGE WFR, C-E. Rear side: 0-4. identity, discs, passchendaele barracks trust

Three small pamphlets: 1) The Presbyterian Church in Bendigo our Scottish roots, our Australian Identity. 2) The Presbyterian Church, its roots in Scotland and Europe. 3) Presbyterian Churches in Bendigo and beyond.church, history, presbyterian

Burrundy (Dark) Sky Part 2 (Mali Marrng/Mallee Sky series) 2022 by Gail Harradine and collaborator Belinda Eckermann explores First Nations Peoples kinship to the land, waterways and sky. This work is part of a significant series that gives form to the invisible and unseen personal, familial and community narrative of connection to landscape. Gail Harradine and Belinda Eckermann’s first-time collaboration merges digital photography, entomological research, electron microscopic imaging and First Nations cultural practices, to explore a shared knowledge and connection to the landscape around Lake Albacutya –Ngalukgutya in Victoria Mallee region. The work fits into the Wyndham Art Gallery curatorial collection theme of First Nations Foregrounding and Futurism: Foregrounding Frist Nations knowing and being as a way to work with place, story and connection; and works to engage with new mediums and forms of artmaking engaging with new technologies and innovation in creative making. Gail Harradine Gail Harradine is a Wotjobaluk, Jadawadjali, Djubagalk artist, curator, and educator. Growing up in Dimboola, Victoria, Gail was nurtured by a staunch family in the heart of Wotjobaluk Country. She has completed eight years of study, including a Postgraduate in Art Curatorial Studies (with Thesis) at Melbourne University and a Master of Arts (Arts Management) with Distinction in 2022 at RMIT. Gail's longstanding arts practice is deeply influenced by family history, identity, kinship, and connection. She is passionate about expanding and reflecting on the concepts of truth and integrity in valuing cultural knowledge. In her work, meaning and memory converge through photography, prints, and painting, using symbolic layers intertwined with dynamic figures and ceremonial landscapes. This creates a world that merges Creation Stories with personal tragedy and triumph. Belinda Eckermann Belinda Eckermann lives and works in Victoria’s Wimmera/Mallee Region. Her current practice is intrinsically tied to her local environment. In 2013, she undertook her Masters in Visual Arts. She currently investigating the native Bardi Grub and Rain Moth and modes of incorporating their natural interventions with their environment into her creative practice. Eckermann has exhibited regularly throughout regional Victoria since 2009 and recently won Best Emerging Artist at the Knox Immerse Festival. She is also the Founder and Director of Turbo Gallery, Rainbow, Victoria. australian first nations art, first nations photography, cultural story, identity, australian photography, first nations

Australian Military Forces Identity Card. Plastic covered.Orange coloured. Photograph of Quentin Leslie Sell.3787247 Sell, Quentin Leslie 22 August 1966 No. 38795identity card, 161 reconnaissance flight, tpr quentin leslie sell, 3787247, royal australian armoured corps, 161 (indep) recce flt

“Maybe here” is a constant thought running through the back of my mind that something might happen where I’m standing. Tension builds at the slightest sound or suggestion of movement. How much of this fear is self-perpetuated and how much of it is warranted. How different would my experience be if I was someone else.This series is a departure from Janelle’s conceptual interests around Australian identity and multiculturalism. Using the project as a vehicle to confront and challenge her own personal concerns as well as a means to represent a more universal female experience.

“Maybe here” is a constant thought running through the back of my mind that something might happen where I’m standing. Tension builds at the slightest sound or suggestion of movement. How much of this fear is self-perpetuated and how much of it is warranted. How different would my experience be if I was someone else.This series is a departure from Janelle’s conceptual interests around Australian identity and multiculturalism. Using the project as a vehicle to confront and challenge her own personal concerns as well as a means to represent a more universal female experience.

“Maybe here” is a constant thought running through the back of my mind that something might happen where I’m standing. Tension builds at the slightest sound or suggestion of movement. How much of this fear is self-perpetuated and how much of it is warranted. How different would my experience be if I was someone else.This series is a departure from Janelle Low’s conceptual interests around Australian identity and multiculturalism. Using the project as a vehicle to confront and challenge her own personal concerns as well as a means to represent a more universal female experience.Donated by the artist

The slouch hat is an object strongly associated with Australian identity and was introduced into the Australian military in the second half of the 19th. This hat was used by a member of the Royal Australian Army Medical Corps. An inside inscription (most likely referring to the owner) reads 'Griffin 49443'.The slouch hat is historically significant in the wider context of Australian army and more particularly in Australia's military involvement in the Gulf War. It also has social significance as a strong symbol of the 'Australian fighting man' and more generally for its link with Australian identity. Khaki Australian army slouch hat with left brim pinned to the side; pale green band around circumference of hat; two golden metallic badges (one in front and one on left side); four metallic rivets on top. Leather band inside and brown leather strap attached with six metallic staples. The left side badge displays a crown with the word 'Australia' under it (also known as the Commonwealth 'rising sun' pattern). The front badge displays a crown on top, a snake in the middle and the inscription 'Royal Australian Army Medical Corps'. At the bottom, another inscription reads 'Paulatim'. Inside the leather strap, a handwritten black ink inscription reads 'Griffin 49443'. Hat made by Latiners in 1986, size 55cm. army, hat, slouch hat, australian army, medical corps

Robin Boyd was involved in creating several television programmes, as author and presenter. 'Design in Australia' was an eight part series for the ABC television series 'University of the Air'. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 1, Boyd discusses the general framework of the series in which the relationship between an Australian identity and a homogenising cultural force reinforced by technology and mass production is explored. Boyd questions the wholesale acceptance of imported ideas and goods, and instead advocates a critical examination of the Australian design culture, a search of an originality that does not fall into the myths of bush values.This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D191 is the revised version.Typewritten (c copy), foolscap, 12 pagesuniversity of the air, design in australia, robin boyd, australian design, nationality, national style, manuscript

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In part 1, Boyd discusses the general framework of the series in which the relationship between an Australian identity and a homogenising cultural force, reinforced by technology and mass production, is explored. Boyd questions the wholesale acceptance of imported ideas and goods, and instead advocates a critical examination of the Australian design culture, a search of an originality that does not fall into the myths of bush values. (Same content as item D184, differing Video cues of LHS of page.)This is a script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D184 is the draft version.Typewritten (c copy), foolscap, 9 pagesuniversity of the air, design in australia, robin boyd, australian design, nationality, national style, manuscript, ohm2022, ohm2022_30

The bicentenary of Australia was celebrated in 1988. It marked 200 years since the arrival of the First Fleet of British convict ships at Sydney in 1788. The event triggered debate on Australian national identity, Aboriginal rights, historical interpretation and multiculturalism. The calendar was one of many types of souvenirs created to celebrate the occasion.The bicentenary of Australia was celebrated in 1988. It marked 200 years since the arrival of the First Fleet of British convict ships at Sydney in 1788. The calendar was one of many types of souvenirs created to celebrate the occasion.1988 200 YEAR CALENDAR. It has a cream and red cover with a large photo of an old painting of a coach and bushranger. Inside are photos of events and paintings.1988 200 YEAR CALENDARcalendar bicentenary 1988

Published Leura, NSW : Second Back Row Press, 1985 150 p. : ill., plan. ix, 150 pages : illustrations ; 24 cm. First published: Canterbury, Vic. : Mullaya Publications, 1975. ISBN 0909325642 Summary Development of the Australian environmental building, using conservation principles including mud brick, timber and iron buildings, by Alistair Knox. Contents: The idea The first building The conflict The earth building movement Murphys Creek Homestead Post-war architecture and natural building Pseudo affluence Crises and correctives Landscape and landscape building Country houses The Australian identity Timber buildings'Corrugated iron Alternative lifestyle Fathers and sons Postscript Appendices: Planning for mud brick Soil types for mud brick Includes photographsPaperback; 150 p. : ill., plan. ix, 150 pages : illustrations ; 24 cm.houses, buildings, mudbrick, mud brick construction, alistair knox