Alice DENNIS This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed monoprint of a cityscape.art, artwork, alice dennis, monoprint, printmaking, alumni

Allan Charles Quinn was a member of the Merchant Navy from aged 16 as well as being a trained photographer. This photograph was taken during his travels through America whilst still being associated with the Merchant Navy.This photograph captures the New York skyline of 1949 in very clear detail. This photograph is part of a larger collection, know as the Allan Charles Quinn collection, which provides a photographic autobiography of the life of an individual seafarerBlack and white photograph of Manhattan and Hudson River showing skyscrapers in the background with other buildings and general cityscape in foreground.Blue handwritten ink on reverse of photograph "10-9-49".photographs, mission-to-seafarers, seamen, hudson-river, skyscrapers, new-york, allan-charles-quinn, manhattan, skyline, cityscape

Photograph of Edward Street from the Trades Hall, Brisbane. It shows the cityscape with the rolling hills in the background. The caption is written underneath the photoplace, streetscape, edward styreet brisbane, edward street, brisbane

oil on linen landscape painting. High horizon line. Melbourne cityscape in the distance in cool colours (blues, purples). Varieties of foliage in warm colours (red oranges and yellow) in the foreground. mitchell, oil painting, landscape, melbourne

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

"Art is the vehicule for communications far Beyond the confines of a space, while design is the aesthetic cradle in which messages are nurtured and processed." "A 586 rework of the iconic building that has withstood the redevelopment of the Melbourne Docklands and defied the odds. On display a large format print 700mm x 1400mm print. Also a limited run of smaller prints on archival paper also available to support Melbourne's first non-profit charitible organisation that is still self funded, ie. not government funded." During the Open House Melbourne 30-31 July 2011, the artist nicknamed "586" participated in one of the Norla Dome Project Space events sponsored by Bendigo Wealth. Made in Melbourne, 586 is an urban digital experimentalist who blends social narrative with found image creating messages that inspire social consciousness and free thought. Cast in a local foundry back in 1991, 586 was a number, amid hundreds of men working between the ladie and the furnace in a clock on - clock off automated industrious landscape. Legend tells of a time when correspondance to workers was addressed to their number, not their name. Disapproval spread rapidly and a revoit soon followed, eventually the power of the masses won out, but the demoralizing treatment of the worker would go on to shape 586's perception and became the catalyst for a personal protest against social imbalance. This print was on display and smaller prints were also sold to raised funds for the Mission.DigitalLarge digital print of a design that overlays various symbols ( 4 flying angels ), the sails of a sailing ship and contemporary cityscapes and seascapes. centrally features a full photograph of the Mission to seafarers building at 717 Flinders St. Melbourne. Mounted in a large black frame and glazed with perspex .mission to seafarers, flinders street, melbourne, windvane, dome, flying angel, sea, norla dome, bendigo wealth, artist 586, 2011, artwork-paintings, open house, norla dome project space

Triptych (3 panels) featuring a Melbourne cityscape at dusk with a Yarra River view, a classic City Circle tram, possibly 887, in Flinders St. with Federation Square behind. Plus a view of Captain Cook's Cottage with the text "MELBOURNE AUSTRALIA" at the bottom. Published by Nu-color-vue, NCV 14367, 11ML592, with website and address details.Demonstrates a typical postcard promoting Melbourne.Postcard - three colour panels, unused.tramways, city circle tram, trams, flinders st, sw6 class

Melbourne looking east from the Rialto Tower 2009 is a sprawling, cinematic view of Melbourne’s CBD. In his Light Cities series, Stephenson explores notions of human and technological achievement against environmental sustainability. The glowing city in Melbourne looking east from the Rialto Tower seems the perfect emblem of our industrialized culture: an extraordinary example of a monumental technological sublime, where awe, beauty, and human aspiration are tinged with potential environmental catastrophe ¬– our engine of modernity seemingly running on empty. Melbourne, in particular, with its bay surrounding the city, makes it highly vulnerable to rising sea levels. Stephenson’s work, therefore, gives further urgency to a close scrutiny of the evolving modern city. Stephenson moved to Australia in 1982 to teach photography at the University of Tasmania School of Art, where he completed his PhD in Fine Art in 2001. He lives and works in Hobart.For more than 30 years, David Stephenson has travelled the globe, producing startlingly beautiful landscapes and cityscapes that illuminate or allude to that which cannot normally be seen. A fascination for the vast in space and time has led him to Europe, the Himalayas, and both the Arctic and Antarctic. He is one of Australia’s most well known and celebrated contemporary photographers with a practice that focuses on the sublime in architecture and in nature.stonnington contemporary art collection, photography, urban, city, industrialisation, modernity, cinematic, environmental, david stephenson, melbourne

Melbourne looking east from the Rialto Tower 2009 is a sprawling, cinematic view of Melbourne’s CBD. In his Light Cities series, Stephenson explores notions of human and technological achievement against environmental sustainability. The glowing city in Melbourne looking east from the Rialto Tower seems the perfect emblem of our industrialized culture: an extraordinary example of a monumental technological sublime, where awe, beauty, and human aspiration are tinged with potential environmental catastrophe ¬– our engine of modernity seemingly running on empty. Melbourne, in particular, with its bay surrounding the city, makes it highly vulnerable to rising sea levels. Stephenson’s work, therefore, gives further urgency to a close scrutiny of the evolving modern city. Stephenson moved to Australia in 1982 to teach photography at the University of Tasmania School of Art, where he completed his PhD in Fine Art in 2001. He lives and works in Hobart.For more than 30 years, David Stephenson has travelled the globe, producing startlingly beautiful landscapes and cityscapes that illuminate or allude to that which cannot normally be seen. A fascination for the vast in space and time has led him to Europe, the Himalayas, and both the Arctic and Antarctic. He is one of Australia’s most well known and celebrated contemporary photographers with a practice that focuses on the sublime in architecture and in nature.stonnington contemporary art collection, photography, urban, city, industrialisation, modernity, cinematic, environmental, melbourne, david stephenson

Melbourne looking east from the Rialto Tower 2009 is a sprawling, cinematic view of Melbourne’s CBD. In his Light Cities series, Stephenson explores notions of human and technological achievement against environmental sustainability. The glowing city in Melbourne looking east from the Rialto Tower seems the perfect emblem of our industrialized culture: an extraordinary example of a monumental technological sublime, where awe, beauty, and human aspiration are tinged with potential environmental catastrophe ¬– our engine of modernity seemingly running on empty. Melbourne, in particular, with its bay surrounding the city, makes it highly vulnerable to rising sea levels. Stephenson’s work, therefore, gives further urgency to a close scrutiny of the evolving modern city. Stephenson moved to Australia in 1982 to teach photography at the University of Tasmania School of Art, where he completed his PhD in Fine Art in 2001. He lives and works in Hobart.For more than 30 years, David Stephenson has travelled the globe, producing startlingly beautiful landscapes and cityscapes that illuminate or allude to that which cannot normally be seen. A fascination for the vast in space and time has led him to Europe, the Himalayas, and both the Arctic and Antarctic. He is one of Australia’s most well known and celebrated contemporary photographers with a practice that focuses on the sublime in architecture and in nature.stonnington contemporary art collection, urban, city, industrialisation, modernity, cinematic, environmental, melbourne, david stephenson

Christian Den Besten was Born 1972. Through art Christian interprets his community - the current affairs, infrastructure, and people that affect his everyday life. He is a prolific artist and often works with an accumulation of small components in creating his artworks. Christian is an artist living with an intellectual disability. He takes pleasure in drawing the beautiful buildings that dot Geelong’s cityscape. He exhibits and sells his work regularly.Denny’s Lascelles building Geelong by Christian Den Besten, 2019.