Greg CROWE (1953- ) Born England, arrived Australia 1963 Greg Crowe's intial training was in architecture. In 1980 Greg Crowe established the Hovea Pottery in the hills east of Perth and am constantly firing up new work there 30 years on.In 2008 Greg Crowe undertook a McKnight Residency for Ceramic Artists at the Northern Clay Center, Minnesota, U.S.A., and has demonstrated and exhibited elsewhere in the U.S.A. and Canada, Japan, France, Denmark, Ireland and Singapore. In 1985 he built a wood-fired salt kiln at Hovea with Fergus Stewart, and has specialised in wood-firing and salt-glazing since then, In 1992 he worked with wood firer Sven Bayer in Devon, UK. In 1996-1998 he built an anagama kiln in the south-west of Western Australia. y Texture and the unique, plastic responsive nature of claygre to stretching has been of great interest to Greg Crowe. Greg Crow signs his work with an impressed 'GC'. Thrown bulbous woodfired pot.greg crowe, ceramics, gippsland campus, jan feder memorial ceramics collection, hovea pottery, woodfire 86

Black & white portrait of Thomas Crowe wearing glasses, mayoral robes and jabotmayor, portrait, shire, council, municipal, local government

K Crowe Mayor 1985Black and white photographbelfast, mayor, portrait, government, shire, council, municipal, local-government

Thesis done by Ambrose Thomas Crowe for the Degree of Doctor of Philosophy.This thesis addresses the predicament many veterans found themselves in some years after their return to Australia after fighting the Vietnam War (1962-1973)vietnam war - 1961-1975, vietnam war, 1961 - 1975 -- veterans -- australia, department of veterans affairs (dva), returned services league of australia (rsl), agent orange - tboxicology, conscription - australia

People - "Crowe, Mrs" Buildings - Midwifes Cottage

Buildings - Queenscliff Cemetery People - "Crowe, Granny"

People - "Crowe, Mrs" Associated with - Verey & Co Castlemaine/Dalesford

People - "Crowe, Mrs" Buildings - Midwife'S Cottage Associated with - Jessie Swainston Collection

Prominent Early Family of KoroitRobert Crowe held several positions of note in Koroit's early developmentPhotocopy

non-fictionStory of Alfred William Crowe from England to Australiaalfred william crowe, jessie miller

non-fictionPersonal experiences from the Victorian Goldfields, then details from Alfred Crowes diary, then a detailed list of all people named in his records alfred william crowe, victorian goldfields

Buildings - Birthing Room Malmsbury

In 'Rabbit Progress', Peter Waples-Crowe presents the ever-multiplying rabbit as a symbol of European colonisation, and highlights the absurdity of the unintended consequences of the introduction of these extremely prolific creatures, which was catastrophic for the natural environment. Recognised as a critical agricultural threat, a rabbit-proof fence was constructed at the turn of the 20th century to keep Western Australian pastoral areas free of the devastation caused by crop damage and soil erosion. Later, drastic biological measures, including the use of myxomatosis in the 1950s and Rabbit Haemorrhage Disease (RHD) in the 1990s, were used in a semi-successful attempt to control burgeoning rabbit numbers. The long-lasting effects of the original folly are the constant dangers posed by the wild rabbit population to Australia’s ecology. In contrast, the didgeridoo player featured in the artwork represents traditional Aboriginal culture in harmony with the land. Artist Bio Peter Waples-Crowe is a Ngarigo queer visual and performance artist living in Melbourne. He creates bold, colourful work that explores the representation of Aboriginal people in popular culture, often referencing the dingo as a totemic figure and an analogy for indigenous peoples. Peter has been a multiple finalist for prestigious awards such as the National Aboriginal and Torres Strait Islander Art Awards and the Victorian Indigenous Art award. Together with Vincent Li, a Melbourne-based menswear designer, Waples-Crowe has created the MIRRIGANG collection, where feelings of struggling with identity, dislocation and conflict are conveyed through collaged textile, digital prints, embroidery and hand-painted artwork.

Just over five hundred Australians were killed in action in the Vietnam War. Of those who returned 280 Vietnam veterans have officially been recognized as having committed suicide.vietnam veterans association of australia, 1961-1975 - australia, vietnamese conflict, 1961-1975 - social aspects

just over five hundred Australians were killed in action in the Vietnam War. Of those who returned, 280 Vietnam veterans have officially be recognized as having committed suicide.combat disorders, chemical warfare, vietnam war, 1961-1975 - social aspects - australia, vietnam veterans' association of australia

just over five hundred Australians were killed in action in the Vietnam War. Of those who returned, 280 Vietnam veterans have officially be recognized as having committed suicidecombat disorders, chemical warfare, vietnam war, 1961-1975 - social aspects - australia, vietnam veterans' association of australia

Ngaya is a cut and paste, collage, punked-up look at my Country. It’s a country with conflicting narratives which the film explores through found footage and animation. It looks at Country from an insider-outsider perspective, someone who at once belongs to the Country but who has never lived on Country for any extended time, and has viewed it from Naarm for the past twenty years. I want people to think about the snow country away from being a holiday destination to be exploited, to think about the first people of the snow and fragility of Country. australian first nations art, video, ngarigo, animation, identity, country, first nations

This painting is a tribute to a country that has slowly revealed itself over many years of my life. In the last 3 years I have made strong connections to my country through a very special elder, my cousin, Uncle John. He has shown me old Ngarigo cultural belongings, taken me to some sacred sites, and told me many stories about my people, the Ngarigo, the snow people. The stories have been happy and many very sad, and much of it has taken me time to process, including the destruction of sacred places and past massacres. Commissioned for the Merri-bek Art Collection 2017

The "British Queen Hotel", in Bridge street, Bendigo was first licensed to Squire Barlow (1817-1882), a Lancashire man who came to Australia in 1853 with his two eldest sons, travelling on the "Goldfinder". His wife Mary (nee Taylor, 1814-1891) soon followed with the rest of their children. One more child was born in Sandhurst in 1856. Squire and Mary had married in 1838, "The British Queen" was taken over by John Crowe (1825-1882) some time after 1876. John had previously been the licesee of the Globe Hotel, also in Bridge Street. When John died in 1881, his son Robert Phillip Crowe (Phillip) transferred the licence to John Hope in 1882.Black and white photograph. Buiilding Crowe's British Queen Hotel, 4 people, 2 boys at left, man with hat at centre, lady with long dress centre right. Large hotel light above door, laneway beside building at left with creeper above. On windows of building ' Crowe's British Queen Hotel' On parapet, partially visible ' British Queen..'cottage, miners

Photograph of 4 troopers - L/C Rus Kiellerup, SGT Len Allen, TPR Dan Kenny, TPR Ambrose Crowe on the turret of a tank. An extract from an after action report of 28/05/1968 is set below the photographphotograph, centurion tank, kiellerup, allen, kenny, crowe

Coloured photo of group on holiday at Straddroke Island. Names on the back: Peter McGibon, Aaron Atkinson, Neil Filcock, Paul Sunderland, Robert Smith, Trevor Crowe, Stephen Best, Ivan Constable and Peter Crowe.bendigo, institutions, sandhurst boys centre