The Galen Dome was constructed during the 2019 school year. It is centrally situated between the College's main building and the Senior School buildings. The dome has been used for multiple purposes, including as a sports venue, a wet weather area and also as venue for major school events. galen catholic college, galen college, dome, school grounds & buildings, events, event space, 2019

During the Open House Melbourne 2011 artist nicknamed "586" participated in one of the Norla Dome Project Space events sponsored by Bendigo Wealth. The original large print was on display and smaller prints were also sold to raised funds for the Mission. The postcard was printed as a marketing to raise awareness of the work of the Mission.The postcard llustrates the typical early 21st services such as money exchange, modems, sim cards et al and facilities such as a free bus service and collection available through the Mission. Also documents the continuity of services offered to Seafarers over 100 years in the current building at 717 Flinders St (1917-2017).Full colour promotional and information postcard featuring artwork collage print ( MTSV 0650) on one side and black on white information about the Flying Angel Club on the reverse.flying angel club, flinders street, mission to seafarers, seamen's mission, artist 586, open house, fundraising, marketing

Book printed as a diary for 2014, contained within a grey plastic cover, with the title "Diary 2014", Rail Tram and Bus Union logo and the name of the Union. Gives details of the union itself, National, State and branch offices and organisers, contact details, holidays and school holidays, space for events in a weekly format, space for notes and phone numbers. Inside both covers is a advertisement for Slater and Gordon lawyers. Details of printer and published on the last page.trams, tramways, rtbu, unions, diary

"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

This photograph captures a joyful moment from Jacana Primary School’s 1990 Christmas picnic, believed to have taken place at Greenvale Reservoir in Melbourne’s northern suburbs. The image shows a person dressed as Santa Claus distributing gifts to a group of children seated on the grass in an outdoor setting, surrounded by trees and open space. Such events were a common tradition in Australian schools, marking the end of the school year and the beginning of the summer holidays. The relaxed, outdoor atmosphere and festive elements—such as Santa’s presence and the children’s engagement—reflect the community spirit and celebratory practices of the time. This photo offers a glimpse into the social and cultural life of suburban Melbourne in the early 1990s, highlighting the importance of shared experiences, public spaces, and the joy of childhood during the holiday season.This photograph is of cultural and social significance as a visual record of Jacana Primary School’s 1990 Christmas picnic, believed to have taken place at Greenvale Reservoir in Melbourne’s northern suburbs. It captures a moment of festive generosity, with Santa Claus handing out gifts to children gathered in an outdoor setting, reflecting the communal spirit and celebratory traditions of Australian school life in the late 20th century. The image illustrates the role of public education in fostering inclusive, community-oriented experiences, where end-of-year events provided opportunities for joy, connection, and shared memory-making. The use of natural public spaces for such gatherings underscores the importance of accessible environments in supporting social cohesion and childhood wellbeing. As a historical document, the photograph offers insight into the values and practices of the time, highlighting the enduring significance of holiday celebrations in shaping the cultural identity of suburban Melbourne communities. Colour photograph on glossy paper in portrait format.PH18289 (crossed out) PH-4209 (crossed out) PH-4868jacana, jacana primary school, christmas picnic, 1990, father christmas

Erin McCUSKEY Erin is a filmmaker, photographer and digital media artist with a bent on ‘difference’. She is the Creative Director at Yum Studio where she has forged a national reputation for delivering innovative and unique creative media projects, using projection, media, social media and social broadcasting. Ern McCuskey has a passion for producing projects with human rights at their core. Her short films, installations and commissions have screened at Museum of Australian Democracy at Eureka (MADE), Melbourne International Film Festival (MIFF), Flickerfest, Indiefest, Gertrude St Projection Festival, Ballarat International Foto Biennale, numerous exhibitions, performances and collections. Erin’s work is informed by the knowledge that difference is a necessary part of society and the core of a healthy one. She is passionate about creating media that is thought provoking, possibly controversial and also entertaining. Media creation is a group pursuit and those behind the camera are more often control the balance of power, therefore she is committed to unique collective story development. “I believe that art is in the everyday, that we all can, should and do, create. My work is informed by the moving images of my siblings as children recorded by my father, the houses and homes, spaces and events, which live on as objects themselves in various homes as photos, archives, projected and loved. These flickering images were embedded and now I spend time creating more.” (Central Highlands Art Atlas, http://www.artsatlas.com.au/erin/) 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.Three photographs mounted side by side (portrait orientation). #1 image of curtains #2 image of sculpture of man reflected in a mirror #3 light reflecting through crystal door handle. Slight scratching on front bottom of frame. art, artwork, erin mccuskey, mccuskey, photography, foto, available

This is a Warrnambool folding post card sold to tourists and locals in the mid 20th century. The card contains photographs of Warrnambool scenes – the Hopkins River mouth, the Botanic Gardens, Liebig Street, Fletcher Jones gardens etc. Warrnambool has been promoted as a tourist town since the late 1800s and attracts visitors in both the summer months (beaches, coastal scenery etc) and the winter months (visit of Southern Right whales and major sporting events). This card is an example of a local tourist souvenir sold in places such as Warrnambool in the mid 20th century and ensuing decades.This is a postcard with a cover photograph in colour and twelve other colour photographs folding up in concertina fashion. One page has space for a stamp and an address.Warrnambooltourism in warrnambool, history of warrnambool

The War Memorial was constructed in 1925 on Merri Street at the South side of Liebig St. It was constructed to commemorate the soldiers of WW1. It is constructed of red granite and the Angel is carved in marble. Adjacent to it is the RSL clubrooms.The Warrnambool War Memorial is a significant space commemorating a significant event and situated in one of the most prominent sites within the city. The image on this item would therefore be a typical memory which visitors would like to take from our city.White china saucer with gold rim and black print of the Warrnambool War Memorial. Soldiers Memorial Warrnambool. On rear Royal Stafford, guaranteed English Bone China. Made in England warrnambool, warrnambool war memorial

This book was hand made in Bendigo and presented to the Army Survey Regiment Sergeants Mess by WO2 Graham Squire (Later WO1 RSM RASvy). The book is to record events when the Sgts Mess Bell was rung, signaling that money was put over the bar for those present. Events such as promotions, departures, birthdays, birth of children and grandchildren were celebrated in this way and hence recorded in this book. The Bell itself was presented by WO1 Alex "Darby" Munro and that is the reason for the naming of the book "Darby's Clangers, Times and Chimes". the first entry in the book is 30 Nov 1978 and the last entry is 29 Nov1996 to celebrate the departure of the last serving members of the unit.Large handmade book with many unused pages, book is housed in a vinyl covered cardboard box.Page 1 Top - " Please leave first entry space vacant for WO2 G Squire (Fishing Warden), Thank you, Max Neil WO2 for PMC" Page 1 Bottom - "The one that got away!" Last entry "Three cheers for Litho!" signed by LTCOL Duncan Burns Commanding Officer Army Survey Regiment 29 Nov 1996.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

Athletic Sports were held annually and featured both current and old collegian contribution. The programs listed officials, school records, preliminary events and the day's program with name of competitors and space for recording place-getter's names. The program also listed the names of students in their house groupings. Small booklet; heavy card with red printing cover; Handwritten on front cover: David L Karmouche Buninyongathletic-sports, ballarat-college, 1945, inter-house-competitions, honorary-stewards, judges, school-records

Athletic Sports were held annually and featured both current and old collegian contribution. The programs listed officials, school records, preliminary events and the day's program with name of competitors and space for recording place-getter's names. The program also listed the names of students in their house groupings. Athletic Sports were held annually and featured both current and old collegian contribution. The programs listed officials, school records, preliminary events and the day's program with name of competitors and space for recording place-getter's names. The program also listed the names of students in their house groupings. Handwritten on front cover: David L Karmouche / Buninyongathletic-sports, ballarat-college, 1946, inter-house-competition, honorary-stewards, judges, school-records

EDHS Newsletter No. 268 February 2023 Prior to the extension of European people into the lands of the Nillum-bik in the late 1830s the Wurundjeri people had been meeting in the area now known as Eltham Lower Park for thousands of years. Waterway junctions had a particular attraction as tribal meeting places and the junction of the Diamond Creek with the Yarra River (Birr-arung to the Wurundjeri) was one such important location in terms of aboriginal culture. The sculpture “Not Just a Pretty Place” by Aleks Danko, located near the junction of these two watercourses pays tribute to this important cultural location. The first European settlers were squatters or leaseholders and itinerants such as timber workers. Records of their early occupation are sketchy but the Eltham Lower Park area was probably included within the pastoral run established in 1841 by Henry Foley. He sold his leasehold in 1845 to Joseph Wilson who in turn sold it to Frederick Faulkner soon after. From this early history the Eltham Lower Park area has undergone many changes and has been developed to provide residents and visitors with a range of passive and active public open space, including even being used for various horse racing events. At our next meeting, Jim Connor will explore the history of Eltham Lower Park and touch on various individuals and groups involved along the way.1:05:19 duration Digital MP3 file; 22.4MBaudio recording, eltham district historical society, meeting, society meeting, jim connor, eltham, eltham lower park

Four cards Castlemaine war memorial stadium appeal. Antique Bottle Exhibition Castlemaine, 1973. First prize - Third prize (it has a green ribbon attached) - Honourable Mention (Orange ribbon attached) - Best bottle on display (purple ribbon attached). The space for awarded to and for are left blank.event, exhibition, bottle collectors exhibition

Two cards. Inglewood kindergarten. Bottle show. The one for first prize has a red ribbon attached, the one for second prize has a blue ribbon attached. The space Awarded to and For is blank.event, exhibition, bottle collectors exhibition

The Morepork is a small brown and white spotted owl found in New Zealand, Tasmania and Norfolk Island. It is known by around twenty different names which are all onomatopoeic which emulate the birds distinctive two-pitched call. They are mostly nocturnal and carnivorous (eating insects and small vertebrates). They reside in habitats with trees, they sleep in roosts and hunt mainly in the evenings and early morning. Females are slightly bigger than males. This species attains full plumage in its third or fourth year. They can turn their heads 270 degrees." In Māori tradition the morepork was seen as a watchful guardian. It belonged to the spirit world as it is a bird of the night. Although the more-pork or ruru call was thought to be a good sign, the high pitched, piercing, ‘yelp’ call was thought to be an ominous forewarning of bad news or events." (NZ Department of Conservation). 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 in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as 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.This Morepork (also known as the Masked Owl) is covered in brown and white plumage on its head and body. The white feathers delineate its round yellow eyes. Its belly and back are brown and white with the white feathering appearing spotted. This Morepork specimen sits on a wooden perch with his head turned to the left. A swing tag is attached to its left leg.Swing tag: 10 / Masked Owl / See Catalogue, page 3 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ruru, spotted owl, tasmanian spotted owl, morepork, mopoke, new zealand owls, new zealand birds, tasmanian owls, tasmanian birds, norfolk island owls, norfolk island birds

The Morepork is a small brown and white spotted owl found in New Zealand, Tasmania and Norfolk Island. It is known by around twenty different names which are all onomatopoeic which emulate the birds distinctive two-pitched call. They are mostly nocturnal and carnivorous (eating insects and small vertebrates). They reside in habitats with trees, they sleep in roosts and hunt mainly in the evenings and early morning. Females are slightly bigger than males. This species attains full plumage in its third or fourth year. They can turn their heads 270 degrees." In Māori tradition the morepork was seen as a watchful guardian. It belonged to the spirit world as it is a bird of the night. Although the more-pork or ruru call was thought to be a good sign, the high pitched, piercing, ‘yelp’ call was thought to be an ominous forewarning of bad news or events." (NZ Department of Conservation). 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 in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as 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.This Morepork (also known as a Masked Owl) is covered in brown and white plumage on its head and body. The white feathers delineate its round yellow eyes. Its belly and back are brown and white with the white feathering appearing spotted. He sits on a wooden perch with his head turned to the left. A swing tag is attached to its leg.11 / Masked Owl / See Catalogue, page 3 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ruru, spotted owl, tasmanian spotted owl, morepork, mopoke, new zealand owls, new zealand birds, tasmanian owls, tasmanian birds, norfolk island owls, norfolk island birds

This photograph was taken in the 1960s of the Lake Sambell Swimming Pool with the lake itself in the background. The swimming pool area has multiple features including park benches, a water slide, and a fenced area with a diving pontoon for lap swimming and racing. Lake Sambell Swimming Pool was completed in 1961, driven largely by R.E. Carter, Beechworth shire engineer from 1954-63. Carter advocated for improvements to the lake and surrounding area in order to encourage tourism in Beechworth. The opening of the swimming pool was part of many improvements to Lake Sambell made during this period by Carter including establishing the caravan park in 1959, water skiing and boating facilities, and increasing the lake surface in 1964. These improvements were financed mainly by grants from the Tourist Development Authority. For many decades, members of the local Beechworth community had advocated for the development of swimming pool at the lake that would include a safe wadding area and Olympic standard lanes for laps and races. Throughout the 1940s the Beechworth Swimming Club tried to raise awareness and funds to address the structural engineering issues, raise the water levels, and improve swimming facilities at the lake. Beechworth Swimming Club hosted a swimming carnival at the lake in 1948, but it was decided due to several issues at the event, that no further carnivals would be hosted until necessary improvements were made to the area. Swimming pools, both artificial and built into natural environments, were an extremely popular public space throughout the 20th century in Australia. Increasing in accessibility and popularity through such developments as less restrictive swimming outfits during 1920s, public building works during the 1920s and 30s, and an increase in leisure time during a period of post-war prosperity. This photograph is of historical significance as it documents the newly established Lake Sambell Swimming Pool in the 1960s after many decades of discussion and proposals around creating a safe swimming area at the lake. Further, this photograph provides important social insights into the facilities and uses of this pool in the 1960s, and underlines the significant role public swimming pools have played in Australian social and recreational experiences. Black and white rectangle photograph printed on photographic paper and unmounted.Reverse: 3537 / C798lake sambell swimming pool, lake sambell water slide, water slide 1960s, lake sambell pontoon, lake sambell 1960s, lake swimming pool, lake swimming, beechworth swimming club, swimming pools in the 20th century, r.e. carter, tourist development authority, beechworth 1960s, lake water slide, lake sambell, wadding pool, swimming, swimming pool 1960s, leisure, recreation 1960s

The platypus is a semi-aquatic, egg-laying mammal endemic to eastern Australia. It is the sole living representative of its family and genus. They can grow up to 63cm in length and weigh up to 3kg, and their life span is typically 6-15 years. The unique mix of physical features of the platypus make it an important subject in the study of evolutionary biology, and a recognisable and iconic symbol of Australia. Furthermore, the platypus is culturally significant to several Aboriginal peoples of Australia. The animal has also appeared as a mascot at national events and features on the reverse of the Australian twenty-cent coin, and is the animal emblem of the state of New South Wales. 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.A long, stocky platypus with a streamlined body and a flat bill. The platypus has four short limbs with webbed feet, and the front-right foot is positioned upright. The hair is short and dense; the upperbody fur has an auburn tint, and the underbody fur is a silver/cream colour. The platypus has two beady black glass eyes.On tag: BMM / 5899 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, platypus, monotreme, mammal, ornithorhynchus anatinus

The Banyule Banner is published bi-monthly by Banyule City Council to advertise upcoming events in the City of Banyule and to report on past events. This edition covers North East Link update, waste reduction and Hatch contemporary arts space. A record of events within the City of Banyule.20 pages (approx.), colour illustrations. banyule banner

The proposed Diamond Creek to Ringwood freeway would cost up to $118 million and take up to 171 ha. of open space, conservation area and residential land a report showed today. Bruce Morgan was the first Shire Secretary (1964-1983) of the Shire of Diamond Valley. This collection was compiled by his wife, Mavis Morgan, detailing the events they attended in their official capacityNews clipping in black textHandwritten on clipping: "Bruce Morgan was organising this proposal"bruce morgan, mavis morgan, shire of diamond valley, outer ring freeway

Blank Second Prize Certificate for the Grampian Mountain Wildflower and Nature Show 1937. Includes space for Name, Section and Schedule No. to be filled in. Issued by W. E. Warren, Org. Sec. ** Second "copy" is also an original.A pink coloured, blank, certificate for "Second Prize" in the Grampian Mountain Wildflower and Nature Show 1937.see scanned pictureevents, wildflower show

On 6 December 2018, a recurring event was organised at the Mission. From the Multicultural website: "Meeting at the Seafarer’s bridge on the Yarra, you will be welcomed into a little-known site nearby, a sanctuary for seafarers for the last 100 years and a symbol of old-world generosity amidst the rapidly shifting landscape of the Docklands. A journey through the quirky spaces at Mission to Seafarer’s site through a compelling contemporary ritual performance. The Echoes Projects artists evoke fragments of stories embedded in this site through mesmerising live soundscapes, movement and imagery. Ria Soemardjo, Janette Hoe and Pongjit (Jon) Saphakhun collaborate to create an ongoing exploration of contemporary rituals in response to urban sites in Australia. Based in Melbourne, their contemporary performance work draws deeply from their personal connections to Thai, Chinese and Indonesian ceremonial traditions. Featuring Intricate rhythmic compositions inspired by the rich heritage of Indonesian and Middle Eastern musical traditions, performed by Ron Reeves and Matt Stonehouse – two of Australia’s foremost world music percussionists. Note: 7 PM and 8 PM sessions include delicious vegetarian Indonesian food. 9 PM session includes Indonesian and Thai cakes and sweets. You are invited to stay and eat after the performance, drinks available for purchase at the venue. Performers: Janette Hoe – dance artist Pongjit (Jon) Sekhukhune – actor Ria Soemardjo – musician Ron Reeves – musician Matt Stonehouse – musician /instrument maker Supported by the City of Melbourne Arts Grants Program Details: 6 Dec 2018 (Thursday) Sessions: 7 PM, 8 PM & 9 PM The Mission to Seafarers Audience Meeting point – next to the entrance of the Seafarer’s Bridge, Siddeley St, Docklands. Wheelchair accessible venue. Bookings essential. Tickets: $10 – $15 via Eventbrite. Ticket price is purely to pay for the food element. Companion Card ticketing available. Please contact Multicultural Arts Victoria for ticketing options. Companion ticket will allow admission only. The Seafarers Welcome is presented as part of Mapping Melbourne 2018."The Mission has always welcomed artistic events Colour programme of events with illustrationstop right corner: Multicultural Arts Victoria lower left corner: MAPPING MELBOURNE/1-15 DECEMBER 2018arts, events, multicultural arts victoria, the seafarer welcome, echoes project, 2018, cultural events, community

A poster printed by the RMIT in 2018, to promote an exhibition of works at the MTSV about the interelationships between labour, working life and artistic practice. BACKGROUND The Work of Art was an exhibition about labour, working life and artistic practice. The exhibition explored three aspects of art's relationship to work: (1) artworks about contemporary labour, (2) the labour of art-making itself and (3) the often precarious aspects of life as a working artist. Throughout the exhibition, different artists "worked" from the space of the gallery, revealing the layers of manual, emotional and intellectual labour involved in the work of art. CONTRIBUTION I was invited to develop the exhibition by the "Murphy Group", a group of researchers at RMIT. As the lead co-curator for the exhibition, I researched the history of artistic responses to working conditions. Through this process I identified a gap - while many artists have explored the conditions of labour and working life in their artworks, fewer have drawn attention to the working conditions of artists themselves. This became a key theme in the exhibition. The exhibition presented the work of nine contemporary Australian artists, including high profile and mid-career artists like Bindi Cole and Bek Conroy, alongside the work of emerging artists. In addition to the display of artworks throughout the space, five artists worked performatively, bringing to life the processes and manual labour involved in artmaking. A public forum extended the complex discussion on the relationship between art, work and labour. SIGNIFICANCE The works were presented in the context of a public space that has a strong relationship to contemporary labour - the Mission to Seafarers in Docklands. The Mission to Seafarers is a working mission that provides support to ship-workers. Presenting the works in this space created a real connection between the artworks and the lived experience of precarious labour. The exhibition reached a large audience including over 1000+ visitors in 10 days. It fostered a high engagement on social media and attracted media coverage including a feature in ArtsHub.A record of the ongoing involvement of the MTSV in art, and working with the art community by providing a suitable venue and display space.A3 size yellow paper promotional poster, double-sided. Three-quarters of the front of the poster is covered with the repeated line "Art, Labour & Working Life" in large font, to form ten rows. These rows are in outline form except for picked out words which are in entirely black characters and these cascade down, a row at a time, a word at a time, to form the same line ("Art, Labour & Working Life"). rmit, 2018, events, labour, working life, artistic practice, hiring event, cultural events, multimedia, nicholas walton-healey

One of a series of Mission to Seamen postcards produced in the immediate post-war and post WW2 period.Visual record of the club area of Mission to Seafarers, 717 Flinders Street, Melbourne in the 1950s (before Queen Elizabeth's corporation) ready for the dances.Black and white gloss postcard depicts the central club space. Taken facing stage with flowers on stage, a drum kit and a piano. Curtained backdrop with sixteen chairs in front of the proscenium. Shows dance floorboards and fan-shaped window above doorway on far left wall.Printed on back: 'POST CARD/CORRESPONDENCE ADDRESS ONLY/' . Stamp location is top right and is indicated by the word 'KODAK' on four sides.club, stage, mission to seafarers, seamen's mission, mission to seamen, main hall, dancing, events, curtains, royal portraits, king george vi, drums, piano, chairs, music, band

One of a series of Mission to Seamen postcards produced in the immediate post-war and post WW2 period. Visual record of the club area in the 1950s (before Queen Elizabeth's coronation) ready for the dances.Black and white gloss postcard depicts the central club space facing stage with flowers on stage, a drum kit and a piano. Curtained backdrop with sixteen chairs in front of the proscenium. Shows dance floorboards. Note: Possible heater at far right of picture frame.Printed on back: 'POST CARD/CORRESPONDENCE ADDRESS ONLY/' . Stamp location is top right is indicated by the word 'KODAK' on four sides.stage, curtains, mission to seafarers, seamen's mission, main hall, dancing, events, concerts, band, flowers, drums, piano, paintings, royal portraits, flinders street, melbourne, mission to seamen, wood floor, writing room, heater, stairs, chairs, king george vi, queen mother

BOOKnon-fictionDocuments every event in the volunteer-run Women's Gallery, which ran June 1988 until December 1995, in bohemian Brunswick Street Melbourne and showed 119 solo and group exhibitions, and hosted book launches, music and theatre performances, seminars and poetry readings.solo and group exhibitions, spiritual art, political art, portraiture, iwd exhibitions, collaborative prectice, collective practice

The word ashtray came into use around the 1920 and is a receptacle for ash from cigarettes and cigars and are typically made of fire retardant material such as glass, heat resistant plastic, pottery, metal, or stone. The most common ashtray design is a shallow cylinder with a flat base, designed to rest on a table. Other ashtrays, particularly in public places, are either wall or floor mounted. While simple, utilitarian forms of ashtrays existed long before the 19th century, it was during the start of the 20th century that the design, aesthetics and their popularity took off. As more women began to smoke. in the early 1900s, the ashtray went closer to being an art form as many women avoided the use of the traditional ashtray as it failed to reflect their feminine values, regarded as an item rather basic in design the general societal through of the time was that smoking was an activity exclusive to men. What emerged were detailed, often very fancy ashtrays acceptable to women depicting either pastoral scenes or vibrantly coloured landscapes. As time went on, and the onset of women smoking both cigars and cigarettes became less of a departure from the average person, ashtrays saw a decline in design and aesthetics beginning more of a shift towards practicality. The subject item is a primitive form of ashtray used in public spaces any time from the 1900 -1960s and is not associated with an historic person or event. However the item could have come from the Warrnambool Town Hall given the inscription on the base of the item.Ash tray-large rectangular floor model made from a wooden box covered with textured metal on the outsideThe metal has a relief design embossed at the top back "smokers" and "Town Hall" printed on bottom.flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ash tray

The word ashtray came into use around the 1920 and is a receptacle for ash from cigarettes and cigars and are typically made of fire retardant material such as glass, heat resistant plastic, pottery, metal, or stone. The most common ashtray design is a shallow cylinder with a flat base, designed to rest on a table. Other ashtrays, particularly in public places, are either wall or floor mounted. While simple, utilitarian forms of ashtrays existed long before the 19th century, it was during the start of the 20th century that the design, aesthetics and their popularity took off. As more women began to smoke. in the early 1900s, the ashtray went closer to being an art form as many women avoided the use of the traditional ashtray as it failed to reflect their feminine values, regarded as an item rather basic in design the general societal through of the time was that smoking was an activity exclusive to men. What emerged were detailed, often very fancy ashtrays acceptable to women depicting either pastoral scenes or vibrantly coloured landscapes. As time went on, and the onset of women smoking both cigars and cigarettes became less of a departure from the average person, ashtrays saw a decline in design and aesthetics beginning more of a shift towards practicality. The subject item is a primitive form of ashtray used in public spaces any time from the 1920-1960s and is not associated with an historic person or event. However the item could have come from the Warrnambool Town Hall given the inscription on the base of the item.Ash tray-large rectangular floor model with cement sheet lining. Made from a wooden box covered with textured metal on the outsideThe metal has a relief design embossed at the top back "smokers" and "Town Hall" printed on bottom.flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ash tray, town hall, cigarette tray, smoker's ash tray