It is a strange queer magic to, however briefly, exist within another plane on an ordinary winter night. Much like a moth, I as a queer person am drawn to strange florescent lit transitional spaces, where gender, form and aesthetic is recognisably consistent, beautiful in its embrace of unconventional beauty.The artist known as FOOT is an award winning queer multidisciplinary artist working on unceded Wadawurrung land in Naarm’s outer west passionate about body liberation, sustainability and stupidity, their work is a rich tapestry of historical and cultural referencing that poses alternative questions to the ‘norms’ of this world through the use of colour, nostalgia and space. Winner of the 2026 Wyndham Art Prize LEAP Award.gender identity, queer identity, self-representation, liminality, body politics, social norms, photography

Brimbank's LGBTQIA+ History Exhibition mapped and celebrated the history of local LGBTQIA+ community, revealing the people, movements and creative forces that have shaped Brimbank's vibrant queer heritage. It brought together stories of activists such as Ali Hogg and Gordon Doak, alongside creative champions including Keigh bowery, Ana Kokkinos and Kween Kong, tracing networks of resistance, visibility and cultural change. The exhibition was brought together by the Australian Queer Archives. The Brimbank Council has a formal adopted action plan (2024–2028) that commits the municipality to improving health, safety, inclusion, empowerment, and organisational leadership for LGBTQIA+ residents. This action plan policy is built around the City of Brimbank's LGBTQIA+ Action Plan 2024–2028, that was adopted in November 2023. It was the council’s first formal LGBTQIA+ policy and is now the governing document for all inclusion, safety, and community‑support work. LGBTQIA+ is an inclusive acronym that represents diverse sexual orientations and gender identities, including lesbian, gay, bisexual, transgender, queer / questioning, intersex, asexual, and others.Brimbank LGBTQIA History Exhibitionlgbtqia+, ali hogg, gordon doak, leigh bowery, ana kokkinos, kween kong, city of brimbank

This outfit from Sydney-based wearables label Iordanes Spyridon Gogos (ISG), was designed by Founder and Creative Director Jordan Gogos in collaboration with Akira Isogawa and other creative partners. The shoes are by Julia Baldini. The outfit comes from the ISG x Akira 2023 Afterpay Australian Fashion Week (AAFW) collection show presented at Carriageworks, Sydney 16 May 2023. Jordan Gogos is one of Australia's most innovative multidisciplinary artists. Preferring to describe his current designs as 'non normative', 'wearables for the imaginative' Gogos' work and practices have been influential in changing the conversation around clothing design, production and presentation by embedding co-collaboration, sustainability, diversity, and inclusivity in all aspects of his label. Born and raised in Tokyo, Japan before immigrating to Australia in 1987, Akira Isogawa is regarded as one of Australia's most innovative and successful fashion designers. In a career spanning over 25 years, Akira is perhaps best known for his contemporary interpretations of traditional Japanese clothing, and the quality of his craftsmanship. Isogawa has worked on a range of creative collaboration projects over the course of his career and was named Australian Designer of the Year at the Australian Fashion Industries Awards in 1999. The ISG x Akira collection show presented at AAFW resulted in a collection of 40 looks featuring digitally printed, compressed and patchworked garments with applique, embroidery, beading and origami. Made from deadstock and archival fabrics, accessorised with unique headpieces and footwear designs, the looks were presented in a theatrical collection show amid a colourful runway piled high with upcycled textile artworks and trojan horses signifying Gogo's Greek heritage, signed by Akira in red calligraphy. The models included people with diverse gender identities and body shape and size. - Kristina StankovskiOutfit consisting of a dress, underskirt and shoes (pair). The underskirt is made of tulle, while the dress is origami style with black, red, white, gold, green, yellow and orange fabric. The dress has two sets of press studs under each shoulder strap. Shoes are lace up boots with black, white and yellow patchwork fabric, with rubber soles and vinyl lining. This record includes seventeen pieces of test/sample fabric. 9013.1 Dress 9013.2 Underskirt 9013.3 Boots & White laces 9013.4 Fabric samplesjordan gogos, iordanes spyridon gogos, akira isogawa, 2023 afterpay australian fashion week, design, fashion, art, sustainability, innovation, trojan horse

This outfit from Sydney-based wearables label Iordanes Spyridon Gogos (ISG), was designed by Founder and Creative Director Jordan Gogos in collaboration with Akira Isogawa and other creative partners. The shoes are by Julia Baldini. The outfit comes from the ISG x Akira 2023 Afterpay Australian Fashion Week (AAFW) collection show presented at Carriageworks, Sydney 16 May 2023. Jordan Gogos is one of Australia's most innovative multidisciplinary artists. Preferring to describe his current designs as 'non normative', 'wearables for the imaginative' Gogos' work and practices have been influential in changing the conversation around clothing design, production and presentation by embedding co-collaboration, sustainability, diversity, and inclusivity in all aspects of his label. Born and raised in Tokyo, Japan before immigrating to Australia in 1987, Akira Isogawa is regarded as one of Australia's most innovative and successful fashion designers. In a career spanning over 25 years, Akira is perhaps best known for his contemporary interpretations of traditional Japanese clothing, and the quality of his craftsmanship. Isogawa has worked on a range of creative collaboration projects over the course of his career and was named Australian Designer of the Year at the Australian Fashion Industries Awards in 1999. The ISG x Akira collection show presented at AAFW resulted in a collection of 40 looks featuring digitally printed, compressed and patchworked garments with applique, embroidery, beading and origami. Made from deadstock and archival fabrics, accessorised with unique headpieces and footwear designs, the looks were presented in a theatrical collection show amid a colourful runway piled high with upcycled textile artworks and trojan horses signifying Gogo's Greek heritage, signed by Akira in red calligraphy. The models included people with diverse gender identities and body shape and size. - Kristina StankovskiOutfit consisting of a headpiece, top, skirt and shoes (pair). The fabric of the hat, top and skirt has been quilted and stitched together, and is of grey, white, black and yellow hues. The top has two sets of ties which fasten at the back of the waist. The skirt and top feature gold medallions which show a trojan horse and lettering. The shoes are lace up boots and include hues of fluro pink and yellow, as well as white, black and grey. The boots are lined with black vinyl. As part of this collection, this record includes six quilted squares of material created as test patch/samples of fabric used to create the outfit, and two test gold medallions. 9014.1 Headpiece 9014.2 Top 9014.3 Skirt 9014.4 Boots 9014.6 Six fabric sample squares 9014.6 Two gold medallions[printed on gold medallions] IORDANES SPYRIDON GOGOSjordan gogos, iordanes spyridon gogos, akira isogawa, 2023 afterpay australian fashion week, design, fashion, art, sustainability, innovation, trojan horse

Raquel Ormella is an artist working at the intersections of art and activism, with a diverse practice that includes textiles, video, installation, drawings, and zines. Ormella explores how contemporary art can prompt viewers to reflect on their own beliefs and values regarding political consciousness and social action. Her art practice is also grounded in exploring the nature of the relationship between humans and the natural environment. This artwork, Workers Blues #2, reimagines the Australian National Flag, constructing a rough-hewn approximation of it from blue workers shirts. Flags are one of the most powerful uses of fabric; Ormella is echoing the flag design to explore tensions between aspirational nationhood and the personal effect of this has on individuals, marginalised social groups and the environment. Ormella’s choice of material – blue cotton workers shirts - also references gendered associations with cloth, with masculine nationalism symbolised by the workers shirts, including in the mining industry. The work is an example of the symbolic power of cloth as a marker of identity, including gender and class.

Rowing was introduced to Bendigo in 1872 by John Godfrey, who built the first wooden skiff and promoted the sport locally. The Sandhurst and Bendigo Rowing Clubs were formed in 1873, with Lake Weeroona's creation in 1879 providing a permanent home for the club. BRC members have competed nationally and internationally, including at the Commonwealth and Olympic Games. Notable achievements include women from Bendigo winning the Henley on the Maribyrnong three years in a row during the 1930s, challenging gender norms in sport. Key athletes such as Hannah Every-Hall and Neville Howell have played significant roles in the club's development and reputation. The club emphasizes inclusivity, welcoming juniors, women, men, and masters, and fostering a family-friendly, socially responsible culture.The ethos of volunteerism and community connection is central to the club's identity and future aspirations. The club has survived challenges such as droughts, wars, and the COVID-19 pandemic, consistently adapting and continuing its activities. Physical mementos and historical relics are preserved and celebrated, especially during milestone events like the 150th anniversary. 1872 the First skiff built and rowing demonstrated in Bendigo.1879: Lake Weeroona created.1927: Club officially named Bendigo Rowing Club.1969: Revitalization led by Olympic gold medallist Neville Howell.1992: Jason Day represents Australia at the Barcelona Olympics.2012: Hannah Every-Hall competes at the London Olympics.2022: 150th anniversary celebration.Bendigo Advertiser Article - Rowing for 150 years, Sat 04 June 2022, by Anthony Pinder This item contains the following documents: 3486.61a Colour photo of current Bendigo Rowing Club President Lynda Davis and Jesse Sherwood in the club rooms 3486.61b Colour photo of four members in a kayak 3486.61c Colour photo of Livia Rosaia exercising 3486.61d Black and white photo of the Bendigo Rowers in 1905 at the old sheds which were situated at the Nolan St end of Lake Weeroona 3486.61e Bendigo Advertiser Article - Rowing for 150 years bendigo, bendigo rowing club, john godfrey, lake weeroona

Paula DO PRADO Born Montevide, Uruguay Arrived Australia September 1986 Paula Do Prado holds a Bachelor of Fine Arts (Textiles) with First Class Honours and a Master of Fine Arts from Art & Design at the University of New South Wales.Her works are compelling, multi-layered and rich with cultural references surrounding concepts of identity, race and gender. Her practice draws on materials, sayings and imagery collected from many different sources including the generations of her family history. By sharing her own personal stories, her work creates a dialogue around issues of immigration and multiculturalism, which are just as relevant now as ever. Triptych flag, textiles, button, available

Sunil Gupta is a British/Canadian citizen, (b. New Delhi 1953) MA (RCA) PhD (Westminster) who lives in London and has been involved with independent photography as a critical practice for many years focusing on race, migration and queer issues. A retrospective was shown at The Photographers’ Gallery, London (2020/21) and The Image Center, Toronto. He is a Professorial Fellow at UCA, Farnham. His latest book is “We Were Here: Sexuality, Photography, and Cultural Difference, Selected Writings by Sunil Gupta”, Aperture New York 2022. His work is in many private and public collections including; the Tokyo Museum of Photography, Philadelphia Museum of Art, Royal Ontario Museum, Tate, Metropolitan Museum of Art and the Museum of Modern Art. His work is represented by Hales Gallery (New York, London), Materià Gallery (Rome), Stephen Bulger Gallery (Toronto) and Vadehra Art Gallery (New Delhi).Part of Queer PHOTO (Midsumm x PHOTO 2024) photography, british photography, queer photography, race, migration, portrait

Stapled booklet comprising 16 pages, printed on semi gloss paper. The publication measures approximately 138 mm high × 222 mm wide (landscape format). Bound at the centre with two metal staples. Rust staining is present around both staples. The cover is worn and beginning to split along the spine, with loss to the lower centre section. Corresponding loss and chipping is evident on pages 3–4 in the same area. General wear consistent with age and handling.non-fictionA commemorative booklet issued for the opening of the Broadmeadows Town Hall, providing historical background, civic information, and promotional content celebrating the municipality and its development.broadmeadows town hall, municipal government, local history, urban development, commemorative publications

Booknon-fictionMonograph on contemporary South Australian artist Annette Bezor.gender, oil painting, essay, sexuality, identity, digital art, portraiture, laser prints

non-fictionTraces three periods of Hanrahan's practice: early development; first major period of printmaking 1963 to 1967 and her second since 1967. Focuses on major themes and motifs and contains a small proportion of images made since 1960, many exploring her family and womens' lives. These themes and the tactile quality of her practice are woven into her 9 published novels, and text often appears in the prints. Includes list of solo exhibitions, a bibliography and biographical details.printmaking, lithography, etching, linocut, screenprinting, wood engraving, writing, sexuality, family, identity, drypoint, popular culture, body, motherhood, ageing, gender

non-fictionProfessor of Art Linda Nochlin, and critic and art historian Thomas B. Hess respond to the question "Why have there been no great women artists?'. Nochlin writes of 'the women question' in art and beyond, addressing barriers in education and art schools negating full participation or studying the nude, the limiting definitions of 'greatness', domestic demands and class, and maintains it is the institutional structures that are the key to equality, and it is these which should be challenged and reformed. Hess addresses wrong attribution, the studio system, the relative freedoms in the Middle Ages before the Renaissance emphasised the male genius ideal and self confidence. Ten replies from artists follow, mainly responding to Nochlin's treatise. Elizabeth Baker, writes the final essay, charting the changes in regards to representation including issues surrounding quotas, recognition, the debates surrounding the contested definitions of female and feminist artists.and the frequent lack of support by female dealers, critics and curators.essays, feminism, studio practce, art history, gender, politics, discrimination, museolgy, curatorship, identity

Booknon-fictionThe masculine landscape tradition was seen as the 'true' national identity in the early 20th century while the new Modernist painting of women was seen as marginal and incidental. This text looks behind the commonly held narratives of art criticism to present a new reading of gender in Australian painting.grace cossington smith, thea proctor, margaret preston, grace crowley, hilda fix nicholas, sybil craig, ethel carrick