Showing 174 items matching "indigenous art"
-
Federation University Historical Collection
Book, Victorian Indigenous Art Awards Catalogue, 2015, 2015
... Victorian Indigenous Art Awards Catalogue, 2015...victorian indigenous art awards... displayed during the 2015 Victorian Indigenous Art Awards, includinf... victorian indigenous art awards aboriginal troy firebrace elizabeth ...Black covered book with illustrations of the artworks displayed during the 2015 Victorian Indigenous Art Awards, includinf Try Firebrace, the winner of the Federation University Acquisitive Awardvictorian indigenous art awards, aboriginal, troy firebrace, elizabeth, liddle, glenda nicholls, marlene gilson, pitcha makin fellas, josh muir, deanne gilson, vicki couzens, cariline martin -
Whitehorse Historical Society Inc.
Article, Indigenous Art Trail, Sep 2023
... Indigenous Art Trail...Eastlink Indigenous Art Trail...The Indigenous Art Trail is 5 km. long and Whitehorse... Mitcham melbourne The Indigenous Art Trail is 5 km. long ...A new walking trail has been created near Schwerkolt Cottage featuring indigenous art.non-fictionA new walking trail has been created near Schwerkolt Cottage featuring indigenous art.eastlink indigenous art trail, eastlink trail, mullum mullum creek, croydon hills men's shed -
Federation University Historical Collection
Book, Freund, Peter, Victorian Indigenous Art Awards, 2013, 2013
... Victorian Indigenous Art Awards, 2013...victorian indigenous art awards...The Victorian Indigenous Art Awards started in 2005... The Victorian Indigenous Art Awards started in 2005. The awards ...The Victorian Indigenous Art Awards started in 2005. The awards celebrate the quality and diversity of current art practice of aboriginal and Torres Straight Islander Victorians and showcase and raise the profile of the uniqueness of South-East Australian Aboriginal Art. The awards were presented at the Art Gallery of Ballarat for the first time in 2013. In 2013 the University of Ballarat (now Federation University Australia) sponsored The University of Ballarat Acquisitive Award for Work Reflecting Victoria's Western District.Red soft covered book of 64 pages. The book has coloured reproctions and artist's overview on the works exhibited at the Art Gallery of Ballarat as part of the Awards. Artists include Ray Thomas, Georgia MacGuire, John Duggan, Peter Waples-Crowe, Bindi Cole, Bronwyn Razem, Lucy Williams-Connelly, Jack Anselmi, Deanne Gilson, Marlene Gilsonvictorian indigenous art awards, ray thomas, georgia macguire, john duggan, peter waples-crowe, bindi cole, bronwyn razem, lucy williams-connelly, jack anselmi, deanne gilson, marlene gilson, alumni -
Women's Art Register
Book, Fiona Foley et al, The Art of Politics, The Politics of Art: The Place of Indigenous Contemporary Art, 2006
... Indigenous Contemporary Art...Indigenous Australia and Contemporary Art Practice... Richmond melbourne Indigenous Australia and Contemporary Art ...A collection of essays on Indigenous art in mainstream Australia by international Indigenous and non-Indigenous academics, arts administrators and practising artists.non-fictionA collection of essays on Indigenous art in mainstream Australia by international Indigenous and non-Indigenous academics, arts administrators and practising artists. fiona foley, fiona nicoll, regina ganter, ole maiava, louise martin-chew, anna haebich, franca tamisari, aboriginal art, indigenous architecture -
Federation University Art Collection
Work on paper, Patrice Mahoney, 'Jobs, Policy and LOST' (tryptich) by Patrice Mahoney, 2014
... victorian indigenous art awards...). The Victorian Indigenous Art Awards 2014 were exhibited and judged.... It was awarded the 2014 Victorian Indigenous Art Awards Federation...). The Victorian Indigenous Art Awards 2014 were exhibited and judged ...These works are a display of my frustration of hour our family were lucky we were not beheaded, scalped, taken away and impaled as a warning to others not to enter farming lands, which had been traditional lands of the Nganyaywana country. The word 'Policy' represents the White Australia Policy, the word "Lost' stands for those lost including hundreds of family members, 'Jobs' asks why Aboriginal people can only find employment if through Aboriginal positions and policies. The number 3 symbolises myself and my siblings, red is for bloodshed, blue is for secrets and black the family history. Patrice MUTHAYMILES MAHONEY OAM Anewan/Nganyaywan/Dunghutti country. Patrice Mahoney is a printmaker, sculptor, weaver, drawer and painter. Her work challenges mainstream and Aboriginal Australians and is profoundly influenced by space, place and country, taking inspiration from nature, environment and looking forward to a time when she can return to her family's traditional country to make work. In 2012 the artist completed a Bachelor of Visual and Media Arts at Monash University’s Churchill campus (from 2014 Federation University's Churchill Campus). The Victorian Indigenous Art Awards 2014 were exhibited and judged at the Art Gallery of Ballarat.This unique edition triptych involves the techniques of intaglio copper plate, pigment, soft ground, open bite, aquatint, spit-bite, stamping, relief, drawing and burnishing on paper. It was awarded the 2014 Victorian Indigenous Art Awards Federation University Acquisitive Award for for work by a Victorian regional artist. Text, colour, metaphor and Aboriginal symbolism are important components of her work. This work expresses the artist's frustration with unjust situations experienced by traditional owners of Nganyaywana country. The word 'Policy' refers to White Australia Policy, 'Lost' the hundreds of lost family members, and 'Jobs' highlights the difficulty of Aboriginal peple obtaining work, especially outside Aboriginal positions and policy. The number 3 symbolises Patrice Mahoney's siblings, with black used to denote family history. The violently splattered red represents bloodshed, with the blue washing across the work obscuring details and representing secrets. The Selection Panel of the 2014 Victorian Indigenous Art Awards made the following comments on the work: 'The selection panel for the Federation University Acquisitive Award for 2014 were highly impressed by this work and applauded the vigorous use of symbolism and metaphor in a well scripted visual composition. The poignancy of connectedness to the past, memory, place and country is palpable and enhanced by the suggestive employment of text and minimal colour. A provocative and evocative work of art!artist, artwork, patrice mahoney, aboriginal, victorian indigenous awards, jobs, culture, printmaking, drawing, policies, lost, victorian indigenous art awards, available, alumni -
Federation University Art Collection
Painting - Artwork, Troy Firebrace, 'A Galaxy Swirl' by Troy Firebrace, 2015
... victorian indigenous art awards... Indigenous Art Awards. He completed Year Twelve at Shepparton... Indigenous Art Awards Federation University Acquisitive Award... Indigenous Art Awards. He completed Year Twelve at Shepparton ...Troy FIREBRACE (c1994-) Country/Language: Yorta Yorta Troy is a Shepparton born Yorta Yorta man, whose career is on the rise after winning the prestigious Federation University Acquisitive Award for Work by a Victorian Regional Artist at the 10th Victorian Indigenous Art Awards. He completed Year Twelve at Shepparton Secondary College in 2010, and in 2015 Troy was studying Creative Arts at La Trobe University, Bendigo where he has pursued his interest in his Aboriginal identity and art. He is largely influenced by the art of his Uncle Chris Firebrace and he enjoys the design aspects of creating a painting. Usually Troyʼs works contain a narrative, or at least hint of a meaning that he would like to convey to people. Influenced by the imagery of his Aboriginal cultural background he works at bringing together references of landscape, environmental processes and concerns, looking at the way in which we as humans relate to the natural world. Troy seeks to find and demonstrate a connection between humanity and the environment, exploring the idea of harmonious co-existence. Artist's statement: "‘Stories are being told and shared like particles in the universe, a constant swirl of words filled with emotions creating a pattern — explosions — smashing into each other creating a layering effect — creating worlds, planets — well nourished and suited to sustain life, and from this life new stories will emerge, to be told, to be shared — a continuous galaxy swirl. I like the idea that we are a part of something bigger — yes, the earth is massive, but we are just a speck of something far beyond the Milky Way itself.” The work was inspired by the work of abstract expressionist painter Jackson Pollock, science and space. This work won the 2015 Victorian Indigenous Art Awards Federation University Acquisitive Award for work by a Victorian regional artist. His canvas 'A Galaxy Swirl' was described by judges as ‘‘a vibrant and dynamic painting that, as the artist explains, epitomises a bringing together of modernism and Aboriginal arts’’.victorian indigenous art awards, troy firebrace, artwork, artist, indigenous, aboriginal, painting, indigenous artist -
Eltham District Historical Society Inc
Journal, Peter Doughtery, ArtStreams: News in arts and cultural heritage; Vol. 2, No. 3, Jun-Jul 1997, 1997
... indigenous art... indigenous art julie le bon jackie stojanova ranee lee daniel chabble ...Vol. 2, No. 3, Jun-Jul 1997 CONTENTS WEAVING ON A ROLL Author Jon Weaving talks about the pitfalls of success 3 DON’T PASS THE GUINNESS Poet Patrick McCauley turns over a new leaf 6 AIMING FOR THE TOP Prue Acton chases a dream 9 CULTURAL TOURISM Selling a way of life 12 CONVERSATION WITH BOB SMITH An artist shares some thoughts on the why and how of painting 14 REPRIEVE FOR A GATE Some traditions refuse to die 16 STALKING THE STRANGER Short story by Chris Stonehouse 18 THEATRE IN AUTUMN Melbourne theatre is alive and well 21 TO A WOLF THE KILL Anne Delaney reviews Jon Weaving's first novel 23 EXHIBITION REVIEWS Richard Besley, Neophytes, The Eye of the Storm, Soft But True 24, 26, 27, & 30 CD REVIEWS 28 NEW SOURCE OF POWER Tony Trembath lights up a town hall 29 WHO’S DOING WHAT 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/06) art streams, food for all seasons, prue acton, jon weaving, michelle lonsdale, sandon mcleod, patrickk mccauley, malcolm riddle, cultural tourism, valley of the arts tourism association inc., robert peter smith, danny chable, farm gate, spirit of eltham, chris stonehouse, eltham bookshop, carolyn pickett, anne delaney, richard besley, mike parr, anita furey, aboriginal art, indigenous art, julie le bon, jackie stojanova, ranee lee, daniel chabble, tony trembath, john kauffman, westerfolds park envirofest, were street cafe, helen o'grady children's drama academy, nillumbik art collection -
Eltham District Historical Society Inc
Newspaper - Newspaper clipping, Diamond Valley News, Festival adds Aboriginal spin, 2 Nov 2005
... indigenous art... Aboriginal Australians Colin McKinnon indigenous art Mia Mia Gallery ...Published Diamond Valley Leader, 2 Nov. 2005 The 2005 Rotary Eltham Town Festival for the first time included an indigineous component with a marquee in Alistair Knox Park dedicated to the theme. Colin McKinnon of the Mia Mia Gallery in Westerfolds Park coordinated the program.Newsprinteltham festival, 2005, eltham community festival, rotary club of eltham, rotary eltham town festival, aboriginal australians, colin mckinnon, indigenous art, mia mia gallery, one fire dance troupe -
Women's Art Register
Book, Joan Kerr, Heritage. The National Women's Art Book, 1995
... indigenous art...Women's Art Register Richmond Library, 415 Church Street ...500 works of art by 500 Australian women from colonial times to 1955 with images and commentaries on each work prepared by by 200 curators, critics, family member or the artists herself. Includes images of many works which may never have been reproduced. A biographical section comprises concise entries on these artists.Booknon-fiction500 works of art by 500 Australian women from colonial times to 1955 with images and commentaries on each work prepared by by 200 curators, critics, family member or the artists herself. Includes images of many works which may never have been reproduced. A biographical section comprises concise entries on these artists.colonial art, craft, competitions, portraiture, furniture, sculpture, indigenous art, museology -
Women's Art Register
Book - Anthology, Joan Kerr and Jo Holder, Past Present. The National Women's Art Anthology, N/A
... Indigenous art... in The Women's Art register Indigenous art political art gender ...Essays on feminist art, art history, criticism and museum practices in 1990s Australia by writers, academics, artists.non-fictionEssays on feminist art, art history, criticism and museum practices in 1990s Australia by writers, academics, artists.indigenous art, political art, gender, represenation, museology, photography, installation, graphic design, collaborative practices -
Victorian Aboriginal Corporation for Languages
Book, Donna Leslie, Aboriginal art : creativity and assimilation, 2008
... Indigenous art...Chapters entitled History of Aboriginal Art, Imagining... Namatjira Les Griggs Lin Onus Indigenous art colour photographs, b&w ...Chapters entitled History of Aboriginal Art, Imagining Albert Namatjira, Indigenous Renaissance, Creative Revolution, The Art of Les Griggs and The Art of Lin Onus.colour photographs, b&w photographs, colour illustrations, document reproductionsyorta yorta, cummeragunja, albert namatjira, les griggs, lin onus, indigenous art -
Victorian Aboriginal Corporation for Languages
Book, Ruth Learner, Indigenous languages of Victoria, revival and reclamation : Victorian Certificate of Education study design, 2004
... Indigenous art... examinations secondary school education Victorian education Indigenous ...Course design of Victorian Certificate of Education, on Indigenous languages of Victoria. Includes word lists.colour photographs, word lists, tablesvictorian certificate of education examinations, secondary school education, victorian education, indigenous art, worawa college -
Koorie Heritage Trust
Literary Work - Catalogue, National Gallery et al, Primitive Art Exhibition. Melbourne, 1943 National Gallery & National Museum of Victoria, 1943
... Indigenous art-exhibition... Federation Square, Melbourne melbourne Indigenous art-exhibition iii ...iii-vi; 26 P.; ports; ill.; 21 cm.indigenous art-exhibition -
Federation University Historical Collection
Photograph - Collection of Slides, Koorie Art and Design, 1994
... Indigenous Art... Indigenous Art First peoples Bill Rubina Kylie Abraham Series of 11 ...These are most likely student works from Koorie Art and Design course, 1994. Please note, scanned images are for archive reference only. Images may appear flipped or rotated, and colours may not be accurate.Series of 11 35mm mounted slides, from Koorie Art and Design classes, 1994. university of ballarat, federation university australia, graphic design, art, koorie, aboriginal art, indigenous art, first peoples, bill, rubina, kylie, abraham -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Destiny Deacon, Daisy and Heather discuss race, 2016
... Australian Indigenous Art... Photography Australian Indigenous Art Race Racism Colonisation Daisy ...The sarcastic title of this work pokes fun at the old fashioned idea that race should not be the subject of polite conversation. Deacon uses a white and a Black dolly to represent the unequal power dynamics that exist within Australian society. The dolls stand in for people who, based on the colour of their skin, experience the impact of racial inequality in vastly different ways. The cracked head of the white doll reveals an empty void. Symbolically violent, perhaps this emptiness suggests the dolls will never be able to fully comprehend one another’s experiences.This work was curated in RACE 2016 at Wyndham Art Gallery. Destiny Deacon (1956–2024) was a descendant of the KuKu (Far North Queensland) and Erub/Mer (Torres Strait) people. She exhibited nationally and internationally since the early 1990s in solo and group shows. Deacon held two major retrospectives, in 2004 and 2020, at the Museum of Contemporary Art, Sydney and at the National Gallery of Victoria, Melbourne respectively. Her 2004 survey show, Walk & don’t look blak, toured to the Metropolitan Museum of Photography in Tokyo, the Tjibao Cultural Centre in Noumea, New Caledonia and Wellington City Gallery in New Zealand. In 2022, she was the recipient of the Red Ochre Award for Lifetime Achievement at First Nations Arts Awards. In the same year, Deacon’s work was shown at the Australian Embassy in Paris in an exhibition titled Destiny - The art of Destiny Deacon. In 2023, Deacon was included in the Sharjah Biennial 15, Thinking Historically in the Present, conceived by the late Okwui Enwezor and curated by Hoor Al Qasimi. In 2024, Deacon's work was exhibited in the 24th Biennale of Sydney, Ten Thousand Suns, curated by Cosmin Costinas and Inti Guerrero. Deacon’s work is held in most major public collections in Australia as well as Tate, London, Museum Moderner Kunst (MUMOK), Stifting Ludwig, Vienna, Austria and Museum Sammlung Essl, Austria.first nations photography, australian photography, australian indigenous art, race, racism, colonisation -
Wyndham Art Gallery (Wyndham City Council)
Work on paper, Lisa Waup, refinding tomorrow, 2024
... Indigenous Art... First Nations Art Indigenous Art Identity Cultural story Women ...The cross design in refinding tomorrow represents a converging of pathways – pathways of connection that are coming together to ultimately form a whole. The crossroads is a powerful symbol of a moment in time, a positive reminder of the past and a chance to ponder the future. There is movement through time in these designs and a chance that something lost will be found again. I trust that I will always carry with me in my heart, body and spirit, the wisdom of knowledge from my ancestors.Lisa Waup is a mixed-cultural First Nations artist and curator who was born in Narrm (Melbourne). Her multidisciplinary practice encompasses a diverse range of media including weaving, printmaking, photography, sculpture, fashion, and digital art. With a deep connection to the symbolic power of materials, Lisa’s work reflects her personal experiences, family history, Country, and broader historical narratives. Through her practice, Lisa weaves together threads of lost history, ancestral relationships, motherhood, and the passage of time – which culminates in contemporary expressions that speak to her past, present and future. Lisa Waup holds a Master of Contemporary Art from the University of Melbourne and her work is held in both public and private collections in Australia and internationally. australian first nations art, indigenous art, identity, cultural story, women in art -
Geoffrey Kaye Museum of Anaesthetic History
Decorative object - Glass platter
... Indigenous art...platter snake goanna Indigenous art Aboriginal art First ...A large, square-shaped glass platter decorated in bright colours. The central well has three horizontal stripes of burgundy, burnt orange, and red. The central orange stripe has a black, roughly ovular shape in the middle with a red square in its centre. The lower red stripe depicts a person's face. Outside of the well is painted in an ultramarine blue, with a speckled yellow stripe across the width of the platter below the well. To the left of the well is the image of a snake in gold, and on the right of the well is the image of a goanna, also in gold. Above the well is the image of the Southern Cross painted in gold. In each corner of the platter is a square with a saltire (diagonal cross), each in different colours.platter, snake, goanna, indigenous art, aboriginal art, first nations art, southern cross -
Halls Gap & Grampians Historical Society
Photograph - Coloured
... This is a photo of the indigenous art at Bunjil's Cave.... of the indigenous art at Bunjil's Cave. PAINTING Rock Art The photo shows ...This is a photo of the indigenous art at Bunjil's Cave.The photo shows rock art in a small cave. The art consists of a large human like figure which seems to be seated cross legged, and two small animals to the right.painting, rock art -
Women's Art Register
Book, David Humphries et al, The Mural Manual. A guide to community murals in Australia, 1982
... Art Register Murals Trade Unions women's murals Indigenous ...An illustrated survey of public mural projects during the 1970's and 1980's in metropolitan and regional communities including feminist, Trade Union, and Indigenous projects.non-fictionAn illustrated survey of public mural projects during the 1970's and 1980's in metropolitan and regional communities including feminist, Trade Union, and Indigenous projects.murals, trade unions, women's murals, indigenous, urban art, political art, community arts, community arts network, eve glen, carol ruff, sarah macnamarra, barbary o'brien, community arts board, geoff hogg, ann newmarch, merilyn fairskye, catriona moore -
Wangaratta Art Gallery
Painting, Wally Cooper, untitled, 2011
... indigenous australian art... indigenous australian artist indigenous australian art painting ...Rural City of Wangaratta Collection. Donation of Artist.A sunset landscape painted in acrylic using reds, oranges, yellows, blues, and blacks.wangaratta art gallery, landscape, sunset, wally cooper, indigenous australian artist, indigenous australian art, painting -
Women's Art Register
Book, Judy Horacek, Life on the Edge. Cartoons by Judy Horacek, 1992
... Women's Art Register Richmond Library, 415 Church Street ...Collected cartoons by Melbourne cartoonist and writer Judy Horacek, who believes "humour is a fantastic way of changing the world." ( from biographical noes). The introduction was written by Dale Spender.booknon-fictionCollected cartoons by Melbourne cartoonist and writer Judy Horacek, who believes "humour is a fantastic way of changing the world." ( from biographical noes). The introduction was written by Dale Spender.political art, community art, indigenous rights, racism, discrimination -
Victorian Aboriginal Corporation for Languages
Book, Bruce Pascoe, The little red yellow black book : an introduction to Indigenous Australia, 2008
... Street Brunswick melbourne Indigenous history culture art sport ...The Little Red Yellow Black Book is an accessible and highly illustrated pocket-sized guide. It's an invaluable introduction to Australia's rich Aboriginal and Torres Strait Islander histories and culture. It takes a non-chronological approach and is written from an Indigenous viewpoint. The themes that emerge are the importance of identity, and adaptation and continuity. If you want to read stories the media don't tell you, mini-essays on famous as well as everyday individuals and organisations will provide insights into a range of Australian Indigenous experiences.maps, b&w photographs, colour photographsindigenous history, culture, art, sport, health, education, employment, reconciliation, resistance, governance -
Koorie Heritage Trust
Book, Bellear, Lisa, Central Business Dreaming, 2008
... Melbourne (Vic). Indigenous Arts Program. | Art... Federation Square, Melbourne melbourne Melbourne (Vic). Indigenous ...In recognition of Indigenous culture, we (The City of Melbourne) have initiated and supported the only dedicated local government indigenous arts funding program in Victoria.3-138 P.; ports.; index; facs.In recognition of Indigenous culture, we (The City of Melbourne) have initiated and supported the only dedicated local government indigenous arts funding program in Victoria.melbourne (vic). indigenous arts program. | art, aboriginal australian -- victoria -- melbourne. | art, aboriginal australian. | -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Sculpture, Ellen José, Boon wurrung Blossom, 2008
... in their hair. boon wurrung blossom sculpture public art indigenous ...The bluestone is laid on crushed yellow ochre sandstone, with the base encircled by indigenous flowering plants. Each rock represents one of the six clans that made up the Boon wurrung. For thousands of years, Boon wurrung women and children congregated in this area during special periods in spring and summer. The area was rich in seafood and had fresh water wells dotted around it. Among the Banksia trees that provided shelter, grew indigenous plants and flowers through which the women made garlands to wear in their hair.boon wurrung, blossom, sculpture, public art, indigenous, bayside indigenous coastal trail, ellen josé, ellen jose, bluestone, sandstone -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - acrylic on linen, Alec Baker, Ngura (Country), 2019
... Alec Baker Yankunytjatjara Indigenous Bayside Acquisitive Art ...Winner of Bayside Acquisitive Art Prize 2020-21.ngura, country, alec baker, yankunytjatjara, indigenous, bayside acquisitive art prize -
Geoffrey Kaye Museum of Anaesthetic History
Painting, Jeannie Petyarre, Medicine Leaves, 2005
... design abstract art Indigenous artists First Nations artists ...An unframed square acrylic-on-canvas painting in tones of green and white forming an abstract botanical pattern that radiates out from the centre. A renowned Anmatyerre artist from Utopia, Northern Territory, Petyarre’s work carries more than pigment—it holds a lineage of care. These sweeping, rhythmic brushstrokes represent Kurrajong leaves and other medicinal plants traditionally gathered and prepared by women healers. Passed from grandmother to granddaughter, these practices are a form of medicine beyond the clinical. They speak of country, ceremony, and community. They evoke breath, movement, and the cyclical nature of wellbeing. Hand painted on reverse. "JEANNIE PETYARRE 60X60" Handwritten on reverse. "(Sister of Gloria Petyarre) / "Medicine Leaves" 2005. / Presented to ANZCA by Prof. Michael Cousins 16/6/06"oil paint, acrylic paint, floral, floral design, botanical design, abstract art, indigenous artists, first nations artists, australian artists, australian art -
Victorian Interpretive Projects Inc.
Book, Janice Newton, 'Mullawallah: The Last King Billy of Ballarat' by Janice Newton, 2015
... of Indigenous Art' and 'Indigenous History' at Federation University... on 'The Anthropology of Indigenous Art' and 'Indigenous History' at Federation ...Dr Janice Newton has had a long term interest in Indigenous Studies and Aboriginality, and has published papers linking Aboriginality to the counterculture and to artists and musicians. She has published a paper commenting on Ballarat's response to the death in 1896 of King Billy, the so called 'last of his tribe'. Janice has recently taught courses on 'The Anthropology of Indigenous Art' and 'Indigenous History' at Federation University Australia.56 page soft covered booklet outlining the life of Ballarat's Mullawallah (also known as King Billy or Frank Wilson). Numerous photographs. The book 'Mullawallah: The Last King Billy of Ballarat' is an initiative of Victorian Interpretive Projects. It is available for purchase for $15.00 (additional for postage). Please email [email protected] for further details. Images include: Ercildoun, Lake Burrumbeet, Lal Lal Falls, William Buckley, Warrenheip, King Billy and his Camp in McCree's Paddock, King Billy and His Tribe, Carl Walter King Billy, Mary of Carngham, Rosa of Carngham, King Billy (Bullip Bullip), Queen Mary of Buninyong, Queen Marie of Ballarat, Queen Mary and King Billy and their original mia mia, Football at Ercildoune, Thomas Jerusalem, Samuel Wilson, Frank the last of the Ballarat Tribe, The Burial of King Billy, King Billy's Grave. mullawullah, frank wilson, king billy, aborigines, wathauwrung, wadawurrung, aboriginal, ercildoun, ercildoune, lake learmonth -
RMIT Design Archives
Textile lengths, Canna leaf
... motifs and colours inspired by Australian Indigenous art, Pacific... by Australian Indigenous art, Pacific Island cultures, Australian flora ...Dr. Frances Mary Burke (1907 - 1994) was a textile designer and printer, businesswoman, artist and Australian design advocate and retailer. Burke’s modern abstract textile designs incorporated motifs and colours inspired by Australian Indigenous art, Pacific Island cultures, Australian flora and fauna, English gardens, and the sea and its wildlife. Following Burke’s death in 1994, her life-long companion Miss Fabie Chamberlain donated the contents of Burke’s studio to RMIT University.Single colour screenprint, white fabric with chartreuse coloured print of positive large format design featuring large stylised canna leaf motif.Printed on selvedge 'CANNA LEAF' a "Frances Burke" UNIT COLOUR DESIGN'textile, australian flora, rmit design archives -
Australian National Surfing Museum
Surf Contest Pass, 2000 Bells Beach Competition Pass, 01/03/2000
... Classic. The pass features cover art by Indigenous artist Glenn... Indigenous artwork by Torquay artist/surfer Glenn Romanis bells beach ...This event access pass was issued to staff, vendors and community volunteers at the 2000 Rip Curl Pro at Bells Beach.The access pass is typical of the pass issued each year to the staff and workers at the longest running surfing contest in the world. The pass features unique Indigenous artwork by Torquay artist/surfer Glenn Romanis2000 Rip Curl Pro Access Pass. Full colour laminated access pass (Outside Staff) for the 2000 Rip Curl Pro and Sunsmart Classic. The pass features cover art by Indigenous artist Glenn Romanis and event management logos. The pass also features a site map on the back and access information.Event management logos on the front. Indigenous Bell artwork by Torquay artist/surfer Glenn Romanis.bells beach, rip curl, glenn romanis, surfing victoria, 2000 rip curl pro -
Federation University Art Collection
Painting - Natural pigment on bark, Mawurndjul, John, 'Female Wayarra Spirit' by John Mawurndjul, 1995
... of contemporary Indigenous art from Australia at the Musee du Quai Branly... of the largest inernational commission of contemporary Indigenous art ...Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan