Vol. 5, No. 5 (4), Sep-Oct 2000 CONTENTS From Beach to Battleground 3 Talking art with Rick Amor The Poetry of Catharsis 7 New Work by Sandy Jeffs Saltwater 8 Paintings of Sea Country Snake Circle 10 Reviewed by Anna Barden Short Story 12 The Rainbow Shell Theatre Reviews 16 By Kathy Oliver Interview 18 David Moore and why he paints Art Now 21 City of Darebin Biennial Exhibition Australian Classical Music 22 Betty Scarlett William Barak Writing Competition 24 Stories by Emily Borg & Rhiannon Foster New Arts Contributors 26 Were Street Cafe & Studio19 Artin About 27 Wining & Dining 30 Poetry 32 By Shelton Lea Artist's Services 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, rick amor, willy wonka's ice cream gourmet food, bulleen art & garden centre, sandy jeffs, museum of modern art at heide, sea country, indigenous paintings, roberta sykes, kinglake gallery, sue yardley, alan marshall short story award, plenty ranges arts & convention centre, eltham little theartre, warrandyte theartre company, eltham wiregrass gallery, david moore, montsalvat, art now, at winter's end festival, artstreams publications, amberley, anthology of australian music on disc, plenty views golf park, wayne viney, william barak short story competition, emily borg, rhiannon foster, dynamic vegies, maria pellicano, steve pellicano, were street cafe, gemma lynch-memory, adriane strampp, nina christesen, stephanie holt, st andrews market, thompsons pharmacy

Local Indigenous PlantWatercolour paintings - Indigenous Plants of the Basalt Plains. Part of series of 14 commissioned paintings.

Local Indigenous PlantWatercolour painting - Indigenous Plants of the Basalt Plains. Part of series of 14 commissioned paintings.Details of the plant on the back of the painting

These eggs could be ostrich eggs from an ostrich farm which operated just out of Marlo. It is likely that they were donated by Kate and Richard Earle who ran the enterprise. Emu and ostrich eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and aesthetic appeal.Two painted eggs on stands. 1907.1 is painted black and has white emus or ostriches painted on it. 1907.2 is painted white and has black emus or ostriches painted on it. Both stands are wooden with brass pedestals. The eggs are possibly ostrich eggs.handcraft emu-egg ornament ostrich-egg

Emu eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and its aesthetic appeal.An emu egg which has been painted white and decorated with glued on cord/thread to make a pattern of flowers and leaves.emu-egg ornament handcraft

Neil Douglas (1911 - 2003) was an artist and conservationist. In 1964 he founded a co-operative consisting of families who wished to live in harmony with the bush and indigenous wildlife at Bend of Islands, Kangaroo Ground. Contents: 1. Photocopy from unknown community newspaper October 1978: "The Balancing of Nature" an interview with Neil Douglas. Page also includes an article" Ecology" about plans being drafted for the construction of a completely biodegradable 100% organic school which refers to the unnamed Eltham College. 2. Folio depicting six artworks by Neil Douglass produced by Toorak Art Gallery, South Yarra. The paintings are: “Summer Creek”, “Eighteen Emus", "The Strange Australian Presence" (Black and white), "Ways before the Whiteman - Kangaroo Pad" (Wyperfeld National Park), (back and white) with caption, "Swipers Gully" and “Bush in Drought” (date unknown).neil douglas, paintings, etham college

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

In April 2002, illustrative panels were set in place at Kangaroo Ground War Memorial Park designed to inform visitors about significant aspects of the reserve and its tower. One of these deals with its indigenous story, another portrays its original 1920 memorial, a third has upon it Will Longstaff’s famous war painting, “Midnight at Menin Gate.” This sign establishes a connection with the First World War by way of the painting "Menin Gate at Midnight". (NL 144) The artist William Longstaff lived in Eltham; his son attended school at Kangaroo Ground. The orignal of his painting is on permanent display in the Australian War Memorial. Since this photograph was taken (date unknown) the information panel has been restored and re-erected by staff of the Shire of Nillumbik who replicated the wooden side frame pieces with the same wood-turn design as seen here in the original. Colour photographMENIN GATE AT MIDNIGHT Will Longstaff, 1927 Oil on canvas, Size 135cm high x 254cm wide Collection: Australian War Memorial The artist Will Longstaff was born in in Ballarat in 1879 and died at Littlehampton, Sussex, UK, 1953. Will Longstaff for many years lived in Eltham, his son Tommy, attending school at Kangaroo Ground. As an Official War Artist, will Longstaff depicted in his alegorical painting the Menin Gate Memorial, Ypres, Belgium. The Memorial unveiled on 24th July 1927 honours by name over 50, 000 allied soldiers who fell in the Great War and have no known graves. The names of 6,208 men of the first Australian Imperial Force (A.I.F.) are listed within the Memorial on stone tablets. The painting held huge emotional appeal to Australians when it arrived from England in 1928, attracting an estimated one million viewers, many of whom interpreted the field of red poppies in the foreground as the spirits of the dead rising from their unknown graves. The painting is to be found in the Australian War Memorial, Canberra.menin gate at midnight, william longstaff, kangaroo ground memorial, information panel, shire of eltham war memorial

The Tower Hill Reserve is located inside a dormant volcano, and features a lake and wetlands. It became Victoria's first national park in 1892, but by the 1930s the early settlers had cleared much of the land for grazing, cropping and quarrying. In the 1960s the bare hills and islands were revegetated based in species identified from Eugene von Guerard's painting of Tower Hill. Tower Hill was formed around 30,000 years ago in a violent volcanic eruption. The initial eruption created the outer rim of the volcano, and later smaller eruptions formed the internal hills that are evident today. The layers of volcanic ash layers include artefacts relating to indigenous communites.A series of colour digital photographs showing Tower Hill, near Port Fairy, Victoria. Tower Hill is an extinct volcano.tower hill, volcano, extinct

Booknon-fictionOverview of traditional and urban imagery with each chapter describing the creative philosophies and inspirations behind each artists' works including the spiritual and political. practicefiona foley, gorden bennett, ellen jose, heather walker, raymond meeks

xvi, 218 p. illus. : non-fictionA collection of stories of Aboriginal mythsaboriginal, human rights, myths, legends, robinson roland edward, australian indigenous tribes, storytellers, poetry, roper river, northern territory, sydney morning herald, the age, folk-lore, dreamtime legends, sacred songs, vesper alexander, worrell eric, naturalist, zoology, legend and dreaming

A small soft cover book with a blue/green cover,on the front cover is a painting of early Australia with Indigenous Australians hunting with spears alongside them is a European with long unkept hair and a beard dressed in animal skins,on the back cover is text by the author giving a brief outline of the book.buckley, sorrento, robinson crusoe, port phillip, van diemen's land, colonialism, 1840, convicts, indigenous tribes.

Winner of the 175th Anniversary of Edward Henty landing at Portland, Acquisitive Art Prize.Gouache on paper depiction of Edward Henty's arrival at Portland Bay. Cream coloured mat board. Light coloured wooden frame. Wire hanging cord. A colourful border depicting native animals as well as other items such as a steam train, shovel, cartwheels surrounds an image of the coastline. Each corner of the border shows a sailing ship. In the foreground are two Indigenous Australians seated on the floor surrounded by bushland. To the left stands a man in European clothing - green trousers and a striped top. He is ankle deep in the water. Behind him are two baskets which he holds with a chain. Behind that are two sheep. Top left is a parchment which says, Thistle the Pioneer, Nov 19th 1834.Front: Back - 'Jennifer McCarthy Edward Henty - Arrival 2009' - Brown texta Also framers sticker1834, the thistle, henty, colonial, portland bay

The Creation Serpent is the central image moving through the land. As well as being the creator of the land, it's whole image, coloured blocks and individual dots represent the Gunditjmara Nation, tribal groups and individual clans respectively. The four hands in the corners mark all peoples who at present form our community. They show the people that live on the land in the north, south, east and west of the Shire. The two shaded hands in the background represent the spirit of the old people living within the land. They not only point to the law which governs the country but also remind us of the spirits of those elders whose lives were lost both in battle and in life itself.This artwork was the cover art chosen for the Memorandum of Understanding between the Glenelg Shire Council and Indigenous Communities of 2005. Danny Lovett is a Gunditjmara artist.An image of a serpent in the centre of the work. The serpent is depicted in white dots. Its body has sections of yellow and blue. It's head is burgundy. Surrounding the serpent in each corner there are four handprints. The background of the work is painted blue, red and yellow areas which look sponged. Surrounding the artwork is a border of black and white also with a sponged effect. It is framed in dark brown plain wood.first nations, aboriginal art, serpent

"The marine Hydrographers of the British Admiralty wanted desperately to chart a safe passage through the Great Barrier Reef and the gap between the northern tip of Australia and Papua New Guinea, which would open up the new colony to the East Indies trade. They commissioned the Rattlesnake, a 28 gun frigate of the Royal Navy, whose captain was a keen amateur artist and whose name, Owen Stanley, was given to the mountain ranges of PNG. After the passage out, Stanley brought aboard Oswald Brierly, later to be the marine painter to Queen Victoria, and together these men made two voyages through the Great Barrier Reef, painting and sketching all the while. They produced a visual record of 19th century contact between Europeans and the indigenous people of Northern Australia and New Guinea in an album which contains the original of this copy. It is held in the Mitchell Library in Sydney." (ref. State Library New South Wales) Sir Oswald Brierly, a young marine artist, arrived in Sydney in 1842 on the yacht Wanderer. Settling at the whaling station of Boyd Town in Twofold Bay, he painted extensively and left a vivid account of the whaling life during the five years he spent there. However it was the open sea and adventure that lead Brierly to accept a position on the HMS Rattlesnake as shipboard artist. This item is associated with the anchor of the The Rattlesnake. This anchor is in the main street of Orbost in front of what was once the museum.This is a copy of a picture of the H.M.S. Rattlesnake at sea with a canoe of Aborigines rowing towards it.h.m.s.-rattlesnake brierly-oswald stanley-owen

Daniel Boyd’s practice often investigates complex or contrasting forces, such as the primitive and the modern, this world and the next, and traditional techniques fused with contemporary methods. He completed a Bachelor of Arts at the Australian National University School of Art and in 2012 he was artist-in-residence at the Natural History Museum in London. There he reflected on the Museums collection’s historic images concerning the First Fleet’s arrival in Australia and their tendency to obscure the original identity of any indigenous subjects. It was during this residency he researched and made the Up In Smoke Tour series of work that concerns this omission and the lives of Indigenous Australians following the bleak realities of colonialism. Using archival resin glue and watercolour on photocopied images to recast and reimagine dot-paintings, Boyd masks attempts to identify the image or narrative of his works. He reinterprets Aboriginal and Australian-European history through recasting artworks and icons and altering the familiar interpretation of materials, here using Museum specimen boxes that previously contained the bones of Aboriginal people.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, cultural identity, daniel boyd, painting, assemblage

‘This is a beautiful landscape in sandhills country after rain. We went hunting for echidna and goanna and looking for witchetty grubs and bush potatoes.’ Artwork acquired as part of a project between City of Stonnington and World Vision. "This shows the soakage on my country. My tucker is conkerberry which is found all over this land." Epenarra is a remote indigenous community 220kms South East of Tennant Creek, Northern Territory.Mossgreen catalogue # 2 with certificate of authenticity World Vision. Acrylic on canvas.There is a registration level on the back of the artwork.stonnington contemporary art collection, first peoples, painting, first nations, indigenous, aboriginal torres strait islander, topsy akemarr beasley, landscape

‘This is a soakage that has been around for a long time. Four ladies are collecting their water in coolamons. They have digging sticks with them from hunting and now they are getting water.’ This artwork was acquired as part of a project between City of Stonnington and World Vision.Epenarra is a remote indigenous community 220kms South East of Tennant Creek, Northern Territory.Framed artwork. Acrylic on canvas.There is a registration label on the back. 'Kwaty Nagenty' handwritten in texta on the canvas, registration label on the back. NOTE: two works cite the same Mossgreen catalogue number.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, water, jessie akemarr beasley jr.

‘Cockatoos go and get food from the trees, seeds, conkaberry and bush beans. Cockatoos live near the creek.’ This artwork was acquired as part of a project between City of Stonnington and World Vision. Epenarra is a remote indigenous community 220kms South East of Tennant Creek, Northern Territory.Framed artwork. Mossgreen catalogue # 9 with certificate of authenticity World Vision. Acrylic on canvas.Canvas is titled on the back. NOTE: two works cite the same Mossgreen catalogue number.stonnington contemporary art collection, first peoples, painting, first nations, indigenous, aboriginal torres strait islander, jessie akemarr beasley jr., cockatoo

‘This is a beautiful landscape in sandhills country after rain. We went hunting for echidna and goanna and looking for witchetty grubs and bush potatoes.’ Artwork acquired as part of a project between City of Stonnington and World Vision.stonnington contemporary art collection, first peoples, painting, first nations, indigenous, aboriginal torres strait islander, landscape, susie ngwarrey peterson

John Prince Siddon is a Walmajarri man who lives in the remote township of Fitzroy Crossing in the West Kimberley. Purlkartu (spider) is a brave foray into technologically assisted printmaking. His painted bull skull has been scanned, modeled and 3D printed with his original markings forming an embossed layer on the surface. Prince then finishes the sculpture with acrylic paint retracing some of his marks and inventing others. By embracing futuristic technology Prince challenges notions of Indigenous painting. JOHN PRINCE SIDDON's psychedelic surrealist paintings bring some of the most urgent themes of our time into piercing view. His ironic combination of Australian narratives, current affairs and ancestral creation stories articulate some of the complexities of the present-day Australian experience. Prince challenges traditional notions of Indigenous painting. Combining diverse influences drawn from television, the traditional Kimberley craft of boab nut carving, desert iconography and the epic characters of Narrangkarni (Dreamtime), he creates a ground breaking style of painting and sculpture that is eclectic, gothic and psychedelic. His vibrant paintings, 3D printed, painted bull skulls and kangaroo hides explore his Country and history. They engage with issues of national and global significance, from the recent floods, endangered species, destruction of Indigenous landmarks and global warming to the war in Ukraine, gun control and the shortcomings of our politicians. Originally from the Great Sandy Desert, Walmajarri people were displaced and relocated through systems of colonisation. John Prince Siddon is a Walmajarri man and like many men from the Kimberley, spent his early years working on cattle stations. His father, Pompey Siddon, was one of the founding members of the Mangkaja Arts Resource Agency. Prince is part of a long tradition of Kimberley men who see truth telling and communicating their personal history and lived experiences as a matter of urgency. These paintings challenge conservative ideas of Indigenous painting; disrupting our notions of Australian contemporary art. John Prince Siddon has been a finalist in the Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) at the Museum and Art Gallery Northern Territory (2021, 2020, 2019, 2018). He was also a featured artist at the Tarnanthi 2021 festival at the Art Gallery of South Australia. His solo exhibition ‘All Mixed Up’ at the Fremantle Arts Centre, presented in conjunction with the Perth Festival 2020, was heralded as the ‘stand-out exhibition’ of the festival by John McDonald of the Sydney Morning Herald. His works are included in the collections of the Art Gallery of Western Australia, Art Gallery of South Australia and Artbank. technology, first peoples, indigenous painting, future, bull, spider, bead, purlkartu, kimberley, walmajarri, 3d print, embossed

Bob Kelly paints landscapes of culturally significant sites along the Mornington Peninsula and depicts these locations as he imagines they originally were before colonisation. Using traditional Western painting techniques, Kelly records the underlying spirit of the Peninsula from a Wathaurong perspective. Chinaman’s Creek in Capel Sound (Rosebud West) was an important watercourse that originally ran from Wonga (Arthur’s Seat) down through Tootgarook Swamp into Port Phillip Bay. It was a great fresh water and food source and home for many Boonwurrung people. Since settlement over 170 years ago, the creek has been drained, blocked, reconstructed and damaged. Kelly depicts a lush green landscape in which the clean creek water winds through the surrounding vegetation of spinifex grasses and gum trees, the background hills are abundant with trees, untouched from man's intervention. Using painstaking detail, Kelly records each blade of grass and ripple on the surface of Chinaman’s Creek. His attention to detail serves to powerfully reimagine this important cultural site, returning it to its former pristine state, and reinvigorating its role as a key place of sustenance for the Indigenous populations of the Peninsula. Chinaman's Creek was a finalist in the 2017 Bayside Acquisitive Art Prize.oil and acrylic on canvaslandscape, creek, trees, chinaman's creek, painting, indigenous, robert kelly, bayside acquisitive art prize, bob kelly, wathaurong, rosebud, arthur's seat, tootgarook swamp, port phillip bay, boonwurrung

Winner of Bayside Acquisitive Art Prize 2020-21.ngura, country, alec baker, yankunytjatjara, indigenous, bayside acquisitive art prize

Contemporary ArtAcquired with funds raised by The Friends of Benalla Art Gallery, 2014Partial portrait depicting indigenous person with paint covering part of face. Unframed work. Recto: Not signed, not dated, not titledpainting, portrait, indigenous, paint

australian artist, first nations artist, female artist, wonder woman, suzie quattro, sport spice, dolly parton, beyonce, catwoman, tina turner, david hasselhoff, painting, indigenous

Ellen José, Pipi 1998, oil on linen, 92 x 92 cm. Bayside City Council Art and Heritage Collection. Purchased 2022oil on linen (diptych)pipi, ellen josé, ellen jose, torres strait, indigenous, painting