Photograph of a number of infantry personnel in front of a multi-leveled barracks in Noumea, New Caledoniaarmed forces, new caledonia, noumea, barracks, military

In the collection belonging to H.J.B.Burrell BEM MM, VX 59659. Refer 290, 296.2P, 297.2P, 298.4.Banknotes from various countries. .1) 5 Sen, bluish colour, Asian .2) 1/2 shilling, Japanese Govt, purplish colour .3) 5 Yen, green, red & blue .4) Asian , redish colour, RF 302054 .5) 5 Francs, Noumea, redish colour .6) 20 Francs Noumea, purple/ green, with lyrebird illustration currency, notes, asian

According to the shipslist.com, the Union Steam Ship Company of New Zealand had 3 ships called Koranui. Koranui (1) 1883 1885 taken over with Black Diamond Line fleet, 1889 wrecked Blind Bay. 448 Koranui (2) 1914 ex- Cleopatra (A.Kirsten, Hamburg), 1920 war reparations and renamed, 1953 to J. Hagen, Noumea, renamed Neo Hebridais II. 1,266 Koranui (3) 1956 1976 sold to Maldives, renamed South Pacific. 3,722 The buoy is most likely coming from one of the last two on te list.The lifebuoy is a essential piece of equipment on a ship; as it has the name of the ship written on it it is often a memorabilia kept after the ship has changed name or has been broken up.Ring shaped life preserver from SS Koranui divided into four sections alternating between red and white colourings.Black writing on white sections of buoy: "S.S. KORANUI/MELBOURNE"buoy, safety wheel, lifebelt, water wheely, ring buoy, lifering, lifesaver, life donut, life preserver, perry buoy, mission to seafarers, seamen's mission, ss koranui, new zeaaland, union steam ship company of new zealand, rescue, life saving equipment

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