The mural was commissioned and executed in 2020Series of three born digital photos of a mural in Brougham Streetstreet art -- kew (vic.), public art

Two newspaper articles. One in colour

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

Banyule City Council outlines its strategy for managing graffiti or street art over the period 2015-201824 pages, text and colour illustrations.banyule city council, street art, graffiti

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

As a way of raising funds, an art exhibition and sale of paintings was held at the William Street offices of the Royal Blind Society before they moved to their new offices in Enfield. This was one of a series of events held to say goodbye to the former building and to pay for the creation of purpose built offices outside of the CBD. 6 page booklet providing a brief history and overview of current situation, including a list of auction itemsroyal blind society of nsw, fundraising

The Art of Speech, A Note Book for Use in Speech Training and Oral English Lessons by H. W. Traynor. Second Edition-Revised. Hard cover book with mid blue cloth cover. Foreword by Professor J. J. Stable, M.A., The University of Queensland, Brisbane, February, 1940.Preface by H.W.T., Grimwade House, Melbourne Church of England Grammar School, 1939. Topics include Introductory; Voice and Speech; Respiration - The Act of Breathing; Phonetics; Vowels; Diphthongs; Consonants; On Reading Aloud; A Self-Correction Chart and Index of First Lines and Authors.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - the art of speech, h w traynor, australian music examination board, professor j j stable ma, whitcombe & tombs pty ltd, professor g h cowling, mr a j dunstan, hwt, australian educational quarterly april 1929

fay bridge collection, 1990-01, art, bridge street bridge, graffiti

Black and white photograph of two school boys chalk drawing on the footpath during a "Street Art" activity at 100 year festival

Carrie Lam, Hong Kong’s chief executive, had plenty of political support in the territory’s pro-Beijing legislature to pass a bill that would allow extraditions to mainland China. The legislators were set to begin discussing the bill in early June, and intended to vote on it just weeks later. A series of protests took place, and after a June 16 protest saw the largest turnout yet, Ms. Lam made a major concession: She postponed the bill, at least temporarily. It was an undeniable victory for the protesters — but it did little to quell the unrest. Since the bill could later be reintroduced, protesters felt they remained in danger. The police tactics to break up the demonstrations on June 12, including the use of more than 150 tear gas canisters to push protesters far away from the government office, created a new set of demands from the protesters. Now, instead of just calling for the withdrawal of the bill and Ms. Lam’s resignation, they said they wouldn’t be content unless there was an independent investigation of officers’ conduct. They also wanted the release of protesters arrested on June 12, and for the government to rescind its description of the demonstrations as a “riot,” a designation that carries legal significance. None of that has happened. Many analysts say Ms. Lam is unlikely to step down, nor would Beijing accept her resignation if she offered it. She has more wiggle room on the other demands, but has not indicated any willingness to budge. The Hong Kong Protests are a leaderless, digital movement.There is no single leader or group deciding on or steering the strategy, tactics and goals of the movement. Instead, protesters have used forums and messaging apps to decide next steps. Anyone can suggest a course of action, and others then vote on whether they support it. The most popular ideas rise to the top, and then people rally to make them happen. At its best, this structure has empowered many people to participate and have their voices heard. Protesters say it keeps them all safe by not allowing the government to target specific leaders. Their success in halting the extradition bill, which was shelved by the territory’s chief executive, speaks to the movement’s power. Despite the lack of a clear leader, protesters have shown extensive coordination at the demonstrations, having planned the specifics online beforehand. Supply stations are set up to distribute water, snacks, gloves, umbrellas and shields made of cardboard. Volunteer first aid workers wear brightly colored vests. People form assembly lines to pass supplies across long distances, with protesters communicating what they need through a series of predetermined hand signals. Anyone walking in dangerous areas without a helmet or a mask is quickly offered one. No individual can speak on behalf of the protesters, which makes negotiations difficult, if not impossible. (https://www.nytimes.com/2019/07/02/world/asia/hong-kong-protest-explained.html, accessed 07/07/2019) Hong Kong’s amended extradition law would allow the extradition of suspects to mainland China for the first time. Supporters say the amendments are key to ensuring the city does not become a criminal refuge, but critics worry Beijing will use the law to extradite political opponents and others to China where their legal protections cannot be guaranteed. The government claims the push to change the law, which would also apply to Taiwan and Macau, stems from the killing last year of a Hong Kong woman while she was in Taiwan with her boyfriend. Authorities in Taiwan suspect the woman’s boyfriend, who remains in Hong Kong, but cannot try him because no extradition agreement is in place. Under the amended law, those accused of offences punishable by seven years or more in prison could be extradited. The new legislation would give Hong Kong’s leader, known as the chief executive, authority to approve extradition requests, after review by the courts. Hong Kong’s legislature, the legislative council, would not have any oversight over the extradition process. Many Hong Kongers fear the proposed extradition law will be used by authorities to target political enemies. They worry the new legislation spells the end of the “one country, two systems” policy, eroding the civil rights enjoyed by Hong Kong residents since the handover of sovereignty from the UK to China in 1997. Many attending the protests on Sunday said they could not trust China as it had often used non-political crimes to target government critics, and said they also feared Hong Kong officials would not be able to reject Beijing’s requests. Legal professionals have also expressed concern over the rights of those sent across the border to be tried. The conviction rate in Chinese courts is as high as 99%. Arbitrary detentions, torture and denial of legal representation of one’s choosing are also common. Many in the protests on Sunday 09 June 2019 said they felt overwhelmed by a sense of helplessness in the face of mainland China’s increasing political, economic and cultural influence in Hong Kong. Hong Kong’s top political leader is not elected by ordinary voters but by a 1,200-strong election committee accountable to Beijing. Half of its legislature are chosen through indirect electoral systems that favour pro-Beijing figures. Many Hong Kongers also cited the jailing of leaders and activists from the 2014 Occupy Central movement– a 79-day mass civil disobedience movement – as well as the disqualification of young localist lawmakers as signs of the erosion of civil freedoms. Resentment towards China has been intensified by soaring property prices – with increasing numbers of mainland Chinese buying properties in the city – as well as the government’s “patriotic education” drive, and the large numbers of mainland tourists who flock to Hong Kong. Many Hong Kongers are also concerned about China’s growing control over the city’s news media, as they increasingly self-censor and follow Beijing’s tacit orders. https://www.theguardian.com/world/2019/jun/10/what-are-the-hong-kong-protests-about-explainerPhotograph of a street art poster taken on the streets of Hong Kong during the protests against legislation to allow Hong Kong suspects to be extradited to mainland Chinese carrie lam, hong kong protests, extraditions, poster art, posters

Colour photograph of the the former Ballarat Courtroom, at the Ballarat State Offices, now part of the Federation University Camp Street Campus.state offices, former ballarat court house, courtroom, ballarat, federation univeristy camp st campus, arts academy, camp street, art deco

Sponsored by Alfred M. Nicholas the Deco era Mission building facing Beach street built by Architect Harry Norris opened in 1937. The building was then in WW2 requisitioned with the Mission returning to full use of the complex some years after the War ended. The building in later years was relinquished due to decreasing shipping at Port Melbourne and need to consolidate seafarers services in the Central Mission at 717 Flinders St. The building was used as an art centre just prior to demolition in the 1990s. The Port Melbourne Historical and Preservation Society was instrumental in ensuring the the old foundation stone was preserved in the sea wall opposite the original site. A single brick from the building is also part of the MtSV Heritage Collection. This stone is one of the few items remaining from this building demolished in 1995.Photograph depicting the foundation stone laid on the 18 May 1937 for the new Mission in Port Melbourne.TO THE GLORY OF GOD/AND THE WELFARE OF ALL SEAFARERS / THIS FOUNDATION STONE WAS LAID BY / HIS EXCELLENCY THE GOVERNOR OF VICTORIA / THE LORD HUNTINGFIELD K.C.M.G. / MAY 18th 1937 / THIS BRANCH INSTITUTE OF / THE VICTORIA MISSIONS TO SEAMEN / WAS ERECTED THROUGH THE GENEROSITY OF / ALFRED M.NICHOLAS ESQ. / OFFICE OF HARRY A.NORRIS ARCHITECTSfoundation stone, lord huntingfield, port melbourne, beach street, art deco, brick, harry a. norris, alfred m. nicholas, maurice nicholas

non-fictionAn illustrated survey of the work of the Guerrilla Girls with interviews, an essay by Whitney Chadwick, and four pull-out postcards by the Guerrilla Girls. feminist art, political art, urban art, street art, activism, posters

daylesford, garage, mural, street art

Chain saw artist Rodney Streeter at Rotary Art Show held at the Old Mechanics Hall Lakes Entrance Victoria. Also two other black and white photographs of Rodney Streeter taken at the Art Show January 1992 and January 1993 numbers 04070.1 and 04070.2 sizes 13.5 x 7.5 cm and 8 x 11 cmBlack and white photograph of chain saw artist Rodney Streeter at Rotary Art Show held at the Old Mechanics Hall Lakes Entrance Victoriawoodcarving, arts and crafts