18 matches for william%20barak, themes: 'built environment','creative life','family histories'
Diverse state (33) Aboriginal culture (8) Built environment (9) Creative life (9) Family histories (3) Gold rush (4) Immigrants and emigrants (9) Kelly country (1) Land and ecology (8) Local stories (10) Service and sacrifice (3) Sporting life (1)-
St Paul's Cathedral
... William Butterfield...William Butterfield: Obituary...Article: 'Portrait of William Butterfield'...The following is a detailed obituary for William Butterfield that featured in the 'Architectural Review: For the Artist & Craftsman', Vol.7 January -June (pp. 15-23) & July-December (pp. 258-263) 1900....Refusing to set foot in the colony, the eminent Gothic Revivalist architect William Butterfield resorted to sending extremely detailed architectural drawings and plans of St Paul's Cathedral to Australia. He even produced life-size drawings ...Refusing to set foot in the colony, the eminent Gothic Revivalist architect William Butterfield resorted to sending extremely detailed architectural drawings and plans of St Paul's Cathedral to Australia.
He even produced life-size drawings of columns, window tracery and other features, to ensure the antipodeans could get nothing wrong.
In the end however, he was defeated by distance, and St Paul's was completed by the Australian firm Reed, Henderson and Smart, and later, in the 1930s, the towers he designed (but were not built at the time) were shafted for a new design by Australian architect John Barr.
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Koorie Heritage Trust / NGV Australia / State Library Victoria
Koorie Art and Artefacts
... William Barak...The William Barak Collection... when its owner has passed. Today evidence of the importance of the garrginj can be found at Mt William greenstone quarry near Lancefield in Victoria. Both the grinding laang and the garrginj are still very highly prized and utilised today. As is ochre...William Barak was a leader of the Wurundjeri, one of the groups of the East Kulin nation, the traditional owners of the lands now occupied by Federation Square.... prehistoric stone tools, works by 19th century artists William Barak and Tommy McRae right through to artworks made in the last few years by leading and emerging Aboriginal artists in Victoria. The majority of the items here have been selected from ...Koorie makers of art and artefacts draw upon rich and ancient cultural traditions. There are 38 Aboriginal Language Groups in Victoria, each with unique traditions and stories. These unique traditions include the use of geometric line or free flowing curving lines in designs.
This selection of artworks and objects has been chosen from artworks made across the range of pre-contact, mission era and contemporary times and reflects the richness and diverse voices of Koorie Communities. It showcases prehistoric stone tools, works by 19th century artists William Barak and Tommy McRae right through to artworks made in the last few years by leading and emerging Aboriginal artists in Victoria.
The majority of the items here have been selected from the extensive and significant collections at the Koorie Heritage Trust in Melbourne. The Trust’s collections are unique as they concentrate solely on the Aboriginal culture of south-eastern Australia (primarily Victoria). Over 100,000 items are held in trust for current and future generations of Koorie people and provide a tangible link, connecting Community to the past.
Within the vibrant Koorie Community, artists choose their own ways of expressing identity, cultural knowledge and inspiration. In a number of short films Uncle Wally Cooper, Aunty Linda Turner and Aunty Connie Hart practice a range of traditional techniques and skills. These short documentaries show the strength of Koorie culture today and the connection with past traditions experienced by contemporary Koorie artists.
Taungurung artist Mick Harding draws upon knowledge from his Country about deberer, the bogong moth: "The long zigzag lines represent the wind currents that deberer fly on and the gentle wavy lines inside deberer demonstrate their ability to use those winds to fly hundreds of kilometres to our country every year."
Koorie artists today also draw inspiration from the complex and changing society we are all part of. Commenting on his artwork End of Innocence, Wiradjuri/Ngarigo artist Peter Waples-Crowe explains: "I went on a trip to Asia early in the year and as I wandered around Thailand and Hong Kong I started to think about Aboriginality in a global perspective. This series of works are a response to feeling overwhelmed by globalisation, consumerism and celebrity."
Koorie culture is strong, alive and continues to grow.
CULTURAL WARNING: Aboriginal and Torres Strait Islander users are warned that this material may contain images and voices of deceased persons, and images of places that could cause sorrow.
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Contemporary Artists Honour Barak
... William Barak...During the 1860s, at the time of the NGV’s founding, William Barak (1863–1903) was a Wurundjeri leader and artist of great renown, working for his people at Coranderrk, near Healesville. In honour of the NGV’s 150th anniversary, the Felton Bequest ...During the 1860s, at the time of the NGV’s founding, William Barak (1863–1903) was a Wurundjeri leader and artist of great renown, working for his people at Coranderrk, near Healesville. In honour of the NGV’s 150th anniversary, the Felton Bequest commissioned three contemporary artists to create installations that honour Barak’s art and life.
Vernon Ah Kee’s Ideas of Barak, consists of three parts in different media. Jonathan Jones’s untitled (muyan) is an installation of five light boxes that pulse with LED geometric designs. Brook Andrew’s Marks and witness is a dizzying wall drawing of Wiradjuri designs of zigzag and diamond that reference Barak’s possum skin cloak designs.
These works are on display in the multimedia room of the Indigenous Galleries, above the escalator and in the stairwell of The Ian Potter Centre: NGV Australia at Federation Square.
In this story, Vernon Ah Kee and Jonathan Jones talk about their creative process and Auntie Joy Murphy-Wandin talks about Barak, and the artists’ engagement with him, and about Barak’s work at Coranderrk.
CULTURAL WARNING: Aboriginal and Torres Strait Islander users of this website are warned that this story contains images of deceased persons and places that could cause sorrow.
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Danielle Whitfield
The Last Yarn
... William Perkins ...The Last Yarn, a digitisation project, has supported the photography of key nineteenth-century works in the NGV’s Australian fashion and textiles collection for access through our online collection database.
Giving the garments a life beyond the archive, the project acknowledged the appeal of recent exhibitions such as Australian Made (2010) and Fashion Detective (2014) which investigated aspects of historical dress.
Now over 50 additional works have been catalogued, given new underpinnings, photographed and uploaded so that audiences elsewhere in the world can discover the local dressmakers, tailors and retailers who defined early Australian style.
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Paintings Porcelain and Photography
... William Buckley ...Geelong Gallery was established in 1896 by twelve passionate citizens who believed Victoria's second largest and fastest growing city deserved an art institution befitting an aspiring metropolis. Since then, Geelong Gallery has established a collection of some 6,000 items – significant amongst these items are their holdings of paintings, porcelain and photography.
The gallery’s collection of Australian painting tells the history of the region from colonial times to the early twentieth century. Eugene von Guerard’s View of Geelong provides a sweeping panorama of Geelong seen from a vantage point near the village of Ceres in the nearby Barrabool Hills in 1856. While Arthur Streeton’s painting Ocean blue, Lorne, one of the gallery’s most recent acquisitions, depicts a shimmering summery sky, a view through slender young gum trees and down to the pristine sand and aquamarine ocean below in the 1920’s.
Geelong Gallery has a large and specialised collection of British painted porcelain spanning 1750 – 1850. It is one of the most significant holdings in Australia and is part of a bequest by well-known local citizen Dorothy McAllister. A fine example is the 'Buckingham Palace' card tray by renowned manufacturer Worcester dating to the 1840’s.
The gallery’s photographic collection is very much of the twentieth century, but not without references to earlier times and other works in the collection. Polixeni Papapetrou’s photograph In the Wimmera 1864 #1 created in 2006 examines the narrative of the ‘lost child’ and refers to Frederick McCubbin’s late nineteenth century paintings of children ‘lost’ or at least wandering absent-mindedly through the Australian bush.
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The Fashion Detective
... Work on Paper: William Morris Wallpaper... the accidental discovery of aniline purple (later named mauveine) in 1856 by a young Scottish chemist, William Henry Perkin (1838–1907), while he was searching for a cure for malaria. Perkin’s find was the catalyst for the emergence of a low-cost, artificial...Morris & Co., London (distributor) England 1861–1940 William Morris (designer) England 1834–96 Phillip Webb (designer) England 1831–1915 Jeffrey & Co., London (printer) England c. 1836–1930 Trellis, wallpaper 1864 designed colour woodcut ...The NGV’s fashion archive contains countless works about which we know little.
We don’t know who made them, who wore them, when or why, or indeed, what happened in them! For the curator, such works are endlessly intriguing; a form of ‘material evidence’ to examine and explicate.
In 2014, the NGV’s Fashion Detective exhibition took a selection of unattributed nineteenth century garments and accessories from the Australian fashion and textiles collection as the starting point for a series of investigations. Using forensics and fiction as alternate interpretative methods, the exhibition considered the detective work that curators and conservators do and where this can lead, as well as the role of storytelling in making visible the social life of clothes.
From fakes and forgeries to poisonous dyes, concealed clues and mysterious marks to missing persons, Fashion Detective was a series of ‘cases’ that each followed a different path of analysis.
Some relied on empirical study and science to reach conclusions, others were purposefully speculative - the inspired hypothesis of leading crime writers Garry Disher, Kerry Greenwood, Sulari Gentill and Lili Wilkinson.
A playful exhibition about modes of enquiry, Fashion Detective considered the different ways in which we can decode objects in order to reveal what is normally concealed, and challenged the visitor to reappraise what they see and what they know.
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Wind & Sky Productions
Many Roads: Stories of the Chinese on the goldfields
... Photograph: Ellen and William Lee Kim with son Richard... drew on to survive. Pictured above is the Lee Kim family, William and Ellen with their son Richard, Bendigo, circa 1885. William Lee Kim came to Australia seeking gold and then became a market gardener. He married Ellen Plowright in the 1870s ...In the 1850s tens of thousands of Chinese people flocked to Victoria, joining people from nations around the world who came here chasing the lure of gold.
Fleeing violence, famine and poverty in their homeland Chinese goldseekers sought fortune for their families in the place they called ‘New Gold Mountain’. Chinese gold miners were discriminated against and often shunned by Europeans. Despite this they carved out lives in this strange new land.
The Chinese took many roads to the goldfields. They left markers, gardens, wells and place names, some which still remain in the landscape today. After a punitive tax was laid on ships to Victoria carrying Chinese passengers, ship captains dropped their passengers off in far away ports, leaving Chinese voyagers to walk the long way hundreds of kilometres overland to the goldfields. After 1857 the sea port of Robe in South Australia became the most popular landing point. It’s estimated 17,000 Chinese, mostly men, predominantly from Southern China, walked to Victoria from Robe following over 400kms of tracks.
At the peak migration point of the late 1850s the Chinese made up one in five of the male population in fabled gold mining towns of Victoria such as Ballarat, Bendigo, Castlemaine, Beechworth and Ararat. It was not just miners who took the perilous journey. Doctors, gardeners, artisans and business people voyaged here and contributed to Victoria’s economy, health and cultural life. As the nineteenth century wore on and successful miners and entrepreneurs returned home, the Chinese Victorian population dwindled. However some chose to settle here and Chinese culture, family life, ceremony and work ethic became a distinctive feature of many regional Victorian towns well into the twentieth century.
By the later twentieth century many of the Chinese relics, landscapes and legacy of the goldrush era were hidden or forgotten. Today we are beginning to unearth and celebrate the extent of the Chinese influence in the making of Victoria, which reaches farther back than many have realised.
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The Elliott Collection
... works by such artists as William Orpen, Edgar Degas, Frederick McCubbin, Arthur Streeton, Glyn Philpot and Frank Brangwyn: artists, for the most part, from a world about to swamped by the tides of modernism and the avant-garde. ...Mildura Arts Centre was founded on one of Australia's most remarkable and generous bequests.
Senator 'R.D.' and Mrs Hilda Elliott's collection of mainly British and Australian art has provided Mildura Arts Centre with intriguing and significant works by such artists as William Orpen, Edgar Degas, Frederick McCubbin, Arthur Streeton, Glyn Philpot and Frank Brangwyn: artists, for the most part, from a world about to swamped by the tides of modernism and the avant-garde.
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In the Spirit of George Rose
... Australian photographer William Yang and South Korean photographer Koo Bohnchang have created new images inspired by the Clunes-born photographer George Rose. George Rose used a stereograph camera. This creates two images that are nearly the same ...Australian photographer William Yang and South Korean photographer Koo Bohnchang have created new images inspired by the Clunes-born photographer George Rose.
George Rose used a stereograph camera. This creates two images that are nearly the same. When you view them through the eyepiece, they become a 3D image.
George Rose went to Korea in 1904. His images of the streets of Seoul, and surrounding villages, are highly valued. They are almost the only images of street life in Seoul from the turn of the 20th century.
They capture a time when the Japanese were colonising Korea. The Japanese wear darker clothes in the images, the Koreans are in white. Notice how, in one of the images, a Korean climbs the city wall to gain access without going through the guarded gates. Some of the other images show the Japanese quarter, with their different style of housing and shops. Many of the images show the new electrical and telegraph wires, which had been installed by the Japanese.
George Rose’s guide was Japanese, and that influence can be seen in the way he describes the Koreans. Japanese people, at that time, considered Koreans to be a lesser culture than their own.
George Rose’s guide can be seen in one of the photos, dressed in western clothes, with a child, standing in front of a village.
In the exhibition, Koo Bohnchang used images he took in Clunes, and William Yang used images he took in Korea. Both artists reveal the gaze of the foreigner, they show what someone from outside the culture sees. This is similar to when Australian George Rose visited Korea in 1904, he too was an outsider, looking at another culture.
The curator Catherine Croll, worked closely with the photographers, travelling with them to Victoria and Korea. Below, you can see some of the images she took of the photographers at work. She was the modern-day equivalent of the ‘guide’.
Clunes has a strong relationship to Paju Book City near Seoul, they are both international Booktowns. This exhibition grew out of that relationship.
Their exhibition launched at Clunes Booktown on May 2, 2015, before it travelled around the world.
To learn more about Clunes booktown, visit www.clunesbooktown.com.au
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Wimmera Stories: Nhill Aeradio Station, Navigating Safely
... Government. The Aeradio Station at Nhill operated until 1971, when a new VHF communication network at Mt William in the Grampians rendered it obsolete and the station was decommissioned. The aeradio building survives today in remarkably original condition ...The Nhill Aeradio Station was a part of a vital national network established in 1938 to provide critical communications and navigation support for an increasing amount of civil aircraft.
Situated at the half-way point of a direct air-route between Adelaide and Melbourne, Nhill was an ideal location for an aeradio station and was one of seventeen such facilities originally built across Australia and New Guinea by Amalgamated Wireless Australasia Ltd (AWA) under contract from the Commonwealth Government.
The Aeradio Station at Nhill operated until 1971, when a new VHF communication network at Mt William in the Grampians rendered it obsolete and the station was decommissioned.
The aeradio building survives today in remarkably original condition, and current work is being undertaken by the Nhill Aviation Heritage Centre group to restore the Aeradio Building and interpret its story as part of a local aviation museum.
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Badger Bates
... Badger Bates (William Brian Bates) was raised by his extended family and his grandmother Granny Moysey, with whom he travelled the country, learning about the language, history and culture of the Paakantji people of the Darling River, or Paaka. When ...Badger Bates (William Brian Bates) was raised by his extended family and his grandmother Granny Moysey, with whom he travelled the country, learning about the language, history and culture of the Paakantji people of the Darling River, or Paaka.
When he was about 8 years old Granny Moysey started to teach him to carve emu eggs and make wooden artefacts in the traditional style, carving by ‘feeling through his fingers.’
Badger works in linoprint, wood, emu egg and stone carving, and metalwork, reflecting the motifs, landforms, animals, plants and stories of Paakantji land. His art is an extension of a living oral tradition, and in his work we find the wavy and geometric lines from the region’s wooden artefacts; places of ceremonial and mythological importance; depictions of traditional life such as hunting and gathering bush tucker; and stories about the ancestral spirits; as well as contemporary issues such as the degradation of his beloved Darling River.
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Walhalla: fires, floods and tons of gold
... that was to be shortlived. In 1910 the railway arrived, but too late: the gold was disappearing. The town emptied out and began its long sleep, until the 1980s when restorations began in earnest, and electricity finally arrived in 1998. William Joseph Bessell (ex Councillor ...In a remote, steep, and heavily timbered valley in the Victorian Alps, in the summer of 1862-63, a small party of prospectors found encouraging signs of gold at the fork of a tributary of the Thomson River. It was December. By February of the next year an immense quartz reef had been discovered.
This reef – Cohen’s Reef - yielded over 50 tonnes of gold, making Walhalla one of Victoria’s richest and most vibrant towns, and home to thousands: with hotels, shops, breweries, churches, school, jail and its own newspaper. It also had its own photographic studio, headed by the Lee brothers.
Several albums still survive of Walhalla at its peak, providing a fascinating, evocative photographic record of a 19th century mining town; capturing a moment that was to be shortlived.
In 1910 the railway arrived, but too late: the gold was disappearing. The town emptied out and began its long sleep, until the 1980s when restorations began in earnest, and electricity finally arrived in 1998.
William Joseph Bessell (ex Councillor of the Shire of Walhalla) was presented this series of photos in 1909 on the eve of his departure from Walhalla.
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Wimmera Stories: The Dimboola Banner, communicating history
... The first issue of the Dimboola Banner rolled off the press on 10 May 1879, printed by a Mr Henry Barnes and edited by his brother, William. Many proprietors and editors have come and gone since then but today, more than 130 years later, the Banner ...The first issue of the Dimboola Banner rolled off the press on 10 May 1879, printed by a Mr Henry Barnes and edited by his brother, William.
Many proprietors and editors have come and gone since then but today, more than 130 years later, the Banner is still published weekly, even though it’s now printed in Warracknabeal rather than in Dimboola itself.
Meanwhile, the former Dimboola offices of the Banner have been acquired by the Dimboola & District Historical Society and transformed into a Newspaper and Letterpress printing museum. The museum owns and operates a diverse collection of vintage presses, all in working condition.
Newspapers and printers have traditionally played a vital role in the life of country communities, and a long-time newspaper man comes to know most things there are to know about the life of their town and district. Joe Barry spent 54 years in the newspaper and printing business in Dimboola, which means he’s well qualified to impart a wealth of tales to visitors at the Dimboola Printing Museum.
The printing trade has seen many vast and radical technological transformations, particularly with the dawn and evolution of the current digital era. The Dimboola Printing Museum preserves a vast wealth of functioning relics from earlier eras of print technology, including letterpresses well over a century old in perfect working order.
The museum collection also includes a vast amount of loose type from the long-gone era of hand-set typography.
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Kylie's Costumes
... Pink, silver and white sequin, bugle bead and fringe ‘showgirl’ corset designed by Kylie Minogue/William Baker [UK], Realised by Suzanna Burgee [UK]. Gift of Kylie Minogue, 2004 ...From Neighbours character, Charlene, to international pop sensation, Kylie Minogue’s costumes chart her rise, her style, and her creative energy.
The Kylie Costume Collection at the Arts Centre, Melbourne, shows the range and development of Kylie's persona through costume, and her collaborations with international and national designers.
As Kylie donates her costumes to the Arts Centre directly, curators are able to keep an extensive, chronological and very complete material record of Kylie's career, across her tours, album cover shoots, music videos, and red carpet and special events.
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Isaac Douglas Hermann & Heather Arnold
Carlo Catani: An engineering star over Victoria
... by a depth of 15 feet below Admiralty low water datum. Other recommendations included raising the roads on both sides of the riverbank to above flood level. The report was pigeon-holed until 1895 when the Minister for Public Works, John William Tavener ...After more than forty-one years of public service that never ended with his retirement, through surveying and direct design, contracting, supervision, and collaborative approaches, perhaps more than any other single figure, Carlo Catani re-scaped not only parts of Melbourne, but extensive swathes of Victoria ‘from Portland to Mallacoota’, opening up swamplands to farming, bringing access to beauty spots, establishing new townships, and the roads to get us there.
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Rippon Lea Estate
... style to the picturesque naturalism of William Sangster's landscaping. As Melbourne's top landscape gardener, Sangster had been engaged by Sargood to extend the lake and supervise the new scheme. Sangster was to the private garden what William Guilfoyle ..."Do you remember the garden in which you grew up, or the part the backyard played in your family life? Imagine if you had actually grown up in one of Australia's finest gardens.
Created in the English-landscape tradition which traces its roots back to Capability Brown and Humphry Repton, Rippon Lea is one of Australia's most important historic homes, exemplifying the lifestyle of wealthy families living in 19th and 20th century Australian cities. Although its architecture and that of its outbuildings is impressive, it is the mansion’s gardens, which are truly remarkable, both for their landscape qualities and because they have survived many threats and changes in the past 130 years.
Today, the amenities offered by a typical garden are still greatly valued: a safe place for children to play, somewhere to dry the washing, a plot for vegetables and a flower garden that adds colour and produces blooms for the home. Today as then, the scale differs but the experience of owning a garden - with its balance of utility and ornament - is essentially the same.
The National Trust of Australia (Victoria) now runs Rippon Lea as a museum, conserving the architecture and the landscape, and presenting the social history of the owners and their servants. Visitors to Rippon Lea enter a mansion preserved as the Jones family lived in it after their 1938 modernisation. In the pleasure garden the Sargood era is evoked by the staging of a range of performing arts events including opera, theatre, chamber music and outdoor activities."
The text above has been abstracted from an essay Solid Joys and Lasting Treasure: families and gardens written by Richard Heathcote for the publication The Australian Family: Images and Essays. The entire text of the essay is available as part of this story.
This story is part of The Australian Family project, which involved 20 Victorian museums and galleries. The full series of essays and images are available in The Australian Family: Images and Essays published by Scribe Publications, Melbourne 1998, edited by Anna Epstein. The book comprises specially commissioned and carefully researched essays with accompanying artworks and illustrations from each participating institution.