156 matches for themes: 'creative life','service and sacrifice','immigrants and emigrants','gold rush','sporting life','built environment'
Diverse state (200) Aboriginal culture (38) Built environment (45) Creative life (66) Family histories (9) Gold rush (11) Immigrants and emigrants (36) Kelly country (3) Land and ecology (34) Local stories (65) Service and sacrifice (20) Sporting life (8)-
Arthur Guy Memorial Painting Prize
Bendigo Art Gallery's Arthur Guy Memorial Painting Prize is the richest open painting prize in the country, attracting some of Australia’s finest contemporary artists. The inaugural exhibition was held in 2003, and is biennial.
The Prize was initiated by Mr Allen Guy C.B.E in honour of his late brother Arthur Guy, with equal assistance provided by the R.H.S. Abbott Bequest Fund.
Arthur Guy was born in Melbourne on 24 November 1914 and was educated at Camp Hill State School in Bendigo and then at Ballarat Grammar School. He enlisted in the Royal Australian Air Force in a signals unit and served in New Guinea. On 14 February 1945, aged 30, he was on a biscuit bomber mission when his plane was shot down near Lae. He is buried in the Lae War Memorial Cemetery.
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Dimitri Katsoulis, Greek Puppet Master
Traditional Greek shadow puppet theatre evolved from the Turkish model, which dates back to at least the 16th century.
The central figure is the character Karaghiozis, who relies on his wit and cunning to extricate himself from precarious situations. He and other characters are involved in humorous and satirical moral tales that comment on social and political life.
Dimitri Katsoulis immigrated to Melbourne in 1974 to escape the Junta regime that repressed Greek artists. He had trained in Greece with theatre and film companies as an actor and technician, as well as in shadow puppetry with masters of the art form. While earning a living in a Melbourne metal factory, he co-founded the Children's Theatre of Melbourne. Dimitri performed Greek shadow puppetry until 1991, exploring contemporary and controversial issues such as women's equality, and the isolation of migrant women and children.
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Mark S. Holsworth
Art at Flinders Street Station
The average commuter passing through Flinders Street Station could remain blissfully unaware for their entire lives of anything more artistic in the station than the endless advertising images.
However, as befitting any major public building, there is some commissioned art at Flinders Street Station.
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Harriet Gaffney
The Main Line Starter Clock: Keeper of public time
An authoritative presence on Platform One at Spencer Street Station for almost one hundred years, the Main Line Starter Clock stood over the people of Victoria from its installation in 1871 until 1960, when the station was re-developed and the clock was gifted by Victorian Railways to the Melbourne Museum.
This majestic artifact is now cleverly housed in a model ‘Museum Station’ in the new Pauline Gandel Children’s Gallery.
Built by watchmaker Thomas Gaunt at his premises in Bourke Street’s Royal Arcade in consultation with Government Astronomer Robert Ellery, the clock weighs some 150kg and stands – as you can gauge from this image of Conservator Sarah Babister as she repaired paint loss and removed decades of accumulated grime from the face – an imposing 1820mm high by 1190mm wide.
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Young and Jackson Hotel
The Young and Jackson Hotel, built in the 1850s, is one of Australia's most well known hotels. It was built, as the Princes Bridge Hotel, on part of an allotment originally purchased by John Batman in 1837.
Young and Jackson were both born in Dublin, and "chummed together" to New Zealand chasing the Otago gold deposits in 1861. It is not known when they came to Victoria, but they purchased the lease on the Princes Bridge Hotel in 1875.
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Early Photographs - Landscapes and Streetscapes
Antoine Fauchery and Richard Daintree's images offer rare fine quality images of early Victorian landscapes and Melbourne streets of the late 1850s.
Antoine Fauchery and Richard Daintree's Sun Pictures of Victoria was the first photographic album of Australian scenes made available for sale to the public.
Using the latest in photographic techniques of the time, the Fauchery-Daintree images offer rare fine quality images of early Victorian landscapes and Melbourne streets of the late 1850s; from pristine waterfalls, to the already altered Yarra River, to the dusty corner of Spring and Bourke Streets.
Further material can be found at the State Library of Victoria's Ergo site: Early Street Names of Melbourne
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William Buckley
After convict William Buckley’s escape from a Victorian settlement he was discovered by the Wathaurang people who thought this pale, 198cm giant carrying a spear was the ghost of one of their leaders.
Buckley had arrived at Port Phillip from England in 1803 with about 300 soldiers, settlers and convicts after being sentenced to transportation for life. Before the Port Phillip and Sullivan Bay (Victoria’s first official European settlement) settlement was abandoned, Buckley escaped. He wandered alone for weeks before he was befriended by the Wathaurang people.
Over the next 32 years Buckley lived with the Wathaurang, learnt their language and customs, married and had a daughter. In 1835 he finally emerged to meet Batman’s colonising party and tried to work as an intermediary between settlers and aborigines, but felt he wasn’t trusted by either.
His name lives on in Australian slang with the ironic saying “you’ve got Buckley’s chance” or “Buckley’s hope”.
Further material can be found at the State Library of Victoria's Ergo site:-
William Buckley's Escape
Buckley and the Aborigines
Buckley's return to European life
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State Film Centre
Designed to collect and maintain a film library for general public consumption, the State Film Centre was established in 1946.
It became a leading cultural institution for not only the archiving of Australian and international cinematic works but in supporting the Victorian production industry, providing regional lending services and broadening audience reach through the use of mobile projection units.
With technological change, the Centre adapted to new media platforms and broadened its collections focus to include emerging filmmakers and student works. It evolved from a collection-based institution to a hub for screening and advocacy and increased its role as an invaluable education resource.
Into the 1990s work commenced on plans to establish the Australian Centre for the Moving Image as part of the Federation Square project and on January 1, 2002, the Australian Centre for the Moving Image was officially established by the Film Act 2001 (Victoria).
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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. 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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Caroline Chisholm's Scrapbook
Caroline Chisholm, 19th century social reformer and philanthropist, left few personal effects to shed light on her remarkable life.
This scrapbook, handed down through the Chisholm family, and presented to the Museum by the family of a Chisholm historian, consists of material relating to Chisholm's work assisting immigrants, both to emigrate and once they had arrived.
In the scrapbook we find newspaper clippings, public notices, posters, correspondence and minutes; dating from 1843. Posters advertise the immigration lectures she gave across Great Britain; railway tickets stamped for free indicate the distances she travelled and the official support for her project; invitation cards reveal a woman circulating in high society, where fundraising efforts would have been concentrated; lists of names record the people she assisted financially to migrate to Australia.
The ephemera of life, so easily dispersed and discarded have been preserved in perpetuity in a humble ledger.
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Cameron Auty
Symbols of Survival
The internment of civilian and military populations was widespread during the twentieth century.
The Australian experience of imprisonment is complex: Captured Australian soldiers faced years in Asian and European camps, often returning home traumatised or suffering physically. Australia also interned enemy soldiers and civilian residents with ties to enemy nations.
The physical objects created by internees and by the societies that imprisoned them can tell stories not found in archives. Prisoners expressed themselves through art, doctors built tools and internees made furniture to fill sparse barracks. Similarly, authorities used the internee experience to tell stories, and the image of the prisoner could be used to communicate power or compassion depending on the audience.
These objects are comparatively rare in military collections, as internees faced obstacles when producing physical objects. Lack of access to materials, hostile guards and strict rules, low morale and poor health all contributed to their scarcity.
Victorian Collections provides a window into the story of internment. This story uses objects drawn from Victoria’s collecting organisations to explore the internee and prisoner experience.
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What’s Going On!
What’s Going On! was a groundbreaking exhibition presenting contemporary indigenous artists from the Murray Darling basin.
Taking Mildura as the centre, at the confluence of the Murray and Darling Rivers, the exhibition ranges from Menindee, Wilcannia and Broken Hill to the north and north east, Berri in the south west and Swan Hill to the east, dissolving State boundaries that fragment this distinct region. Uniting the artists in the exhibition are extended family networks and connections to country.
There is a much-loved story told by Aboriginal people on the Murray, that when you open out the swim bladder of a Murray cod, the tree-like forms of its skin reveal the place where the fish was born. Aboriginal children are sometimes told that this is the very same tree under which they were born. These various skin stories reveal the connection of people to the Murray Darling river system, where ‘everyone has a place under the tree’.
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Carissa Goudey
Making & Using Transport on the Goldfields
During the nineteenth century, horse-drawn vehicles were an essential part of life in rural Victoria.
In Ballarat, local coachbuilding firms assisted with the town’s growth in more ways than providing passage to the diggings. Horse-drawn vehicles were vital for the delivery of goods, responding to emergencies and often symbolised one’s social standing.
The Gold Rush ushered in a period of incredible growth for colonial Victoria. Ballarat’s escalating population and burgeoning industries highlighted the need for horse-drawn transport – not only for getting to the diggings, but also for delivering goods and building material, responding to emergencies and performing significant social rituals.
In the early nineteenth century, the goldfields were dominated by vehicles either imported from England or English-style vehicles built locally. Coaches, carriages and carts were typically constructed part-by-part, one at a time. As a result, each vehicle was highly unique.
By the mid-1850s, the American coachbuilding tradition had arrived on the goldfields. The American method, which had been developing since the 1840s, relied on mass-produced, ready-made components. In comparison to English designs, American coaches were known to be more reliable for goldfields travel; they were primed for long-distance journeys on rough terrain and were less likely to tip over.
As the nineteenth century progressed, a plethora of English, American and European vehicles populated Ballarat – both locally made and imported. The abundance of coaches, carriages and carts – and their value to the Ballarat community – can be seen in photographs and objects catalogued here on Victorian Collections.
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What House Is That?
More than just bricks and mortar, our homes are prisms, reflecting the society of the time they were built. Through them, we can understand the changing context of social, economic and architectural history, and the values and assumptions of the people who built and lived in them.
What house is that? is an exploration of the social and architectural history of Victoria’s housing styles. From our earliest Victorian cottages through to the light filled, open plan houses of the Modern era, we look at the houses Victorians call home.
The nine images and text give an overview of each of the main housing styles of Victoria’s history from the 1840s onwards. The 15 videos feature interviews with architects, historians and residents and explore the styles in more detail. This collection of images, text and videos comes from an interactive website created by Heritage Victoria.
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Post-War Europe
In 1945, Australian Prime Minister Chifley lead the Labor Party to power in Canberra and sought to change the national focus from agriculture to industry.
His government established the Department of Immigration, which soon introduced a policy of financially supporting migration to Australia. Due to the 2nd World War, large numbers of displaced people and refugees that took up this opportunity. Most came from Great Britain and Europe and on arrival were provided accommodation in hostels or transition camps in return for a commitment to provide labour on government funded projects for a period of two years.
These personal stories produced as part of the ACMI Digital Storytelling program recount the journeys of people in the Post War Immigration Scheme.
Discover the story of Australia’s involvement in the Second World War, from primary sources at the State Library of Victoria's Ergo site : - Australia & WWII
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Elizabeth Downes
The Unsuspected Slums
Campaigner Frederick Oswald Barnett recorded the poverty facing many in the Melbourne slums of the 1930s.
“All the houses face back-yards…The woman living in the first house…was so desperately poor that she resolved to save the maternity bonus, and so, with her last baby had neither anaesthetic nor doctor.”
So observed campaigner Frederick Oswald Barnett of the poverty facing many in the Melbourne slums of the 1930s. After touring these slums with Barnett, it’s said the Victorian Premier, Albert Dunstan, couldn’t sleep for days.
In 1936 Dunstan established the Slum Abolition Board, and Barnett became vice-chairman of the newly established Housing Commission of Victoria in 1938.
A Methodist and accountant, Barnett became determined to improve the situation for the poor, sick, elderly and unemployed after encountering a slum in the 1920s. He was an astute crusader who coordinated letter writing campaigns and lectured throughout Victoria using many of his own poignant and arresting photographs of the cramped and unsanitary housing conditions.