100 matches for themes: 'creative life','sporting life','land and ecology'
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)-
Digital Stories of the Mind and Body
Stories of the mind and body are a tribute to the resilience of the human mind and spirit in dealing with the challenges of the body.
The Australia Centre for the Moving Image (ACMI) has developed its digital storytelling program in partnership with many health and community advocacy organisations to serve people with special needs or life issues.
Participants associated with these organisations have taken part in the ACMI digital storytelling workshop to tell their unique stories of courage and survival. These personal narratives have provided an opportunity for the participants to use their creativity and voice as a centrepiece for health promotion and social justice efforts.
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The Palais Theatre
It’s impossible for Melburnians to think about the St Kilda Esplanade without visualising the Palais Theatre standing majestically against Port Phillip Bay. Its grand Art Deco façade is as iconic to St Kilda as the Pavilion on the nearby pier, Acland Street or the theatre’s "just for fun" neighbour, Luna Park.
It’s surprising to discover, then, that the Palais wasn’t always regarded with such affection. When the original building – a dance hall called the Palais de Danse – was being constructed in 1913, over 800 locals attended a public meeting to protest it being given a license. They voiced fears that it would lower the tone of St Kilda, “have a demoralising effect on young people", and be "common with a big C”. The battle was won by the building owners, the three Phillips brothers (American immigrants who also built Luna Park), and an entertainment venue has stood on the site ever since.
The Palais Theatre is a magical place for Melburnians. It’s where generations of us have danced cheek to cheek, watched movies in the darkness, screamed lustily at the Rolling Stones, thrown roses at the feet of Margot Fonteyn and Rudolph Nureyev, and given standing ovations to Dame Joan Hammond’s awe-inspiring soprano. Your grandparents probably had their first date there. Ask them about the Palais and watch them smile.
The theatre is underwent restoration in 2016-17, which preserved the heritage value of the site and ensured the Palais remains a live performance venue and cultural icon in St Kilda for many generations to come. The restoration was funded by the State Government of Victoria and the City of Port Phillip.
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Marianne Gibson's Crazy Patchwork Quilt
In 1876, the Japanese Pavilion at the Philadelphia Centennial Exposition caused quite a stir. It featured ceramics and other art objects that were asymmetrical, or “crazed”. Whilst the interest created in America was telling of the whole mood of modernism (which questioned and reformed traditional aesthetic ideas), its effect on the everyday lives of women was seen in the groundswell of support for crazy patchworking (also known as crazy quilting).
Crazy patchwork became a hugely popular ‘craze’ that lasted until the 1920s, with women’s publications full of the opinions of both followers and protestors. Crazy patchwork is differs considerably from traditional patchwork quilting: where traditional patchwork is batted, or filled, and composed of precise patches arranged into neat and sometimes complex geometric patterns, crazy patchwork consists of uneven patches that are composed of any variety of fabrics (especially exotic fabrics at the start of the craze) and are embellished with all sorts of trimmings: lace, embroidery, buttons, ribbons. In addition to this crazy patchwork quilts are very personalised.
Crazy quilts broke all the rules of traditional quilts and were highly experimental and creative: makers were not afraid to use clashing colours or to cover every surface with designs. Cushions and pillows were also made to the style. It was through this craze and Victorian women’s domestic creative work that modernism was ushered into the home.
Marianne Gibson was born in Armagh, Ireland in 1837. As a young woman she and her sister accompanied their uncle to Australia and settled in Wangaratta. In 1864 Marianne married Alexander McCullen Gibson, who operated a successful general store.
Marianne’s skill with needlepoint, her access to fine fabrics of the day, including silks and European lace, and her creative instinct can all be seen in the remarkable Crazy Patchwork Quilt known as the Marianne Gibson Quilt. Replete with Australian motifs, including flora and birdlife, and personal symbols, such as tributes to a child she lost, the quilt is dated and signed by Marianne, indicating both her creative ownership and her intention for the quilt to be kept as an heirloom.
It is precisely because it was honoured as an heirloom that it survives in such condition to this day. Donated to the collection of the Wangaratta Historical Society by Alma Gard, it is one the finest and best-preserved crazy patchwork quilts from the Victorian era in the world.
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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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Isaac Douglas Hermann & Heather Arnold
Carlo Catani: An engineering star over Victoria
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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Murray Darling Palimpsest #6
In 2006, Mildura Palimpsest became the Murray Darling Palimpsest, emphatically underscoring the identity of the region and its environmental interdependence.
The Murray Darling Palimpsest, staged in locations throughout the Murray Darling Basin, continues Palimpsest’s direct engagement with issues of environmental and social sustainability. With land and water use no longer in the background, Palimpsest is remarkable in its recognition that art affects attitudes, and reflects the engagement and connection many contemporary artists have to the environment; perhaps the most pressing issue we now face.
In 2006, Palimpsest brought together artists, scientists, environmentalists and other academics and commentators with the future of the Murray Darling Basin firmly in sight.
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Megan Cardamone
Ganagan
I dreamt about weaving a net. So I did just that. I wove a net! When I started weaving my net my mind wandered back in time and I thought about how it must have been for my ancestors who lived along the mighty Murray River.
GLENDA NICHOLLS Waddi Waddi/Yorta Yorta/Ngarrinjeri
Glenda Nicholls entered her Ochre Net into the Victorian Indigenous Art Awards in 2012 and was the winner of the Koorie Heritage Trust Acquisition Award.
When Glenda’s Ochre Net came into the Trust’s care, it inspired this exhibition of artworks and stories relating to waterways and their significance to Koorie people. Powerful spiritual connections to waterways, lakes and the sea are central to Koorie life and culture.
The works shown in Ganagan Deep Water come from the Trust’s collections and represent many Koorie cultural groups from south-eastern Australia.
The Ganagan Deep Water exhibition at the Koorie Heritage Trust was sponsored by Melbourne Water.
This online component of the Ganagan exhibition is sponsored by the Maritime Museums of Australia Project Support Scheme, supported by the Australian Government through the Australian National Maritime Museum.
Ganagan means ‘deep water’ in the Taungurung language.
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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Kylie's Costumes
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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Koorie Heritage Trust / NGV Australia / State Library Victoria
Koorie Art and Artefacts
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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Open House Melbourne
Modern Melbourne
Modern Melbourne is a series of filmed interviews and rich archival material that documents the extraordinary lives and careers of some of our most important architects and designers including Peter McIntyre, Mary Featherston, Daryl Jackson, Graeme Gunn, Phyllis Murphy, Allan Powell and Peter Elliott.
Melbourne’s modernist architects and designers are moving into the later stages of their careers. Their influence on the city is strong and the public appreciation of their early work is growing – they have made an indelible mark on Melbourne. Much of their mid-century modernist work and latter projects are now represented on the Victorian Heritage Register.
Many of the Modern Melbourne subjects enjoyed a working relationship and a friendship with Robin Boyd, the influential architect who championed the international modernist movement in Melbourne.
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Contemporary Artists Honour 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 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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Amanda Ahmed and Mali Moir
An Eye for Eucalypts
In his hometown of Ararat, Stan Kelly (1911 – 2001) was known as an engine driver and as a talented painter of plants and flowers. A determined amateur, Stan painted at home on a small table and shared his talent by teaching botanical art in Ararat. Today, many Australians travelling overseas carry his artwork in their pocket.
Kelly is now recognised as one of Australia’s premier botanical illustrators, especially respected for his works on eucalypts. His first book, Australian Eucalypts in Colour, was published in 1949. His most celebrated work, Eucalypts Volumes I & II, was first published in 1969 and became a core reference for students of Australian botany.
Kelly received an Order of Australia Medal in 1980. In 2009, he was posthumously honoured when a selection of his botanical illustrations was adapted for the ‘N’ series Australian passport.
The Langi Morgala Museum in Ararat houses a permanent exhibit on Stan Kelly and his work, including a fine collection of his paintings.
A collection of over 500 of Kelly’s watercolour paintings is held by the National Herbarium of Victoria, Royal Botanic Gardens Melbourne.
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Murray Darling Palimpsest #5
Mildura is situated just south-east of the confluence of two of Australia’s great rivers: the Darling and the Murray.
As water and land use creep up to the top of our national agenda, the Mildura region emerges as one of Australia’s most contested places, with small ‘block’ farmers, multinational companies, State and Federal politics, among others, entering the debate.
As such, it was perhaps the most natural place for the biennial Palimpsest expositions and symposiums to arise. Following on from Mildura’s famous sculpture triennials, Palimpsest plays on the idea of the landscape as palimpsest, written and rewritten over both physically and with layers of meaning. Palimpsest engages directly with land, land use, water and issues of sustainability, involving artists, and scientists and other experts, spearheading the creative exploration of key environmental issues.
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ManStyle: Men + Fashion
Charting a course between absolute restraint and ostentatious display ManStyle explores the extremes of masculine style and some of the most influential ideas that have pervaded menswear over the past three centuries.
ManStyle presents a broad survey of menswear from around 1740 to the present using examples from the NGV collection. Beginning in the eighteenth century with exquisite brocade and embroidered silk coats, the exhibition explores the evolution of the modern suit via the elegantly honed lines of the nineteenth century dandy, examining the rise of tailoring with its focus on perfect cut and fit.
In contemporary menswear design, new and traditional modes of dressing are continually merging to create new definitions of masculinity. From tradition to transformation: changes in proportion, shape and detail as well as material, colour and pattern, including the more radical influence of sportswear, sub-cultural attire and street wear; all have affected men’s fashion.
A range of men discuss their own personal fashion and style. Their responses were often frank, considered, funny or surprising, as each reflected on what they wear and the influences, experiences and observations that have shaped their clothing choices.
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Selection from Bendigo Art Gallery
Bendigo Art Gallery is the perfect fusion of old and new.
One of Australia's largest and oldest regional galleries, Bendigo Art Gallery is known for its emphasis on contemporary Australian art, as well as its collection of 19th century European Art, and 19th and 20th century Australian Art.
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Victorian Jazz Stories
Victoria has always had a thriving jazz scene. For the best part of a century, jazz musicians young and old have enthralled audiences and pushed their artistic practice to the limits in Victoria and beyond.
What is it that makes Victoria a jazz hub and who are the people that have contributed to it over the years, from Georgia Lee to Graeme Bell's Czechoslovak Journey to Julia Messenger?
The Australian Jazz Museum has the largest collection of Australian jazz related materials in the country. Through the objects in this vast collection and the organisation's connection to the jazz scene both past and present, audiences are transported into the cool, humble and underground world of Victorian jazz.