Description:
This paper details a project, funded by the University of Ballarat in Victoria, which addresses a local problem of schools' lack of acknowledgement of their being positioned on traditional owners' land. In addressing this issue, I am using two texts, My Place (Wheatley and Rawlins 1987) and Who am I? The Diary of Mary Talence (Heiss 2004) to engage the participants in discussions to make visible what has been invisible; that is, the issue of traditional Indigenous Australian ownership of the land on which the school is placed. Taking up notions of deconstruction from poststructuralist theory, I have looked to these texts as ways of disrupting the taken-for-granted occupation of public space, that is, I examine the language used to position the readers and 'yield up the ideologies that inform them' (Bradford 2001, p.9).
Description:
This paper details a project, funded by the University of Ballarat in Victoria, which addresses a local problem of schools' lack of acknowledgement of their being positioned on traditional owners' land. In addressing this issue, I am using two texts, My Place (Wheatley and Rawlins 1987) and Who am I? The Diary of Mary Talence (Heiss 2004) to engage the participants in discussions to make visible what has been invisible; that is, the issue of traditional Indigenous Australian ownership of the land on which the school is placed. Taking up notions of deconstruction from poststructuralist theory, I have looked to these texts as ways of disrupting the taken-for-granted occupation of public space, that is, I examine the language used to position the readers and 'yield up the ideologies that inform them' (Bradford 2001, p.9).
Description:
There is a searchable index and brief description of all works held in the University of Ballarat Art Collection. The University seeks to develop and maintain a permanent collection of high quality works of visual art for the cultural enrichment and research purposes of its student body, staff and wider community. The art collection consists largely of works by Australian artists, the earliest of which is a work by Posenby Carew-Smith dated 1879. An interesting early donation is Waterloo Claim. This work depicts the Ballarat goldfield at the location on which the Ballarat School of Mines (SMB) was built. Works from the 1920s and 1930s showcase students from the Ballarat Technical Art School, but the greatest period of art collection occurred at the Ballarat Teachers' College during the 1950s and 1960s. The Art Collection at the Ballarat Teachers' College had a modest beginning in 1951 when two Lionel Lindsay woodcuts were purchased for the College (then located at Dana Street). These were followed with works by Max Middleton and Vogel; and in 1954 works by Kenneth Jack and Tate Adams were purchased. When the College moved to the new Gillies Street building in 1958 the collection grew steadily with acquisitions by Rupert Bunny, Peter Clarke, Max Coward, Arch Cuthbertson, William Frater, James Gleeson, Pro Hart, George Lambert, Murray Griffen, David Newbury, and many others. Leonard French was commissioned to paint the mural Tapestry in 1959. Another mural, Symbols of Life by George Johnson, was commissioned in 1965. These two works, along with Inge King's welded steel sculpture Organic Form, was purchased with funds raised by student and staff contributions. Following the merger with the tertiary division of the School of Mines to form the Ballarat Institute of Tertiary Education, then the Ballarat College of Advanced Education, Ballarat University College and finally the University of Ballarat, these works have been augmented with various contemporary prints, ceramics, graphics, paintings and sculptures by Australian artists, including work by graduates, postgraduates and staff of the University, such as Claire Blake, Peter Blizzard, Bridget Bodenham, Loris Button, Maryanne Coutts, Neville French, Victor Greenhalgh, Nornie Gude, Gwen Hansen-Piggott, Ian Hemingway, Duncan Lannan, Ros Lawson, Geoff Mainwaring, David Noonan, Peter Pilven, Iain Reid, Ewan Ross, Anne Saunders, Wes Walters, Marcus Wills, Carole Wilson and Doug Wright.
Description:
This paper is concerned with the Coranderrk Aboriginal artist Timothy Korkanoon. Research has uncovered more about his life before he settled at the Coranderrk station in 1863. Evidence is provided that five sketches acquired by George Augustus Robinson, the former Chief Protector of Aborigines, in November 1851 in Melbourne, and found in his papers in the State Library of New South Wales, may also be attributed to the work of the young Korkanoon when he was a student at the Merri Creek Baptist Aboriginal School from 1846 to 1847.