The Changing Appearance of Australian Newspapers
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Victorian Heritage Database Place Details - 28/9/2021 the HERMITAGE
Victorian Heritage Database place details - 28/9/2021 THE HERMITAGE Location: 161 MAROONDAH HIGHWAY NARBETHONG, Murrindindi Shire 1 Victorian Heritage Register (VHR) Number: H0303 Listing Authority: VHR Extent of Registration: Shire of Healesville. No.303. The Hermitage, Maroondah Highway, Narbethong. [Victoria Government Gazette No 100 Wednesday, October 9 1974 p.3649] Statement of Significance: The Hermitage, Narbethong, is a complex of buildings which was erected in 1894 as a residence, studio and guest house on a thirty-two hectare site on the summit of Black Spur, for internationally renowned anthropological and social photographer, John William Lindt. Born in Germany, Lindt ran away to sea and arrived in Melbourne in 1862. From here he travelled and settled in Grafton, where he remained until 1876, first working for a photographer, before taking over this business, and then opening his own photographic studio. Lindt subsequently moved to Melbourne, which was a rich and rapidly developing city on his arrival in 1876, and opened a photographic studio in Collins Street, Melbourne. He immediately gained recognition amongst the prosperous members of society and gained a reputation for society, landscape and cityscape photography. He was an official photographer for an expedition of Sir Peter Scratchley to New Guinea in 1885 and for the Melbourne International Exhibition in 1888, and won medals internationally for his work. Lindt travelled extensively abroad and locally, and familiarised himself intimately with such picturesque areas of Victoria as the mountainous forests between Healesville and Marysville. Closing his studio in 1894 after losing his clientele in the financial crisis, it was to this area that Lindt moved and developed his estate, the Hermitage, where he remained until his death in 1926 at the age of 81 years. -
Indigenous Archives
INDIGENOUS ARCHIVES 3108 Indigenous Archives.indd 1 14/10/2016 3:37 PM 15 ANACHRONIC ARCHIVE: TURNING THE TIME OF THE IMAGE IN THE ABORIGINAL AVANT-GARDE Khadija von Zinnenburg Carroll Figure 15.1: Daniel Boyd, Untitled TI3, 2015, 56th International Art Exhibition – la Biennale di Venezia, All the World’s Futures. Photo by Andrea Avezzù. Courtesy: la Biennale di Venezia. Daniel Boyd’s Untitled T13 (2015) is not an Aboriginal acrylic dot painting but dots of archival glue placed to match the pixel-like 3108 Indigenous Archives.indd 342 14/10/2016 3:38 PM Anachronic Archive form of a reproduction from a colonial photographic archive. Archival glue is a hard, wax-like material that forms into lumps – the artist compares them to lenses – rather than the smooth two- dimensional dot of acrylic paint. As material evidence of racist photography, Boyd’s paintings in glue at the 2015 Venice Biennale exhibition physicalised the leitmotiv of archives. In Boyd’s Untitled T13 the representation of the Marshall Islands’ navigational charts is an analogy to the visual wayfinding of archival photographs. While not associated with a concrete institution, Boyd’s fake anachronic archive refers to institutional- ised racism – thus fitting the Biennale curator Okwui Enwezor’s curatorial interest in archival and documentary photography, which he argues was invented in apartheid South Africa.1 In the exhibition he curated in 2008, Archive Fever: Uses of the Document in Contemporary Art, Enwezor diagnosed an ‘archival fever’ that had afflicted the art of modernity since the invention of photography. The invention, he believed, had precipitated a seismic shift in how art and temporality were conceived, and that we still live in its wake. -
Organizing a Collection of Oceanic Photographs and Albums at the Art Gallery of Ontario Cassie Lomore Ryerson University
Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2012 Finding Oceania : organizing a collection of Oceanic photographs and albums at the Art Gallery of Ontario Cassie Lomore Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Photography Commons Recommended Citation Lomore, Cassie, "Finding Oceania : organizing a collection of Oceanic photographs and albums at the Art Gallery of Ontario" (2012). Theses and dissertations. Paper 1516. This Thesis Project is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. FINDING OCEANIA: ORGANIZING A COLLECTION OF OCEANIC PHOTOGRAPHS AND ALBUMS AT THE ART GALLERY OF ONTARIO by Cassie Lomore BFA, Ryerson University, Toronto, 2010 BES, University of Waterloo, Waterloo, 2003 A Thesis Project Presented to Ryerson University and the Art Gallery of Ontario in partial fulfillment of the requirements for the degree of MASTER OF ARTS in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2012 © Cassie Lomore 2012 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. -
Encounters and the Photographic Record in British New Guinea
9 Encounters and the photographic record in British New Guinea Antje Lübcke The intricacies of encounters between photographers and their subjects need to be examined more closely, especially in the colonial context, as it has too often been taken for granted that the photographer was solely responsible for the resulting image or the only agent in the photographic encounter. The cameras that were used and the associated materials and chemicals needed for photography in the late nineteenth century meant that setting up a shot and developing a photograph were neither simple nor quick tasks. European photographers who travelled to the newly acquired territories of empire relied on local carriers and interpreters to assist them in their work; and when it came to photographing the indigenous people of these lands, the photographic encounter was shaped to varying degrees by their willingness to be photographed. Just as Felix Driver and Lowri Jones assert that ‘exploration was a joint project of work’ and a ‘shared experience’,1 I argue that the practice of photographing foreign lands and indigenous peoples was similarly dependent on local expertise and participation for its success. In this chapter I examine a series of photographic encounters in south- east New Guinea in the late nineteenth century – in 1885 to be precise. These encounters were between the Melbourne-based professional photographer 1 Driver and Jones 2009: 11, 5. 169 INDIGENOUS INTERMEDIARIES John William Lindt and the Papuans of British New Guinea. In particular, I am interested in how the Papuans Lindt photographed influenced the nature of the encounter and the resulting image, and in the mediating role played by the missionary Reverend William G. -
In Mooroolbark and the Yarra Ranges No. 58 MARCH 2017
1 LIVINGTODAY LIVING TODAY in Mooroolbark and the Yarra Ranges No. 58 MARCH 2017 • Finding their voice: joy for stroke survivors • Celebrate Mooroolbark: it's easy being green! Good news stories from your local communityISSUE 58 MARCH 2017 2 LIVINGTODAY Staffords' Hermitage Neil Mitchell and Randall Bourchier Imagine yourself as Val and John “Staff” mining engineer, had deposited money in a trust 1894, and the resort was officially opened for Stafford, comfortably settled in Camberwell fund for each of the girls to access when they business in March 1895, with a celebratory where they had raised their family, living in a turned fifty. Val was now able to claim her share week-end gathering of the Royal Geographical well-appointed and conveniently situated house of the money. Society with Baron Ferdinand von Mueller in the close to shops, train and Camberwell Grammar “We made an offer, and the then-owners of chair.” School, where John taught. the Hermitage said, ‘It’s yours,’” said Val. At that “It consisted of a number of buildings, It sounds ideal—but a wonderful discovery point, John hadn’t even seen it. He said, “I told most of which survive to this day, including the led the Staffords away from that life to enjoy her, it’s not my money—if you want to waste it, exceptional studio which had been a chapel restoring and living on a heritage-listed estate, in go right ahead.” dating back to gold rush days and which Lindt what they describe as the best years of their lives Val recalled how nervous she was when she had bought and converted into a photographic prior to retiring to Mooroolbark in 1998. -
History Newspaper the Official District History Newspaper
£1 . 1 0 . 0 OR INDEPENDENT & NON ALEXANDRA EILDON YEA MARYSVILLE DITION HREE AGES $3 DOLLARS PROFIT PUBLICATION E T BONNIE DOON JAMIESON MANSFIELD 48 P Mid 1800s to mid 1900s HISTORY NEWSPAPER THE OFFICIAL DISTRICT HISTORY NEWSPAPER Photographer Lin Cumming Courtesy Sandra Cumming & the State Library of Victoria A father enjoys a well-earned rest by reading and sharing the Country Edition of the Australasian newspaper with his children. He is seated on a Silver Star Starch Box, whilst he enjoys a pipe of tobacco, a pleasure now denied because of medical concerns. Smoking in Australia is now banned in some public places and especially around children. Issue 3 - 2012 T HE H ISTORIC T IMES THE HISTORIC TIMES NEWSPAPER Welcome to this, the third edition of our Artworkz Heritage Newspaper. “The Historic Times” is independently published by locals, for locals. We hope that as you read it, you can reflect upon our history and the simpler times. Our goal is to supply quality historic & educational information, for locals and visitors alike. Our free monthly electronic eSplash For inclusion in our free electronic eSplash magazine and our printed eSplash Mini - café magazine mailing list, please email your No area is favored over another. Representation is edition, also promote our history by using request to: based solely on the level of contributions we freely contributed items received from our receive from each area, and their passion to give community. In fact, most of what appears in [email protected]. back to the community. our newspapers, has also been made freely Artworkz welcome your contributions. -
Title: John William Lindt's Curious Engagement with New Guinea
This is a pre peer-reviewed, pre-print (draft pre-refereeing) version of the following unpublished document: Peck, Julia ORCID: 0000-0001-5134-2471 (2007) John William Lindt’s Curious Engagement with New Guinea. In: Imperial Curiosity: Objects, Representations and Knowledges, 27th- 29th June 2007, UTAS, Hobart, Tasmania, Autralia. (Unpublished) EPrint URI: http://eprints.glos.ac.uk/id/eprint/3315 Disclaimer The University of Gloucestershire has obtained warranties from all depositors as to their title in the material deposited and as to their right to deposit such material. The University of Gloucestershire makes no representation or warranties of commercial utility, title, or fitness for a particular purpose or any other warranty, express or implied in respect of any material deposited. The University of Gloucestershire makes no representation that the use of the materials will not infringe any patent, copyright, trademark or other property or proprietary rights. The University of Gloucestershire accepts no liability for any infringement of intellectual property rights in any material deposited but will remove such material from public view pending investigation in the event of an allegation of any such infringement. PLEASE SCROLL DOWN FOR TEXT. Title: John William Lindt’s Curious Engagement with New Guinea Name: Julia Peck Institution: University of Wales Newport Abstract: This paper aims to assess the multiple discourses that John William Lindt’s photographic interest in New Guinea encompassed, connecting the picturesque, commercial and anthropological interests evident in his images. Lindt travelled to New Guinea in 1885 with Sir Peter Scratchley to photograph the indigenous inhabitants of New Guinea when New Guinea’s status as a British Protectorate was finally established. -
24 Pacific Photographs 1 Joseph Dwight Strong “Mamea”, Chief of Matafele
24 PACIFIC PHOTOGRAPHS 1 JOSEPH DWIGHT STRONG “MAMEA”, CHIEF OF MATAFELE Samoa. c. 1892. 238 x 177mm. Title inscribed verso. Illustrated in Bilder aus dem Paradies: Koloniale Fotografie aus Samoa 1875–1925(Marburg: Jonas Verlag, 1995), 78. King Kalākaua of Hawaii appointed Strong official artist and photographer on an expedition to Samoa in 1886. There he spent time with his mother- in-law, Fanny, and her husband, Robert Louis Stevenson. Fanny wrote of the subject of this image, ‘Mamea spoke of his pleasure in seeing us all in the native gown. He thought we set a good example to the native women.’ See Fanny and Robert Louis Stevenson, Our Samoan Adventure (London: Weidenfeld and Nicholson, 1956), 168–169. 2 REV. GEORGE BROWN DOUBLE PORTRAIT Milne Bay Province, Papua New Guinea. c. 1890s. 153 x 110mm. 3 A. W. B. DUFTY, ATTR. CHIEFS Nouméa, New Caledonia. c. 1880. 188 x 235mm. Once inscribed on mount ‘Rade de Nouméa — Magellan, Duquesne, Calédonien, Dire[?], Scorff, Vize, Loyalty, Marie —’. Another known copy of this photograph is inscribed ‘Chiefs at 14 juillet celebrations’. 4 F. H. DUFTY SCOTT & McEVOY’S Cicia, Fiji. 1870s. 59 x 98mm. Mounted on card of F. H. Dufty, Levuka, Ovalau. Title inscribed verso. Best known for his ‘ethnographic exotica’, F. H. Dufty (brother of A. W. B.) was an enthusiastic supporter of the colonial-commercial project in Fiji. A member of the Annexation Committee to Victoria, he created montages of portraits of Old Colonists, and took photographs of local industry, including sugar and cotton plantations. Brigitte d’Ozouville has observed, ‘The roles of Dufty as settler and photographer were interconnected to such a degree that he abandoned both of them when he returned to Victoria in 1892.’ See Brigitte d’Ozouville, ‘F. -
Indigenous Intermediaries NEW PERSPECTIVES on EXPLORATION ARCHIVES Aboriginal History Incorporated Aboriginal History Inc
Indigenous Intermediaries NEW PERSPECTIVES ON EXPLORATION ARCHIVES Aboriginal History Incorporated Aboriginal History Inc. is a part of the Australian Centre for Indigenous History, Research School of Social Sciences, The Australian National University, and gratefully acknowledges the support of the School of History and the National Centre for Indigenous Studies, The Australian National University. Aboriginal History Inc. is administered by an Editorial Board which is responsible for all unsigned material. Views and opinions expressed by the author are not necessarily shared by Board members. Contacting Aboriginal History All correspondence should be addressed to the Editors, Aboriginal History Inc., ACIH, School of History, RSSS, 9 Fellows Road (Coombs Building), Acton, ANU, 2601, or [email protected]. WARNING: Readers are notified that this publication may contain names or images of deceased persons. Indigenous Intermediaries NEW PERSPECTIVES ON EXPLORATION ARCHIVES Edited by Shino Konishi, Maria Nugent and Tiffany Shellam Published by ANU Press and Aboriginal History Inc. The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: Indigenous intermediaries : new perspectives on exploration archives / edited by Shino Konishi, Maria Nugent, Tiffany Shellam. ISBN: 9781925022766 (paperback) 9781925022773 (ebook) Subjects: First contact of aboriginal peoples with Westerners--Australia. Aboriginal Australians--Australia. Discoveries in geography. Other Creators/Contributors: Konishi, Shino, editor. Nugent, Maria, editor. Shellam, Tiffany Sophie Bryden, 1979- editor. Dewey Number: 994.01 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. -
Raskols (Postcards from the Rim)
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2012 Raskols (Postcards from the Rim) Stephen Dupont University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Dupont, Stephen, "Raskols (Postcards from the Rim)" (2012). Faculty of Law, Humanities and the Arts - Papers. 1734. https://ro.uow.edu.au/lhapapers/1734 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Raskols (Postcards from the Rim) Abstract Today millions of ordinary people are embracing photography through the proliferation of social connectivity in the form of Smartphones, Facebook; Instagram, Flickr and Twitpic. Photography, despite constantly evolving technology, continues to be adaptable, diverse, informative and challenging; holding up a mirror to contemporary life as it unfolds. Postcards from the Rim brings together the works of six award-winning contemporary and cutting edge Australian photographers in a rare insiders’ view into our nearest neighbours. Showing alongside a stunning private collection of Papua New Guinean masks never been seen before. Keywords rim, postcards, raskols Disciplines Arts and Humanities | Law Publication Details S. Dupont 2012 Raskols (Postcards from the Rim) Goulburn Gallery Goulburn Regional Gallery 20 Sept. - 20 Oct This creative work is available at Research Online: https://ro.uow.edu.au/lhapapers/1734 Postcards from the Rim Address: Goulburn Civic Centre Cnr Bourke & Church Sts Goulburn Hours: Mon-Fri 10–5, Sat 1–4 Closed Public Holidays Ph: 02 48 234 494 Email: [email protected] FREE ENTRY www.grag.com.au www.goulburn.nsw.gov.au Goulburn Regional Art Gallery is supported by Goulburn Mulwaree Council and assisted by the NSW Government through Arts NSW. -
Collaboration, Demystification, Rea-Historiography : the Reclamation of the Black Body by Contemporary Indigenous Female Photo-Media Artists
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-2002 Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists Eva Fernandez Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Photography Commons Recommended Citation Fernandez, E. (2002). Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists. https://ro.ecu.edu.au/theses/741 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/741 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
The National Library of Australia Magazine
THE NATIONAL JUNELIBRARY 2016 OF AUSTRALIA MAGAZINE ROYAL SATIRE TRIUMPH OF THE TUTU WHEELING WESTERN AUSTRALIA AN EARLY WALKER–ADVENTURER THE UNOFFICIAL ANTHEM OF THE AIF AND MUCH MORE … OPENS 29 JUNE 2016 EXHIBITION GALLERY OPEN DAILY 10 AM–5 PM FREE nla.gov.au Supporting Supportingpartners partners Presenting partnersPresenting partners National Collecting InstitutionsNational Collecting Institutions National Collecting Institutions Touring & Outreach PrToogramuring & Outreach Program Touring & Outreach Program S.T. Gill (1818–1880), Country NW of Tableland (detail) 1846, nla.gov.au/nla.cat-vn1978404 VOLUME 8 NUMBER 2 JUNE 2016 The National Library of Australia magazine The aim of the quarterly The National Library of Australia Magazine is to inform the Australian community about the National Library of Australia’s collections and services, and its role as the information resource for the nation. National Library of Australia Parkes Place Canberra ACT 2600 02 6262 1111 nla.gov.au CONTENTS NATIONAL LIBRARY OF AUSTRALIA COUNCIL Chair: Mr Ryan Stokes Members: Mr Thomas Bradley QC, Mr Laurie Ferguson MP, Mr John M. Green, Ms Jane Hemstritch, Tutu Dr Nonja Peters, Michelle Potter charts the evolution Senator Zed Seselja Director-General and Executive Member: of the iconic dance costume. Ms Anne-Marie Schwirtlich AM (current Council membership at time of printing) SENIOR EXECUTIVE STAFF Director-General: Anne-Marie Schwirtlich AM Assistant Directors-General, by Division: Collections Management: Amelia McKenzie Australian Collections and