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File name: 08_02_004206
Box label: Boston Public Library: Former buildings
Title: Public Library - Boston
Alternative title: Public library - Boston, Boylston St.
Creator/Contributor:
Date issued:
Date created: 1858-1895 (approximate)
Physical description: 1 print ; 4 1/4 x 6 in.
Genre: Prints
Subjects: Boston Public Library; Public libraries
Notes:
Provenance:
Statement of responsibility:
Location: Boston Public Library, Print Department
Rights: Rights status not evaluated.
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
Image available for purchase from www.ballaratheritage.com.au
Victorian Heritage Register information
Statement of Significance
What is significant?
The Tower Hill State Game Reserve is an area of approximately 6.2 sq km, 3 km inland from the coast between Warrnambool and Port Fairy managed by Parks Victoria since 1997. The Reserve consists of a volcanic crater of nested maar type bounded by the encircling crater rim that forms a highly visible landmark in the surrounding plain. The crater, filled by a lake and series of islands, themselves volcanic cones, was formed at least 30,000 years ago when a hot rising basaltic magma came into contact with the subterranean water table. The violent explosion that followed created the funnel-shaped crater (later filled by a lake) and the islands. Artefacts found in the volcanic ash layers show that Aboriginal people were living in the area at the time of the eruption. The Warrnambool area was a rich source of foods for the Koroitgundidj people, whose descendants retain special links with this country.
The first confirmed European sighting of Tower Hill crater was by French explorers sailing with Captain Baudin aboard the Geographe in 1802 who named the crater 'Peak of Reconnaissance'. Throughout the 19th century sailors used Tower Hill as a landmark for entering the harbours of Port Fairy (Belfast) and Warrnambool. The name Tower Hill came into common usage in the 1840s. The crater formation, noted by early European settlers for the beauty of its vegetation was memorialised in the landscape painting of Eugene von Guerard in 1855.
By the late 1850s substantial amounts of forest had been cleared in and around the crater. In 1866 when the crater and inner rim were temporarily reserved for public recreation, the Acclimatisation Society of Victoria was appointed the Committee of Management (1866-1869). The Society had formed in 1861 with the aim of introducing exotic plants and animals to suitable parts of the colony and accordingly introduced goats, pheasants and rabbits to Tower Hill. In 1873 the area was permanently reserved for public purposes and in 1892 in an attempt to halt the environmental damage to the crater Tower Hill Reserve became the first National Park to be declared in Victoria. It remained under the control of Koroit Council which permitted clearing of native vegetation, grazing and the quarrying of scoria to continue. By the 1930s the landscape was bare and little wildlife remained.
In the mid-20th century lobbying by the local community concerned about environmental degradation at Tower Hill along with general recognition of the declining numbers of game birds in Victoria led to the crater being declared a State Game Reserve in 1961, one of a number established across the State at this time as wildlife refuges. The contained nature of the crater site meant it could be readily adapted to a scientifically designed habitat management program.
In 1962 Robin Boyd was commissioned to design a Natural History Centre on the main island at Tower Hill, completed in 1969. This early example of an interpretive centre was to provide the public with information about the restoration of the Tower Hill environment and the wildlife and habitats of the State's Reserves and to be a centre of study for wildlife management. Boyd, a hero of the conservation movement, designed a simple stone circular structure with sloping roof mirroring the volcanic island hilltops, sitting in harmony with the landscape. The circular glazed pavilion is a timber construction with a cill height stone skirt and wide eaves. At the centre of the open internal space is a central hollow stone column which supports the roof and is crowned by a skylight reminiscent of the core of the volcano that gave rise to the landscape. Laminated timber rafters, arranged radially, span from the hollow stone core to the outer ring of window and project to form deep eaves.
As early as 1958 local community groups established experimental plots of native trees at Tower Hill. Following designation as a State Game Reserve serious efforts began to replicate the original vegetation using von Guerard's (1855) painting as a guide to replanting using botanists to identify the plant species. By 1981 school children,, naturalists and other volunteers had planted 250 000 trees and shrubs at Tower Hill and removed non-native species and weeds and feral animals. Native animal species including koalas, wombats, emus and echidnas have also been successfully reintroduced to Tower Hill through reinstatement of habitat. The replanting program was the first of its kind in Victoria and provided a model for the national Landcare movement, established in Victoria in the 1980s.
How is it significant?
Tower Hill State Game Reserve is of aesthetic, historic, scientific, social and architectural significance to the State of Victoria
Why is it significant?
Tower Hill State Game Reserve is of aesthetic significance, being an inspirational landscape, recognised for the beauty and uniqueness of its geological form and natural vegetation from first European exploration and settlement of the region.
Tower Hill State Game Reserve is a cultural landscape of historical significance in reflecting more than a century of changing attitudes to landscape in its evolving status and the character of its environment.
Tower Hill State Game Reserve is of historical significance as an iconic and inspirational landscape, noted for its geological form and the beauty of its natural vegetation from first European exploration and settlement of the region, memorialised in Eugene von Guerard's 1855 painting of Tower Hill crater and island. It was this iconic beauty that environmentalists sought to reinstate through their replanting of native vegetation, the species having initially been identified initially from the detail of von Guerard's painting.
Tower Hill State Game Reserve is of historical significance as the earliest and an outstanding example of community programs to reinstate native vegetation and re-create native habitat on cleared and degraded land. Skills developed in the course of this work, and subsequently applied in other parts of the country include an understanding of the importance of using species indigenous to the local area, requirements for re-introduction of native fauna, and awareness of the need for re-establishment of understorey species.
Tower Hill State Game Reserve is of social significance for the ongoing role of the local community and community groups in the reinstatement of natural habitats in the Reserve.
Tower Hill State Game Reserve is of scientific (geological) significance as an example of a nested maar, a specific type of volcanic crater that formed at least 30 000 years ago when hot rising basaltic magma came into contact with the subterranean water table resulting in a series of phreatic explosions that created the funnel-shaped crater (later filled by a lake) coupled with late stage scoria cone development of the islands seen today.
Image available for purchase from www.ballaratheritage.com.au
Victorian Heritage Register information
Statement of Significance
What is significant?
The Tower Hill State Game Reserve is an area of approximately 6.2 sq km, 3 km inland from the coast between Warrnambool and Port Fairy managed by Parks Victoria since 1997. The Reserve consists of a volcanic crater of nested maar type bounded by the encircling crater rim that forms a highly visible landmark in the surrounding plain. The crater, filled by a lake and series of islands, themselves volcanic cones, was formed at least 30,000 years ago when a hot rising basaltic magma came into contact with the subterranean water table. The violent explosion that followed created the funnel-shaped crater (later filled by a lake) and the islands. Artefacts found in the volcanic ash layers show that Aboriginal people were living in the area at the time of the eruption. The Warrnambool area was a rich source of foods for the Koroitgundidj people, whose descendants retain special links with this country.
The first confirmed European sighting of Tower Hill crater was by French explorers sailing with Captain Baudin aboard the Geographe in 1802 who named the crater 'Peak of Reconnaissance'. Throughout the 19th century sailors used Tower Hill as a landmark for entering the harbours of Port Fairy (Belfast) and Warrnambool. The name Tower Hill came into common usage in the 1840s. The crater formation, noted by early European settlers for the beauty of its vegetation was memorialised in the landscape painting of Eugene von Guerard in 1855.
By the late 1850s substantial amounts of forest had been cleared in and around the crater. In 1866 when the crater and inner rim were temporarily reserved for public recreation, the Acclimatisation Society of Victoria was appointed the Committee of Management (1866-1869). The Society had formed in 1861 with the aim of introducing exotic plants and animals to suitable parts of the colony and accordingly introduced goats, pheasants and rabbits to Tower Hill. In 1873 the area was permanently reserved for public purposes and in 1892 in an attempt to halt the environmental damage to the crater Tower Hill Reserve became the first National Park to be declared in Victoria. It remained under the control of Koroit Council which permitted clearing of native vegetation, grazing and the quarrying of scoria to continue. By the 1930s the landscape was bare and little wildlife remained.
In the mid-20th century lobbying by the local community concerned about environmental degradation at Tower Hill along with general recognition of the declining numbers of game birds in Victoria led to the crater being declared a State Game Reserve in 1961, one of a number established across the State at this time as wildlife refuges. The contained nature of the crater site meant it could be readily adapted to a scientifically designed habitat management program.
In 1962 Robin Boyd was commissioned to design a Natural History Centre on the main island at Tower Hill, completed in 1969. This early example of an interpretive centre was to provide the public with information about the restoration of the Tower Hill environment and the wildlife and habitats of the State's Reserves and to be a centre of study for wildlife management. Boyd, a hero of the conservation movement, designed a simple stone circular structure with sloping roof mirroring the volcanic island hilltops, sitting in harmony with the landscape. The circular glazed pavilion is a timber construction with a cill height stone skirt and wide eaves. At the centre of the open internal space is a central hollow stone column which supports the roof and is crowned by a skylight reminiscent of the core of the volcano that gave rise to the landscape. Laminated timber rafters, arranged radially, span from the hollow stone core to the outer ring of window and project to form deep eaves.
As early as 1958 local community groups established experimental plots of native trees at Tower Hill. Following designation as a State Game Reserve serious efforts began to replicate the original vegetation using von Guerard's (1855) painting as a guide to replanting using botanists to identify the plant species. By 1981 school children,, naturalists and other volunteers had planted 250 000 trees and shrubs at Tower Hill and removed non-native species and weeds and feral animals. Native animal species including koalas, wombats, emus and echidnas have also been successfully reintroduced to Tower Hill through reinstatement of habitat. The replanting program was the first of its kind in Victoria and provided a model for the national Landcare movement, established in Victoria in the 1980s.
How is it significant?
Tower Hill State Game Reserve is of aesthetic, historic, scientific, social and architectural significance to the State of Victoria
Why is it significant?
Tower Hill State Game Reserve is of aesthetic significance, being an inspirational landscape, recognised for the beauty and uniqueness of its geological form and natural vegetation from first European exploration and settlement of the region.
Tower Hill State Game Reserve is a cultural landscape of historical significance in reflecting more than a century of changing attitudes to landscape in its evolving status and the character of its environment.
Tower Hill State Game Reserve is of historical significance as an iconic and inspirational landscape, noted for its geological form and the beauty of its natural vegetation from first European exploration and settlement of the region, memorialised in Eugene von Guerard's 1855 painting of Tower Hill crater and island. It was this iconic beauty that environmentalists sought to reinstate through their replanting of native vegetation, the species having initially been identified initially from the detail of von Guerard's painting.
Tower Hill State Game Reserve is of historical significance as the earliest and an outstanding example of community programs to reinstate native vegetation and re-create native habitat on cleared and degraded land. Skills developed in the course of this work, and subsequently applied in other parts of the country include an understanding of the importance of using species indigenous to the local area, requirements for re-introduction of native fauna, and awareness of the need for re-establishment of understorey species.
Tower Hill State Game Reserve is of social significance for the ongoing role of the local community and community groups in the reinstatement of natural habitats in the Reserve.
Tower Hill State Game Reserve is of scientific (geological) significance as an example of a nested maar, a specific type of volcanic crater that formed at least 30 000 years ago when hot rising basaltic magma came into contact with the subterranean water table resulting in a series of phreatic explosions that created the funnel-shaped crater (later filled by a lake) coupled with late stage scoria cone development of the islands seen today.
Doorstep statement by NATO Secretary General Jens Stoltenberg at the start of the NATO Leaders meeting in London
Former Foreign Secretary William Hague makes a statement on Libya to the media in London, 27 July 2011.
Read more: www.fco.gov.uk/en/news/latest-news/?view=News&id=6359...
IAEA Director General Yukiya Amano delivers his opening statement at the first day of the International Conference on Nuclear Security: Enhancing Global Efforts. IAEA Headquarters, Vienna, Austria. 1 July 2013
Photo Credit: Dean Calma / IAEA
This template is used for creating the statements of banks. It contains "Financial Position", "Operations and Changes" and "Cash Flow" statements. SpreadsheetWEB version of the template allows to publish the statements online easily.
Advertising Agency: Lowe Stratéus, Paris, France
Creative Director: Vincent Behaeghel
Art Director: Jocelyn Berthat
Copywriter: Philippe Lopez
Photographer: Dimitri Daniloff
Published: June 2008
Low resolution clip taken from very old video footage.
In 1983, Port Parham, in South Australia, faced a turning point.
Between the proposed Department of defence extension and the proposed airport at Two Wells, Port Parham and it's residents were about to become extinct.
A battle begun that ran for almost 4 years. 6 elderly residents passed away during the battle and in the last year, it looked like the future of the area for public use, was clouded.
The Army had created the "Department of defence, Proposed extension of the proof and experimental establishment, Pt , Draft environmental impact statement"
The Department of defence needed to test larger guns. The current area was the army firing range, Gun testing range and munitions testing area.
They needed to expand to test the new (At the time) 155 mm Howitzer. They needed to test it up to 6 times a year and needed 30 kms extra area (The range is 40 kms).
The Army faced three options.
Option 1 was to acquire land all the way up to Pt Prime (All the way from Sandy Point). This included Port Parham (Inhabited), Webb Beach(Inhabited) and Thompson Beach
(Uninhabited). Pt Prime being a previous shelling range and not a very nice beach). That leaves no real beaches north of Adelaide.
They did consider relocating all buildings and people to Pt Prime/Thompson's beach. Thompson's beach had no houses or infrastructure yet.
This plan would have been end to private land development planned at Thompson's.
This plan would include $5.5 million to acquire 5000 ha of land.
Option 2, move the firing range further north and fire into the existing area.
Option 3, close and relocate the firing range.
The preferred option for the Army was option 1. This meant they would compulsory acquire the land, lease it back for 10 years and close the beach. You cold see the beach but not
access it for the rolled up security barbed wire and armed men on hovercrafts. This was deemed to be in the national interest and a matter of "National Security. It was highlighted that
the Pt Wakefield range was the only lace in Australia where they can test the ammunition like this.
The army had been testing munitions in the mud flats since 1929 and it is littered with dangerous unexploded ammunition. They also test destroyer 5" navel shells and it is impossible
to recover all the shells. The Army has had access to the sea and airspace North of Pt Prime since the 2nd world war. (For all types of Weapons testing).
The army fired at high tide and retrieved munitions at low tide and then inspected them.
The area of Pt Parham was allocated to the army in 1937 for defence purposes. From 1978 government allowed freehold land and local council had been approving building permits.
The area North was not considered to have any restrictions except a building height restriction of 15 feet. The army approved many dwellings over this height since 1978.
The current proof range has been in use since about 1944. It is currently Sandy point to about 2 Kms north of Pt Parham. It is looked after by the Keswick Barracks which is a barracks
of the Australian Army in Keswick
As option 1 was pushed into the public space, it lead to all kinds of protests. During these, the gun on Pt Wakefield road was turned into a tent, defaced and graffiti.
This started the fight for land and homes. This plan would kill Pt Parham. Some of the current residents had been there since the depression. Some of them had settled in the area to
retire. There were 100's of full time residents and thousands of shack owners and other visitors that frequented the area.
The residents don't want to have the Army contaminate Pt Parham for all time, like they have where they are at the moment. They have already admitted that they will never be able to
clear the current mudflats of dangerous unexploded material. The residents also feared nuclear testing.
In July 1983 a document was released that outlined the process to compulsory acquire land. This is when the battled heated up. There were many meetings in the old social club (Grain
store - Webbs Carbonate of lime), at Collins Corner and beside the old shade house on the esplanade. There was a 13 point protest plan developed and issues were found in the
environmental impact study. Many people from Pt Parham and Webb beach attended the meetings, as did many holiday makers from across Australia.
People started to paint their fences and roof's with slogans.
"Army go home"
"P*ss off Army"
"Use a pond"
"Move the gun"
"St Kilda Next?"
"Sorry My Beazly, not for sale"
"We have enough shells"
"Only Beach north of Adelaide"
"People before Guns"
"I don't trust them"
"Not for Sale"
Hat's, stickers, shirts and beer cools came out with the slogans
"Save the crabbers and the gulf"
"Save the crabbers from the army shells"
I still have my yellow hat somewhere with the "Save the crabbers and the gulf" on the front. It is likely a rarity these days.
ABC, Channel 7 and 10 frequented the beach to have interviews with the residents and fly over the site in their helicopters.
Kevin Collins (member of Action Committee), Ian Featherstone (Chairman - Parham Action committee) and Leon Broster (Chairman Mallala council) appeared regularly on the news to
show that they were against the plans.
Local member John Meyer(?) and Lands minister Mr Abbot were against it but it was a federal issue and they could do nothing.
Len Web was interviewed. He had lived at Port Parham all his life and ran the shell grit plant. Shell grit is not widely available and sought after for poultry.
Col. Phillip Cooper and Major Andrew (Andy) Renolds came to Port Parham meetings to try and explain why this needed to happen. Barry Tompson of the
"Pt Wakefield friends of the proof range" wanted it to go ahead as he did not want Port Wakefield to die. He did not want the proof range to move.
Kim Beazley, the Federal defence minister, wanted to wait on the environmental study before making a decision. Premier John Bannon was against this.
After the battle, Kim Beazley compromised. In the end 2900 ha was acquired including 16 farms and 2 houses inland.
Pt Parham gave up 2 kms of land and coast (It was the army's anyway) and Port Parham has thrived ever since.
I still have access to the old footage.
Westfalia unveils new mission statement:
Our Mission... To deliver unparalleled warehousing solutions by earning the trust of our customers, understanding their business needs and honoring the commitments we make.
© Westfalia Technologies Inc. 2013
Statements und Podiumsdiskussion: "Aufstiegsorientierung und soziale Sicherung: Komplementäre Ansätze oder Widerspruch"
v.l.n.r.: Prof. Jörg Althammer, Trevor Phillips, Prof. Barbara John, Armin Laschet, Ralf Fücks
Foto: CC-BY-SA Stephan Röhl / www.boell.de
Tomatoes, Cucumbers and Herb Salad topped with some organic cheese :) )))
It's as good as a bowl of candy. I'm totally serious, here.
I took this picture in Tagaytay, Philippines.
HANOI, Vietnam (Aug. 1, 2011) The U.S. Navy Surgeon General Vice Adm. Adam M. Robinson Jr., left, signs a statement of intent on military medical cooperation with Sr. Col. Vu Quoc Binhthe, director general of the Vietnamese Ministry of National Defense's Military Medical Department, building on a long trend of cooperation between the U.S. and Vietnam militaries. U.S. Embassy Chargé d'Affaires Claire Pierangelo and Deputy Minister of National Defense Lt. Gen. Le Huu Duc witnessed the signing. (U.S. Navy photo by Capt. Cappy Surette, U.S. Navy Bureau of Medicine and Surgery Public Affairs)
[image: Inline image 1][image: Inline image 2]The Southern Appalachian
Mountain Stewards (SAMS) took a moment tonight to honor our waters,
standing on a foot bridge over the Powell River, in the town of Appalachia,
Virginia.
As we took a moment of silence, and listened to the flowing waters of the
Powell River below, snow falling on bare tree branches, we were struck by
how precious and life-giving water is. It is more fundamental to life than
electricity, education or even money. Without clean water to drink, we are
all in danger.
We stand in solidarity with our friends in West Virginia, calling for an
end to the West Virginia Water Crisis. As citizens of the coalfields, the
members of SAMS recognize how threatened our water is by careless industry,
and lackluster regulatory oversight. We call on everyone to honor our
waters, and to take action to protect them.
Policy Statements ITU PP-18
H.E. Mr Anour Maarouf, Minister of Communication Technologies and Digital Economy, Tunisia
©ITU/R.Maniego
Image available for purchase from www.ballaratheritage.com.au
Statement of Significance
What is Significant?
Anderson's Mill Complex, Smeaton, comprises a huge bluestone mill building, water wheel, 23 metre tall brick chimney, bluestone office, stables, granary, blacksmiths shop and residence. The complex was built for the Anderson brothers from 1861 onwards to service Creswick's prospering agricultural district. The ten bay bluestone mill building is four stories high with an attic storey in the gabled slate roof. The 28-foot (8.5 metre) diameter water wheel, built by Ballarat engineering firm Hunt and Opie, is fed by a mill race about 900 metres long which commences at a bluestone weir on Birch Creek.
The industrial elements of the mill complex are located in a highly intact landscape setting which includes the Anderson family home and its garden, Birch Creek and the bridge on the access road and areas of European vegetation, all set within the context of the creek valley and surrounding farm land. The first part of the timber residence was built in the early 1860s with further additions in the nineteenth century including a separate bluestone kitchen block. The residence has a typical Victorian era cottage garden including berry gardens and a timber front boundary fence and gate to the mill area.
The Anderson brothers migrated from Scotland in 1851, and were involved in goldmining at first before developing a thriving sawmilling business which serviced the gold mining industry. They were also involved into agriculture and land speculation. Their successes enabled them to make the large investment in the Mill. John Smeaton had trained as a millwright in Scotland.
Numerous flour mills were built in the established agricultural districts of Victoria in the 1850s and 60s. As with many mills from this period, the Smeaton mill's initial prosperity was short-lived as Victoria's drier northern areas, which were better suited to wheat growing, were developed for agriculture under the Selection Acts from the mid-1870s. In the same period the technology of wheat milling changed from stone to roller mills, and consumers came to prefer the product from the roller mills. David Anderson, one of the second generation of millers, invested in new roller milling equipment in 1895 and also diversified into oat-milling. The mill continued to operate for another sixty years as a flour and oatmeal mill before it closed in the late 1950s. Members of the Anderson family lived continuously in the residence on the site up until 2008.
The Andersons Mill Complex, apart from the residence, was purchased by the State government in 1987 as a Bicentennial gift to the people of Victoria, and the land became a Historic Reserve which is now under the management of Parks Victoria.
How is it Significant
The Andersons Mill Complex is of historical, scientific (technical), and architectural significance to the State of Victoria.
Why is it significant?
The Andersons Mill Complex is of historical significance as highly intact and representative example of a rural industrial landscape associated with the early period of wheat growing
activity in Victoria up until the mid-1870. Flour mills were an important component of the relatively self generating local economies which operated in the agricultural districts of Victoria in this period.
The Andersons Mill Complex is of historical significance as a product of the development in a goldfields economy, in which money made from gold mining and associated industries such as timber milling was invested locally in other industries such as flour milling. The scale and finish of the mill and office indicate the confidence of the Andersons in this endeavour.
The Andersons Mill Complex is of historical significance as a rural industrial complex which has been in continuous occupation and use by the same family since the 1860s. The buildings and structures are indicative of the transference of the Andersons' experience of building and industrial practices in Scotland. The different processes employed at the mill also demonstrate the capacity of the owners to adapt to changing circumstances over close to one hundred years.
The bluestone main mill building of the Andersons Mill Complex is of architectural significance as a fine example of a large scale industrial structure displaying the simple unadorned materials, symmetrical arrangement and harmonious proportions of the Georgian style.
The Andersons Mill Complex is of scientific (technical) significance as a rare and highly intact water powered nineteenth century flour mill. The waterwheel and the water turbine provide outstanding opportunities to demonstrate how water power was used in the nineteenth century. The Andersons Mill Complex is of scientific (technical) significance for its capacity to demonstrate the technical aspects of the oat milling process.
The water wheel is of scientific (technical) significance as a product of the Victoria Foundry at Ballarat during its most active period. It clearly demonstrates the manufacturing capabilities and levels of craftsmanship attained by the foundry no more than five years after it was established. The wooden patterns from which the wheel's components were cast have survived and illustrate the way in which the wheel was manufactured.
Year Construction Started 1861
Architectural Style Victorian Period (1851-1901) Georgian
Policy Statements - ITU PP-18
H.E. Mr Peter Shanel Agovaka, Minister of Communication and Aviation, Solomon Islands
©ITU/P.Barrera
wall covered with posters of candidates for a local election - afternoon - Bagong Silang, Manila, The Philippines
Media statement:
More than 400 residents from across NSW gathered outside AGL Energy's head office in North Sydney this morning to demand an end to AGL's controversial coal seam gas projects in Gloucester and Camden.
The residents, many who had travelled together by bus from Gloucester, were joined by concerned Sydneysiders and members of GetUp. Today marks the 100th consecutive week of community protests at AGL's head office demanding an end to CSG in NSW.
GetUp’s Better Power Campaign Director Lily Dempster, who is leading the organisation’s call for consumers to turn their backs on energy retailers still investing in dirty energy, said it was disappointing that CEO Andrew Vesey had refused an invitation from Groundswell Gloucester to address the gathering today.
“People from all walks of life have gathered outside of AGL today and over the past 100 weeks to show the community finds the threats of coal seam gas to our agricultural land, our precious water resources and our communities simply unacceptable,” she said.
“It’s risky business for communities such as Gloucester and Camden, and it’s increasingly risky business for investors too.
“The company is currently reviewing its coal seam gas investments and has a prime opportunity to get out of harmful coal seam gas projects for good.
“We know one of the most effective ways of placing pressure is through consumer action. If you are an AGL customer you're in a powerful position to help pressure this company to get out of CSG and start supporting cleaner, safer renewable energy instead," she said.
Professor Rufus Clarke is a former AGL customer who has switched power provider through the Better Power campaign.
“In April this year my wife and I became aware of the influence that companies like AGL have on public policy, for example in Prime Minister Abbott’s reneging on his pre-election promise not to cut the Renewable Energy Target, and his persistent attacks on the renewable energy industry.
“Ecological responsibility cuts no ice with these companies; the only thing they understand is losing market share. So we switched to Powershop for our electricity supply. We are paying no more per kilowatt hour than we were with AGL.
“I urge others to do as we have done, to switch their energy supplies away from those who pollute the atmosphere and the aquifers – it’s the only message that the companies that pollute, and their shareholders, will understand,” Prof Clarke said.
To date the Better Power campaign has switched 12,000 customers from AGL and other big polluting companies including EnergyAustralia and Origin Energy.
This template is used for creating the statements of banks. It contains "Financial Position", "Operations and Changes" and "Cash Flow" statements. SpreadsheetWEB version of the template allows to publish the statements online easily.
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.