26,876 research outputs found
Cyril, Martin, and Dan Foley, August 1983
No full textThe Blue River Rose / Cyril Foley; Red Rose / Martin Foley; Old Savannah Home / Dan Foley; The Best of Friends Must Part / Cyril Foley; The Green [indecipherable] / Martin Foley; It Was Only Her Faded Picture Dan Foley; My Lovely Young Mary / Cyril Foley; Bonny Bunch of Roses / Martin Foley; There\u27ll be Red Roses Blooming Back Home / Dan Foley; I\u27ll Be Hanged If They\u27re Going to Hang Me / Cyril Foley; Annie Dear I\u27m Called Away / Martin Foley; The Days of Long Ago / Dan Foley; The Halls of Glamshell / Cyril Foley; The High School Crew / Martin Foley; Nellie the Pride of My Home / Dan Foley; My Little Grey Home in the West / Martin Fole
Fiona Foley: Veiled Paradise
No full textBackground
A solo exhibition titled Fiona Foley: Veiled Paradise held at QUT Art Museum. This retrospective of Fiona Foley’s art practice spans 35 years. Dr Foley is a leader in the field of Aboriginal art from the mid 1980s and is a lecturer at Queensland College of Art. New work was created specifically for this major exhibition. The exhibition ran from 19 June – 26 September and had 3040 people in attendance during this time. An 84-page catalogue containing two essays accompanied the exhibition. On the opening night speeches were made by Associate Professor Sandra Phillips UQ, Mr Wesley Enoch Indigenous Chair at QUT and Vice Chancellor QUT Margaret Sheil.
Research Contribution
Dr Foley was awarded an external grant from the Cherish Fund - Australia Council of the Arts for $49,467. Dr Foley created a new photographic series titled, The Magna Carta Tree on Badtjala country in February 2021 specifically for the exhibition Veiled Paradise. The new series contains 17 images which Foley wrote on in her essay Exploding time past and time present, published in Griffith Review 73: Hey, Utopia! The exhibition was favourably reviewed in Art Guide Australia by art critic Dr Louise Martin-Chew who writes, “researching and responding to this period of Badtjala history has been a crucial focus of Foley’s work.”
Research Significance
A biography by Louise Martin-Chew was launched during the exhibition titled Fiona Foley Provocateur: An Art Life and published by QUT Art Museum. This biography was the basis of Louise Martin-Chew’s PhD candidature at The University of Queensland. Works in the exhibition included, sculptures, printmaking, photography, film, installations, drawings and painting. Dr Foley gave classes to QUT students, QUT Indigenous staff, invited elders and members of the Institute for Collaborative Race Research. The exhibition will tour to the McClelland Gallery, Victoria in 2022.No Full Tex
Alien Registration- Foley, Martin (Portland, Cumberland County)
No full texthttps://digitalmaine.com/alien_docs/23781/thumbnail.jp
Alien Registration- Foley, Martin (Portland, Cumberland County)
No full texthttps://digitalmaine.com/alien_docs/23781/thumbnail.jp
The Art of Politics the Politics of Art The Place of Indigenous Contemporary Art
No full textIn October 2005 the Centre for Public Culture and Ideas hosted The Art of Politics/The Politics of Art conference in Brisbane. An impressive array of local and international Indigenous and non-Indigenous academics, art administrators and practicing artists were gathered together to discuss Indigenous art in mainstream Australia and in international arts practice. This book features contributions from Fiona Foley, Regina Ganter, Subba Gosh, Anna Haebich, Dillon Kombumerri, Ole Maiava, Louise Martin-Chew, Michael Mel, Djon Mundine Fiona Nicoll, Aaron Seeto, Franca Tamisari and Kelvin Yazzie.No Full Tex
Courting Blakness Recalibrating Knowledge in the Sandstone University
No full textA celebration of ‘Courting Blakness’, a groundbreaking exhibition of contemporary Indigenous art In September 2014, Adjunct Professor Fiona Foley and a team of eight Aboriginal artists delivered a cutting-edge installation to the sandstone heart of the University of Queensland’s St Lucia campus – the Great Court. Universities have traditionally been elite institutions, isolated and dissociated from the concerns of Indigenous people. For generations, the contributions of Aboriginal and Torres Strait Islander thinkers, activists and artists have been invisible or undervalued in our universities. This history is etched into the walls of the Great Court, with anachronistic concepts of humanity and racial difference revealed in many of the friezes and sculptural reliefs. The Courting Blakness exhibition aimed to reclaim this historically white space, to create a visual dialogue between contemporary Aboriginal art and colonial-inspired architecture. Students and other members of the university community, as well as the general public, were invited to re-engage with the Great Court through conversations about issues that matter to both Indigenous and non-Indigenous Australians. Comprising beautiful images and essays by the artists, curators and academics who presented at the associated symposium, Courting Blackness: Recalibrating Knowledge in the Sandstone University is a stylish and comprehensive tribute to this innovative project.No Full Tex
Martin Paper Products, opening
No full textM.J. Foley, President of Powell River Company and Martin Paper Products, Ltd., stands beside Horace Birch Simpson at the opening ceremonies for the Martin Paper Products Kelowna Warehouse
Administrative data quality: Investigating record-level address accuracy in the Northern Ireland Health Register
No full textMany national statistical institutes (NSIs) are seeking to supplement or replace their traditional population census with a methodology underpinned by administrative sources. Health service register data are key in this regard owing to their high population coverage; it is therefore important to improve understanding of data quality in this administrative source. This study investigated the factors associated with record-level address data mismatch between the Northern Ireland (NI) Health Card Registration System (HCRS) and the 2011 Census, using the NI Longitudinal Study (NILS). Address information in the form of anonymised Unique Property Reference Number (XUPRN) was available for circa 334,000 NILS members with census returns in 2001 and 2011, which provided a benchmark to assess XUPRN accuracy in their linked HCRS record for comparable time points. Multinomial logistic regression revealed a significantly greater likelihood of address mismatch in the HCRS for: males; young adults; individuals with no limiting long-term illness; migrants in the year prior to each census; and residents of communal establishments. Identification of population groups affected by poor quality address information in administrative sources can assist NSIs with the development and implementation of methodological improvements to ensure that official population statistics generated from these sources are fit for purpose.</p
Allen, Reardon, Father Topp, Reardon, Foley, MacDonald and O'Leary at Alumni Event, ca. 1956
No full textb&w photographFair condition: both sides curling, staple marks in each corner and along top and bottom edges, two small tears in top right corner as a result of staples, bottom right corner bent, and yellowing around edges and on reverse.Seven men socialise at an alumni function (l to r): Alex Allen ("Axle," Commerce class of 1945), Charlie Reardon (Engineering class of 1945), Rev. Topp, "Jack" Reardon (Engineering class of 1942, Science class of 1943) in a singalong with Wally Foley (Commerce class of 1944), Hughie MacDonald (Commerce class of 1945), and Eddie O'Leary (front right, holding a cigarette, Engineering class of 1932). Allen, Foley, and MacDonald played rugby and hockey together in their undergraduate years, while Charlie provided the cheerleading. Jack was Secretary of the Amateur Athletic Association. Date is based on Rev. Topp's first appearance among the faculty.Written in pen on left reverse side is 'Alex Allen, Charlie Reardon, Fr. Topp S.J., Jack Reardon, Wally Foley, Hughie McDonald [sic], O'Leary.' Stamped in blue on reverse: 'Photo by Tom Martin Halifax, N.S. 2-5424.' Came in white mat with '247.0' written in pencil on reverse. From Art Gallery
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