women-from-australia

"There are not many places in this world that take your education and training as seriously as this university. It achieves excellence, because it cares."

"I see no mileage at all in being average. We owe it to the patients that we treat to be the best that we can be,” continued Professor Wood, who also told graduates that they needed to contribute to the body of knowledge in their fields."

"Collectively, we learn today to make tomorrow a better place for us and for everyone across the world."

"Just Do It — I know it sounds cliché, but I believe there is power in acting, and not overthinking things."

""The pace of change has been so fast that we need to be constantly on our toes.”"

"“A year in a startup is about seven years in corporate life.” As a founder, especially in your first few years of growing the business, you go through this torrent of emotional and psychological experiences within a compact period, and it’s not something you’re aware of until you’re deeply ingrained in building the business.""

"Your true gentlewoman does not sit down and weep and say "I've never done such things"—she simply "does" and no more about it."

"There are a few fortunate races that have been endowed with cheerfulness as their main characteristic, the Australian Aborigine and the Irish being among these."

"By this time I was a confirmed wanderer, a nomad even as the aborigines. So close had I been in contact with them, that it was now impossible for me to relinquish the work. I realized that they were passing from us. I must make their passing easier. Moreover, all that I knew was little in comparison with all there was yet to learn. I made the decision to dedicate the rest of my life to this fascinating study."

"The Australian native can withstand all the reverses of nature, fiendish droughts and sweeping floods, horrors of thirst and enforced starvation—but he cannot withstand civilization."

"Surely the world we live in is but the world that lives in us?"

"I invariably rose at sunrise, when the days are at their most glorious, and the whole world is full of beauty and music and dreaming, waking from its slumbers under the mists. I made my toilet to a chorus of impatient twittering. It was a fastidious toilet, for throughout my life I have adhered to the simple but exact dictates of fashion as I left it, when Victoria was queen—a neat white blouse, stiff collar and ribbon tie, a dark skirt and coat, stout and serviceable, trim shoes and neat black stockings, a sailor hat and a fly-veil, and, for my excursions to the camps, always a dust-coat and a sunshade. Not until I was in meticulous order would I emerge from my tent, dressed for the day. My first greeting was for the birds."

"Every one of the natives whom I encountered on the east-west line had partaken of human meat, with the exception of Nyerdain, who told me it made him sick. They freely admitted their sharing of these repasts and enumerated those killed and eaten by naming the waters, and drawing a line with the big toe on the sand as they told over in gruesome memory the names they dared not mention. My first words to them were always “No more man-meat.” From the weekly supply train, I would procure part of a bullock or sheep and show them the game food areas, mallee-hen’s eggs, rabbits and so on, that must be their meats now, with as many dampers as I could provide, and a drink of sweetened tea. One morning very early, the news came that Nyan-ngauera had left the camp, taking a fire-stick and accompanied by her little girl. No one would follow her or help to track her. For twelve miles I followed the track unsuccessfully, but Nyan-ngauera doubled many times and gave birth to a child a mile west of my camp, where she killed and ate the baby, sharing the food with the little daughter. Later, with the help of her sons and grandsons, the spot was found, nothing to be seen there save the ashes of a fire. "The bones are under the fire", the boys told me, and digging with the digging-stick we came upon the broken skull, and one or two charred bones, which I later sent to the Adelaide Museum."

"No man or woman, who tries to pursue an ideal in his or her own way, is without enemies."

"Our road is the Road of Yesterday and the Road of Today, for Yesterday and Today are still the same."

"A glorious thing it is to live in a tent in the infinite—to waken in the grey of dawn, a good hour before the sun outlines the low ridges of the horizon, and to come out into the bright cool air, and scent the wind blowing across the mulga plains. My first thought would be to probe the ashes of my open fireplace, where hung my primitive cooking-vessels, in the hope that some embers had remained alight. Before I retired at night, I invariably made a good fire and covered the glowing coals with the soft ash of the jilyeli, having watched my compatriots so cover their turf fires in Ireland. I would next readjust the stones of the hob to leeward of the morning wind, and set the old Australian billy to boil, while I tidied my tent, and transformed it from bedroom to breakfast-room. As the sun came up, it changed that plain white room into the most exquisitely-frescoed pergola, with a patterning far surpassing the best of Grinling Gibbon’s handiwork. In a constant play of leafy light and shadow, I would eat my tea and toast in absolute content, while outside the blue smoke of the fire changed to grey in the bright sunlight. The mornings were spent in wandering from camp to camp, attending to the bodily needs of the scattered flock. I knew every bush, every pool, every granite boulder, by its age-old prehistoric name, with its legends and dream-time secrets, and its gradual inevitable change. There was no loneliness."

"Only an artist could make such pictures by camera as those by Pegg Clarke, a very beautiful sample of which (Mist on the Mountains) was hung, in the London Salon, 1921."

"An art historical approach is too concerned with artistic genius, oeuvres, innovation and technical excellence."

"I am interested in the material legacy of photographs by early woman photographers in New Zealand museums and archives (or the lack thereof), and the question of how to rethink curatorial concerns that have been formed by histories that have excluded, not only work relating to New Zealand, but the work of women."

"Cearns has appeared in numerous publications and also on television regarding her work. Most notably she has been a regular guest on The Couch, a television show broadcast in Australia and New Zealand."

"In addition to her photographic work, Chinnery kept extensive diaries of her time in New Guinea and Papua. She began to rewrite her diaries as a book in the mid-1930s, but abandoned this work after the 1937 volcanic eruption in Rabaul, after which she returned to Australia."

"Pegg Clarke (Melbourne) has made of photography a consummate art. On gazing at her photographs, several of what one might aptly term "treescapes" having a soft melting grace reminiscent of a Corot without colouring, makes it absolutely indifferent to academic discussions of whether photography is an art or a craft."

"Miss Clarke has an eye for something other than the merely picturesque, and most of our painters might study the composition of these carefully-selected subjects with profit. Some of the Australian photographs, in particular, should make our realistic painters sit up and take notice."

"Her photographic work provides information on people and places in the pioneer days of North Queensland."

"“To decode the patterns of correspondences as if they were symbolic would be like trying to psychoanalyse the window of a tumble dryer”."

"She was featured in the Magnificent Makers exhibition at the State Library of Queensland in 2018."

"Editorial work came easily to me, but it was always a means to an end – it consumed me, it interested me, but I still found it creatively restrictive,"

"I grew up with so much guilt and shame for wanting to embody my sexuality and my identity, but I never really had a space where I fit into"

"“It took 24 years of my life to learn just how whitewashed I became and how much I repressed my identity in order to exist safely in White spaces”"

"Much of my work is about love," she says. "I know that sounds naive, but it is about my relationship with people and their ability to trust me. I don't feel like I am manipulating people."

"She opened a photographic studio in Ingham, Queensland before moving to Mareeba in 1904, where she established a new studio until she moved to Brisbane in 1914."

"“I’m sorry to my mother and Allah for the things I have done tomorrow”"

"“If you don’t truly understand the beliefs you’ve made about yourself, then they’re always going to subconsciously take over. It takes a lot of introspective therapy, talking about it, unpacking it and learning where the core belief came from and why you can’t let it leave essentially.”"

"Her art is driven by the desire to "create a space where she belong, a space that she could own"

"The common link was that they all felt unloved as kids. I actually felt the whole thing wasn't that psychologically interesting. That's how it resonated with me. That's how they chose to rationalise it. I am a voyeur; at the same time I am willing to get stuck in too."

"I think that anyone who is working creatively is a bit like litmus paper," she concludes. "I soak up a lot of stuff. I am hyper-sensitive and along the way I lead quite a conventional life. Maybe I am not acting out that stuff because it's in my work. It comes from existential angst. I think life's difficult."

"“I am walking the fine line between something that is beautiful and its antithesis.”"

"Butler, Rex; Ferrell, Robyn; Wagstaff, Camilla (8 October 2020). "Pat Brassington: Something beautiful & its antithesis". Art Collector Magazine. Archived from the original on 17 March 2024. Retrieved 12 April 2025."

"Mrs. Bunbury, has always loved horses and racing. One of her ancestors. Sir C. Bunbury, raced first English Derby winner St. Diomed."

"Her own horses won the Perth Cup, Derby and Railway Stakes. She rode her own horse until the age of 83."

"Traditional historical methods that could be applied to a history of women and photography related to New Zealand are unsuitable and unrealistic tools to analyse types of photographs women tended to make and the circumstances of their production."

"Mitchell, Lissa (November 2015). "Recovering Pieces: Finding an early history of women and photography in New Zealand". Love Feminists. Retrieved 12 April 2025."

"Cearns is involved with numerous charities, which, in 2019, amounted to her being awarded the Order of Australia medal. In addition to her work with the RSPCA, she has provided pro-bono work for other charities such as Kanyana Wildlife Rehabilitation Center, Animal Aid Abroad & Animals Australia."

"During a trip to the Cocos Islands in 2007, Cearns took images of blue clams at a breeding facility. She entered the images into different state and national photo contests and won 2 of the contests while placing in 2 others."

"Her manuscripts were typed up by her four daughters and donated to the National Library of Australia, which published them in 1998 as Malaguna Road: The Papua and New Guinea Diaries of Sarah Chinnery, edited by Kate Fortune."

"Chinnery did not exhibit her work during her lifetime, but her photographs were published in several of Australia's major newspapers, along with articles and anecdotes written by her. In March 1935, she produced a three-page article and photo spread for the weekend magazine of The New York Times."

"“I was always interested in law. I remember studying The Merchant of Venice and [the play’s hero] Portia was a great role model,”"

"“I had some truly great teachers [at Liverpool Girls] in Maths, English and Ancient History,”"

"As for her talk to Liverpool students, Ms Loukas-Karlsson said she “took them through her legal career” then gave them five pieces of life advice."

"“To be a good judge, you need to have a good IQ and EQ [emotional intelligence] and you need to understand people from many different walks of life,”"