The Art of Remembrance short film

We're all used to seeing images of war – on television, on the internet, at the movies. Images that inspire an immediate visceral reaction. But long before the news was bringing war into our living rooms, our understanding of the wars we were engaged in was heavily guided by art. Painting, sculpture, poetry, photography, all contributed to our comprehension of the wars we fought in, what they meant to our story as a nation and how they affected the Australians involved in them.

Dr Anthea Gunn, Senior Curator of Art, Australian War Memorial: Art has a powerful way of remembering and, I think, providing insight into other people's experiences, particularly moments of pause, where you can really sit and think about what war meant for those that went through it. One of art's great offerings to us is its complexity. It can be a straight illustration, or it can be much more emotional responses, philosophical interrogations. What it means to be at war. What it does to people, civilians and serving personnel.

Dr Karl James, Head, Military History, Australian War Memorial: Now, Gallipoli was our first major action in the First World War, and some have described it as Australia's baptism of fire. Gallipoli was intended to be a short, sharp and relatively cheap campaign. Instead, it became a protracted 8-month-long campaign. An epic of endurance and sacrifice, and a campaign that cost 10s of 1000s of lives.

Charles Bean was our Official War Correspondent during World War I. Reporting back from the thick of the action in Gallipoli, he became convinced that Australia needed a war arts scheme so that artists could, in his own words, ‘sketch what they actually saw’.

Anthea Gunn: For Charles Bean, understanding was absolutely crucial to people truly being able to remember and artworks are a crucial part of that. For us to actually be able to understand these experiences, we need to be able to get a sense of what things looked like to the people at the time and see their responses to them. What war had done to their lives. In the First World War, it became quickly apparent how big this war was for Australia. What it meant to the Australian people. And so, all manner of people were making calls for us to document this war in art.

[Jack and his offsider, Will Dyson, 1917, ART02263]

[Stepping stones to higher things, WIll Dyson, c 1915–1916, ART02265]

[Mirages to order, Will Dyson, 1915, ART02421]

Anthea Gunn: Will Dyson was an Australian cartoonist. He's been described as one of the most famous Australians in London prior to the First World War. He was extremely well known for his cartoons, which were just eviscerating political cartoons. Increasingly through the First World War, he was meeting Australians who were serving and really gained a sense of the Western Front and what wasn't really well known about the Australian experience. He wrote to the High Commissioner in London suggesting he go to the front. He got approval to go for a week. He took that – seized it with both hands – and then managed to wrangle continuing going to the Western Front. He was officially appointed in May 1917, and was effectively at the front almost continuously until the end of the war.

Dyson was Australia's first Official War Artist. He saw soldiers as victims of a war beyond their control, and this is powerfully conveyed in his drawings and his paintings. But many thought that art should have a simple duty: one of documentation.

Anthea Gunn: At the heart of the War Art Scheme was this idea that the paintings should be historically accurate. That it would help Australians understand what Australians had been through on those battlefields. So artists like George Lambert were appointed to go to the battlefields and document what they saw. In 1919, he accompanied Charles Bean to go to Gallipoli and actually explore that site. And that's where Lambert and Charles Bean got along famously now. They both had this absolute commitment to getting the detail.

[Anzac, The Landing, 1915, George Lambert, 1920–1922, ART02873]

Anzac, The Landing is one of the key paintings to come out of that trip. In it, Lambert carefully balances demands for documentary rigour while speaking to the burgeoning identity of our new nation.

Anthea Gunn: In contrast to a sort of traditional idea of war painting and a heroic image of a leader or, you know, a heroic soldier achieving victory for our country. I think in this painting, it's clearer that the actual landscape is the real heroic figure. It's the real, the core of this painting, and so much of what we understand of Gallipoli is about the Australians just surviving in that landscape under wartime conditions. To capture the full scene and the complexity of it, he's kind of compressed the landscape somewhat so that we see Anzac Cove in the lower left corner and then sweeping up towards the top of the canvas, then the composition naturally leads our eye up there, and we see these figures in the heat of battle. So what's really interesting is that with Anzac, The Landing, there's kind of a deliberate mistake – ‘mistake’ – in that most of the troops were wearing caps when they landed, but here Lambert has depicted them wearing slouch hats because it was just seen as so emblematic of Australian troops.

Karl James: Well, the First World War pretty much left Australia as a society that was in grief and mourning. We had lost some 62,000 Australians from a population of just 5 million. And these men were buried in graves on the other side of the world. And these were graves which the family members back home in Australia knew they'll probably never get to see for themselves.

[Menin Gate at Midnight, Will Longstaff, 1927, ART09807; incorrectly attributed to George Lambert in the film's artwork caption]

It's easy to forget how isolated we were from the main theatres of World War I. Will Longstaff's Menin Gate at Midnight is a seminal work that helped to bridge that distance as we mourned our dead. Spectral soldiers rise from fields of poppies before the Menin Gate Memorial in Belgium, conveying the scale and tragedy of loss.

Anthea Gunn: So Menin Gate Memorial opened in 1927. 1000s of names, right up to the tops of the walls, including more than 6,000 Australians gone – completely missing. Longstaff had witnessed firsthand the war. He had served in the war. In 1927, he went to France to witness the opening of the memorial. He later spoke about not being able to sleep and going for a walk in the middle of the night, and having this experience of these presences around him. That's the power of this painting. Combining that memorial with a sort of ghostly presence of those that it commemorates. A painting like this gives you a tangible connection to not only where they fought, where they were last seen, but also that they are remembered. That there is a glorious monument to what they sacrificed.

Anzac, The Landing gave insight into the experience of War while Menin Gate at Midnight sought to commemorate the scale of lost life. But both were painted after the fact. Ivor Hele, on the other hand, portrayed people and events as they unfolded in World War II and the Korean War.

Anthea Gunn: Ivor Hele was one of the first artists appointed during the Second World War and basically served right the way through so he was one of the longest-serving artists and who saw the most ground. So he saw some, really difficult scenes in Tobruk in Northern Africa and then right through to Papua New Guinea. People found his work incredibly powerful. And so when Australians were involved in Korea, he was kind of the natural choice.

Karl James: During the Korean War from 1950 to 1953, some 17,000 Australians deployed to that conflict, and over 330 died and some 1,200 were wounded in action. The Army, Air Force and Navy all participated. So it was a conflict that involved a relatively small number of Australians, but we were very much in the sharp end, heavily engaged in the fighting and the combat.

In the Korean War, Hele was given the rank of Major, the highest ever held by an Australian war artist, and he was tasked with documenting the men and machines of the RAAF's No 77 Squadron.

Karl James: And No 77 Squadron and the Royal Australian Air Force were also very heavily involved in the conflict. Flying operations over North Korea, attacking North Korean ground forces, harassing the Chinese, destroying bridges, attacking communications and the like.

[Loading rockets, 77 Squadron, Kimpo, Ivor Hele, 1952, ART40352]

[Adjusting rockets on jets, 77 Squadron, Korea, Ivor Hele, 1952, ART40325]

Anthea Gunn: So much of their day-to-day lives for these personnel was repetitive tasks, but incredibly physical tasks at the same time. And I think Hele conveys that. It's really focused in on their bodies, and it really centres that experience and just repetitive labour, I think, that's over and over again. So in one way, it's kind of mundane, but in so many other ways, you're always vulnerable. And your, your body is what's at the forefront of that.

[Ordinary Seaman Edward Sheean, HMAS 'Armidale', Dale Marsh, 1978, ART28160]

Of course even with the subject's face hidden, a work can capture their vulnerability and be a deeply intimate form of commemoration. Here, Dale Marsh depicts the heroic sacrifice of Ordinary Seaman Edward 'Teddy' Sheean, an 18-year-old from Latrobe in Tasmania.

Karl James: During the Second World War, the Royal Australian Navy had a massive job. Its ships served all around the world: in the Pacific, in the Indian Ocean, in the Mediterranean and elsewhere, and really being at the forefront of operations. In late November of 1942, the Corvette HMAS Armidale, along with HMS Castlemaine, had left Darwin sailing to Timor to evacuate a group of Australian soldiers, Dutch personnel and some Portuguese civilians. During the return voyage on the 1st of December, Armidale was attacked by Japanese aircraft.

Despite wounds to his chest and his back, Teddy Sheean helped free one of ship's life rafts before scrambling back to his post and strapping himself into an Oerlikon gun. He then fired on Japanese aircraft as the Armidale was sinking, providing invaluable cover to his shipmates, allowing them to escape the wreck.

Anthea Gunn: Ordinary Seaman Edward Sheean, HMAS 'Armidale' really conveys this powerful sense of vulnerability. Posture is the first thing that I think draws the eye. Just his bare skin in this environment of what you realise is just a hail of gunfire. And he's on a ship that's going down. You see that he's strapped to a machine gun. And so looking across his body, we're looking at his last point of view, and then I think we're invited to appreciate he's clearly about to die. It's just the worst circumstances. And he's been extraordinarily courageous in returning fire to give cover for his mates. Marsh is inviting us to really put ourselves into that position and think about what it would be like to be so intensely vulnerable to bullets firing down on you, and your knowing exactly what is going to happen and choosing to take the bravest course of action you could.

On the 12th of August 2020, Ordinary Seaman Sheean was posthumously awarded the Victoria Cross for Australia, making him the first member of the Royal Australian Navy to receive our highest honour for valour.

Karl James: So the Second World War is a time of great social change for Australia. And probably the most obvious way we see this is in the women's services. So during the conflict, some 66,000 women join the military – so the Army, Air Force and Navy. An additional 4 or 5,000 join the Women's Land Army. So in total, some 70,000 Australian women were actively participants in the war, and what they were doing during this conflict was very different to say earlier wars. Women were working in ammunitions factories, aircraft factories, working in those nontraditional female roles. Really changing stereotypes.

Nora Heysen was the first woman to be appointed under the War Art Scheme. Commissioned in 1943, her initial brief was to document the contributions of women.

Anthea Gunn: Nora Heysen had really established herself as a mature artist. She'd stepped out of the shadow of her very famous father, Hans Heyson. So she was kind of an obvious candidate when the War Memorial decided to appoint women artists.

Archival footage of artist Nora Heysen: I wanted to do something for the war effort and I thought I might as well use a bit of talent I've got, so I offered my services to depict the magnificent effort made by the women in the war.

[Transport driver (Aircraftwoman Florence Miles), Nora Heysen, 1945, ART24393]

Anthea Gunn: Nora Heyson really captured Florence Miles in this painting. I think the reasons as to why she selected her as the sitter for this portrait just bound off the canvas. She's a strong young woman. She's a woman doing something. She's not an object. She's not looking at us. She's not aware of the viewer. So one of the things I really love about this work is that it just very simply does a lot. The whole composition just leads us to Florence's face. The frame of the window just kind of gently leads our eye towards her face. But then there's this lovely gentle symbol of the Royal Australian Air Force flag out the window that we can see, that just situates what she's doing in connection with the Women's Auxiliary Australian Air Force role.

[Bomber crew, Stella Bowen, 1944, ART26265]

The second woman to be an official Australian war artist was Stella Bowen, who worked in Britain depicting the activities of Bomber Command, as well as the return of prisoners of war from Germany. Bomber crew is her most celebrated work. It depicts the crew of a Lancaster bomber of No 460 Squadron.

Karl James: Bomber Command was that offensive service of the Royal Air Force that was able to take the war deep into the heart of Nazi Germany. So there were several Australian squadrons that made up part of the Royal Air Force Bomber Command, and 460 squadron was one of those Aussie squadrons that achieved a very high reputation. It was a bit larger than many of the other squadrons, so it was able to carry out more operations, but it also meant more Australians became casualties. So nearly 600 Australians died serving in 460 Squadron alone, and that's 600 for some 4,000 who died serving in Bomber Command.

Bowen was particularly taken with the youth and bravery of the airmen. But only a few hours after the preliminary sketches were completed, their aircraft was shot down on a raid over Friedrichshafen, and all but one of the men were killed.

Anthea Gunn: She found herself in a studio, creating this work, not knowing the fate of these men. And so she described that in a letter to her brother as like painting ghosts. So I think it's a really beautiful, evocative description, and I think that comes across in the painting. And so this work in particular, I think, is a really powerful commemorative artwork.

[Private, Gowrie House, Stella Bowen, 1945, ART26277]

A year later, Stella Bowen was painting people and scenes at Gowrie House.

Karl James: Opened in early 1945, Gowrie House was located in Eastbourne, which is in Sussex in England, and it was the centre for returning Australian soldiers who had been prisoners of war of the Germans and the Italians. It was, in effect, a seaside resort for these men to rest, recover and recuperate, and rehabilitate before they were sent home to Australia.

There, she painted the portrait of this Private. Despite being an important part of the Australian War Memorial collection, the subject of Bowen's painting remained unknown for decades. That is, until the 11th of June 2014, 69 years to the day after the portrait was completed: an amazing breakthrough was made.

Garth O'Connell, Curator, Australian War Memorial: We had 2 clues to go on, Nate. One was he had to have been captured in North Africa, Greece or Crete early in the war. So 1941, '42. And he had to have gone through Eastbourne House in England in June 1945. So there were the 2 main things.

Nate Byrnes: That's not a lot. So from those tiny little clues, what's the next step?

Garth O'Connell: One day I was just flipping through a book called Forever Warriors, written by Jan James, and it's about Aboriginal communities from Western Australia who had members of their family serve in the Australian Defence Force overseas. I was flipping through it because one of my personal and professional interests here at the memorial is in the experiences of Aboriginal and Torres Strait Islander prisoners of war. Then this guy, I stopped at his face, and I paused and I went, ‘I know this guy from somewhere’. And then I went to my desk, and I pulled up the painting of Private, Gowrie House by Stella Bowen, and I was like, ‘Oh my goodness, this sort of looks like that fella. What was his name?’ His name was David Harris, in his National Archives' records, it had in there an entry for him being in that area in June 1945 in England, so that put him in the correct time and place which Stella Bowen, our Official War Artist, painted his portrait. And it's interesting because in that portrait, he's sort of got a 1000-yard stare. Later on, when I got in contact with his niece, she then emailed me a photograph of him in a boxing competition just before he was captured, and that gave us a side sort of angle to his face. Not just –

Nate Byrnes: Sort of like the way the painting is laid out.

Garth O'Connell: Exactly. It was really, a really good moment when I hear the family say it was him. That's really when I, like, it hit home for me.

[White Australia has a Blak History, Tony Albert, 2013, ART994989]

Archival footage of television interviewer: Where's your family actually from?

Anthea Gunn: Tony Albert was the first Aboriginal Official War Artist, and another first was that he was the first to be deployed during peacetime in Australia. Tony Albert was deployed to the regional surveillance unit known as NORFORCE and alongside Aboriginal service people training, learning how to participate in the surveillance program for that part of the country, which relies on Indigenous skills to be successful. It was really powerful having an Aboriginal voice or an Aboriginal artist rather depict that experience.

Archival footage of artist Tony Albert: I was commissioned via the War Memorial in Canberra to respond through visual art for their collection. I've been working with the guys and girls here, looking at bringing their name to the forefront and writing them into history, and making sure people understand that Aboriginal people have always had a role within the military.

From this deployment, he created the Gangurru Camouflage series.

Anthea Gunn: So 'Gangurru' is the Girramay word for kangaroo. As you can see, when you look at the work, it's the shape of the kangaroo has been used to make a new camouflage pattern, and camouflaged within that are these phrases that refer, to sort of, Indigenous experience of conflict. And that's both concealing and revealing the Indigenous experience of service, which has always been a part of the ADF. And so that history has just been kind of below the surface. And so Tony's work is a really powerful way of revealing that, and so he does that just really subtly and gently but incisively. Incorporating these phrases like 'White Australia has a black history', but alongside pop references as well: ‘I was only 19’, ‘We can be heroes just for one day’. So there's this real mix of emotions and messages. There's a joy that comes through that, I think. But also a real point about Australian history, and about the stories that haven't been well told.

Karl James: Vietnam War was our longest military commitment until more recent war in Afghanistan. Between 1962 and 1975 some 60,000 Australians took part in a conflict, and they were either deployed on the ground, say fighting Phuoc Tuy Province, or supporting the naval and logistic effort during the conflict.

Archival new footage: 15 years of war. A war which, like no other, has been documented by television. Literally hundreds of news film crews have brought images of the war to TV screens all over the world.

Despite this, war art still had an important role to play.

[Insertion, Ken McFadyen, 1968, ART40741]

Anthea Gunn: For veterans in particular, seeing their experiences rendered in what was still in the 1960s in particular commonly thought of as high culture, there's this value that seeing your experience represented in this traditional way conveys. So Insertion really captures are quite a modern experience of conflict. Of being airlifted in and jumping off a helicopter and straight into action. Straight into danger. And it's such an iconic part of the Vietnam War and the soldiers' experience of that war. The soldiers really respond to this painting and the way it captures their experience of being in the war.

One thing not easily captured by news reports and paintings like Insertion, though, is the internal worlds and struggles of service personnel. The soldiers' war experience and the emotional stress and fatigue that often envelops them have long been important things in war art.

[Coming back from Passchendaele, Will Dyson, 1917, ART02255]

Anthea Gunn: We can see one of Will Dyson's works on display currently. A scene from Passchendaele in 1917, and he's depicted the troops coming back from the front. They've been at the front lines for several days. Just absolutely dreadful conditions of trench warfare. And so he really captures – when you really look closely at their faces – you can just see endurance that's required to just survive. So there's this real sense of their internal worlds coming through, through these works; they're not heroic war art. They're a very kind of enduring testimony to that experience.

Archival footage of Ben Quilty: With the soldiers, I've tried to capture more of the feeling of the experience rather than the likeness of the soldier. Because I've been there, they're quite open to letting me know about how they feel. And that's what I wanted to know, as an artist.

Anthea Gunn: Ben Quilty's deployment to Afghanistan in 2011, I think, happened at a moment where the Australian public were talking more about mental health, and particularly for veterans. And so Ben had complete freedom to create the body of work he wanted to create. And so he decided to really zero in on the experiences of soldiers after they come home.

Archival footage of Ben Quilty: So I then followed up quite a few of the soldiers that I'd met in Afghanistan, and I invited them to the studio, and I asked them, not only to tell me more of the stories, but also to suggest a pose that encapsulated some of their feelings of the emotion that surrounded their experience in Afghanistan.

Anthea Gunn: If you think about Will Dyson and the image of the soldiers at Passchendaele, when we really look at their faces, we can see something of what they've gone through. But it's in a kind of landscape. It's in a context. Whereas Quilty's work foregrounds that. That is the experience we're being asked to engage with. It's not the kind of war as a whole, it's the war internally that people bring home with them.

Importantly, though, art can remind us that the scars of war aren't only suffered by veterans.

[Elvi Wood, Ben Quilty, 2016, AWM2016.574.2]

Anthea Gunn: Of course, war isn't just about those on the front line. It's about their families, their friends, those that pick up the pieces when they come home, and those that are left grieving when they don't. The stories that haven't really been told as well, historically, are the stories of the families and loved ones. When Sergeant Brett Wood was killed in Afghanistan, Elvi Wood found herself grieving publicly. She went from being a private, ordinary Australian to someone in the public eye at the worst time of her life. And so this artwork, I think, captures that really beautifully. We see Elvi's sort of hunched fear. She's obviously grieving. She's sort of lost in her internal world, but she's in a sort of stage space. We see that glare of the public spotlight.

Service personnel have also always recorded their own perspectives. From oral histories and written memoirs to photography and illustrations, their works run parallel to and inform the works of official artists, correspondents and historians. They document and interpret their experiences for their own benefit, for the benefit of their families, fellow service personnel, for all Australians. For those that come home and those who don't, it's often their families who become the custodians of their stories. Their writing. Their art. Service personnel often don't think they really do much. It's just a job. The sacrifices, big and small, whether a lost life or missed a birthday, all add up to allow us to live as we do today. It is important that we remember those sacrifices and thank service personnel for giving them so freely. Lest we forget.

A MAN, Hilda Rix Nicholas (1921) AWM ART19613

HMAS AUSTRALIA IN ACTION, GUADALCANAL, 8 AUGUST 1942, Dennis Adams (1943) AWM ART22189

ES SALT RAID, George Lambert (1918) AWM ART02872

GRENADE THROWING, BOBDUBI RIDGE, Ivor Hele (1944) AWM ART22556

THE ROAD TO JERUSALEM, George Lambert (1918) AWM ART93100

RAAF SISTER (SISTER MAVIS WINIFRED JOHN), Nora Heysen (1945) AWM ART24368

DIGGERS SITTING ON ARMOURED PERSONNEL CARRIER ON PATROL, PHUOC TUY PROVINCE, Ken McFadyen (1968) AWM ART40670

THE SHACK, TRONE'S WOOD, Will Dyson (c.1917) AWM ART02420

STRETCHER BEARERS IN THE OWEN STANLEYS, William Dargie (1943) AWM ART26653

UNKNOWN SOLDIER (GANGURRU CAMOUFLAGE), Tony Albert (2013) AWM ART94996

F1 GUNNER, Ken McFadyen (1968) - ART40670 SISTER TREATING A NATIVE, Nora Heysen (1944) AWM ART23431

TROOPS IN BACK OF TRUCK, LIBYA, Ivor Hele (1943) AWM ART28479

JACK AND HIS OFFSIDER, Will Dyson (1917) AWM ART02263

STEPPING STONES TO HIGHER THINGS, Will Dyson (c.1915-1916) AWM ART02265

MIRAGES TO ORDER, Will Dyson (1915) AWM ART02421

THE CHARGE OF THE 3RD LIGHT HORSE BRIGADE AT THE NEK, 7 AUGUST 1915, George Lambert (1924) AWM ART07965

ANZAC, THE LANDING 1915, George Lambert (1920-1922) AWM ART02873

MENIN GATE AT MIDNIGHT, William Longstaff (1927) AWM ART09807

RETURN OF THE METEOR JETS, KIMPO, KOREA, Ivor Hele (1953) AWM ART40304

METEOR JET, Ivor Hele (1952) AWM ART40326

LOADING ROCKETS, 77 SQUADRON, KIMPO, Ivor Hele (1952) AWM ART40352

ADJUSTING ROCKETS ON JETS, 77 SQUADRON, KOREA, Ivor Hele (1952) AWM ART40325

ORDINARY SEAMAN EDWARD SHEEAN, HMAS 'ARMIDALE', Dale Marsh (1978) AWM ART28160

THE ATTACK, Jan Senbergs (1998) AWM ART91493

DELUSIONS IN THE WHALER, Jan Senbergs (1998) AWM ART91499

THE FATAL WOUNDING, Jan Senbergs (1998) AWM ART91494

COL MADIGAN LEAVES THE ARMIDALE, Jan Senbergs (1998) AWM ART91495

THE DOOMED RAFT, Jan Senbergs (1998) AWM ART91500

SEPARATION OF THE RAFT AND THE WHALER, Jan Senbergs (1998) AWM ART91498

THEATRE SISTER MARGARET SULLIVAN, Nora Heysen (1944) AWM ART22234

SPONGING A MALARIA PATIENT, Nora Heysen (1945) AWM ART24373

TRANSPORT DRIVER (AIRCRAFTWOMAN FLORENCE MILES), Nora Heysen (1945) AWM ART24393

BOMBER CREW, Stella Bowen (1944) AWM ART26265

FLYING OFFICER MARMION CARROLL, NAVIGATOR, Stella Bowen (1944) AWM ART26251

PILOT OFFICER THOMAS LYNCH, REAR GUNNER, Stella Bowen (1944) AWM ART26258

PILOT OFFICER HECTOR HARRISON, WIRELESS OPERATOR, Stella Bowen (1944) AWM ART26260

FLYING OFFICER RONALD NEAL, MID-UPPER GUNNER, Stella Bowen (1944) AWM ART26254

SQUADRON LEADER ERIC JARMAN, Stella Bowen (1944) AWM ART26255

RECEPTION DESK AT GOWRIE HOUSE, EASTBOURNE, Stella Bowen (1945) - ART26270

REPATRIATED PRISONER OF WAR IS PROCESSED, Stella Bowen (1945) AWM ART26272

RAAF AIRMEN AT MONGEWELL PARK MEDICAL REHABILITATION UNIT, Stella Bowen (1945) AWM ART26274

PRIVATE, GOWRIE HOUSE (1945-06-11), Stella Bowen (1945) AWM ART26277

A SOLDIER FOR A THOUSAND YEARS (GANGURRU CAMOUFLAGE), Tony Albert (2013) AWM ART94991

HE WAS ONLY 19 (GANGURRU CAMOUFLAGE), Tony Albert (2013) AWM ART94997

UNKNOWN SOLDIER (GANGURRU CAMOUFLAGE), Tony Albert (2013) AWM ART94996

WE CAN BE HEROES JUST FOR ONE DAY (GANGURRU CAMOUFLAGE), Tony Albert (2013) AWM ART95004

WHITE AUSTRALIA HAS A BLAK HISTORY (GANGURRU CAMOUFLAGE), Tony Albert (2012-2013) AWM ART94989

AIR LIFT, Ken McFadyen (1968) AWM ART40738

BACK FROM PATROL, Ken McFadyen (1968) AWM ART40740

CHOPPER LIFT-OUT, Ken McFadyen (1968) AWM ART40746

INSERTION, Ken McFadyen (1968) AWM ART40741

COMING BACK FROM PASSCHENDAELE, Will Dyson (1917) AWM ART02255

TROOPER LUKE KORMAN, TARIN KOWT, Ben Quilty (2012) AWM ART94526

ELVI WOOD, Ben Quilty (2016) AWM 2016.574.2