Queensland Art Gallery
The Queensland Art Gallery is an art museum located in the South Bank precinct of Brisbane, Australia. The gallery is part of the Queensland Cultural Centre, it complements the Gallery of Modern Art building, situated only 150 metres away. The Queensland Art Gallery is owned and operated by the Government of Queensland, which created the institution in 1895 as the Queensland National Art Gallery; the gallery was established in 1895 as the Queensland National Art Gallery. Throughout its early history the gallery was housed in a series of temporary premises, did not have a permanent home until the opening of its current architecturally-acclaimed building on Brisbane's South Bank in 1982, the first stage of the monumental Robin Gibson-designed Queensland Cultural Centre; the Queensland Art Gallery was considered to be a building of its time for it incorporated the best techniques and materials available within the economic limits of the project. It was the first major building to be built on the south side of the river adjacent to the new Victoria Bridge, which established a benchmark of scale and quality for future buildings.
The Queensland Art Gallery is a 4700 square metre display space broken down with walls and barriers that interchange between the art world and the public. The walls have been placed purposely to create change of course of the viewer's journey; the primary orientation element of the Gallery’s design is the Watermall that separates the tranquil environment of the exhibition galleries from the proactive environments of the administration, public programs and education areas. The varying ceilings heights and floor levels and textured surfaces enhance variety and define the sequence of display areas; the entrance foyer efficiently acts as a hub for the public circulation and main access point for arrivals and departures for all visitors where they are able to select which collections they plan to visit. The buildings use of light coloured and maintenance free materials such as cement reflect and adapt to the Mediterranean- like quality of Brisbane’s sub tropical climate; the gallery's collection includes a number of significant artworks, including the popular: La Belle Hollandaise by Pablo Picasso Under the Jacaranda by Richard Godfrey Rivers The Gallery is committed to profiling Indigenous Australian art and strengthening relationships with Queensland's Indigenous communities.
California Design 1930-1965: Living in a Modern World Quilts 1700-1945 Portrait of Spain: Masterpieces from the Prado. Hats: An Anthology by Stephen Jones American Impressionism and Realism: A Landmark Exhibition from the Met The Gallery's flagship project is the Asia Pacific Triennial of Contemporary Art series of exhibitions, now a major event on the national and international arts calendar; the expertise developed since APT1 in 1993 in staging the Triennial has led to the establishment of the Australian Centre of Asia Pacific Art, to foster alliances and publishing, the formation of an internationally significant collection of art from the Asia Pacific region. The 9th Asia Pacific Triennial of Contemporary Art The 8th Asia Pacific Triennial of Contemporary Art The 7th Asia Pacific Triennial of Contemporary Art The 6th Asia Pacific Triennial of Contemporary Art The 5th Asia Pacific Triennial of Contemporary Art The 7th Asia Pacific Triennial of Contemporary Art featured Ressort, a giant snake skeleton sculpture by Huang Yong Ping at the gallery's watermall.
This work was acquired by the Queensland Art Gallery in 2012. The Gallery is recognised as an international leader in presenting innovative museum-based learning programs for children; these programs are coordinated through the Children's Art Centre. Developing youth audiences for visual art is another priority for the Gallery. To ensure all Queenslanders have access to the collection, travelling exhibitions tour to regional centres and remote parts of the state; the Gallery's governing body is a Board of Trustees appointed by the Queensland Government, it is managed by an Executive Management Team. The current director is Chris Saines. Open daily 10.00am to 5.00pm. Closed Christmas Day and Good Friday. Open from 12 noon ANZAC day. Queensland Art Gallery - official website Queensland Art Gallery - official exhibitions website Artitecture award Cultural Centre Busway Station map - includes showing position of the Queensland Art Gallery - pdf file
Netherlands Institute for Art History
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation and books on Western art from the late Middle Ages until modern times. All of this is open to the public, much of it has been digitized and is available on their website; the main goal of the bureau is to collect and make art research available, most notably in the field of Dutch Masters. Via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries; the library owns 450,000 titles, of which ca. 150,000 are auction catalogs. There are ca. 3,000 magazines, of which 600 are running subscriptions. Though most of the text is in Dutch, the standard record format includes a link to library entries and images of known works, which include English as well as Dutch titles; the RKD manages the Dutch version of the Art and Architecture Thesaurus, a thesaurus of terms for management of information on art and architecture.
The original version is an initiative of the Getty Research Institute in California. The collection was started through bequests by Frits Lugt, art historian and owner of a massive collection of drawings and prints, Cornelis Hofstede de Groot, a collector, art historian and museum curator, their bequest formed the basis for both the art collection and the library, now housed in the Koninklijke Bibliotheek. Though not all of the library's holdings have been digitised, much of its metadata is accessible online; the website itself is available in both an English user interface. In the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/artists/ followed by the artist's record number. For example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number.
To reference an artwork page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/images/ followed by the artwork's record number. For example, the artwork record number for The Night Watch is 3063, so its RKD artwork page can be referenced; the Art and Architecture Thesaurus assigns a record for each term, but these can not be referenced online by record number. Rather, they are used in the databases and the databases can be searched for terms. For example, the painting called "The Night Watch" is a militia painting, all records fitting this keyword can be seen by selecting this from the image screen; the thesaurus is a set of general terms, but the RKD contains a database for an alternate form of describing artworks, that today is filled with biblical references. This is the iconclass database. To see all images that depict Miriam's dance, the associated iconclass code 71E1232 can be used as a special search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
National Library of Australia
The National Library of Australia is the largest reference library in Australia, responsible under the terms of the National Library Act for "maintaining and developing a national collection of library material, including a comprehensive collection of library material relating to Australia and the Australian people." In 2012–13, the National Library collection comprised 6,496,772 items, an additional 15,506 metres of manuscript material. It is located in Parkes, Canberra, ACT; the National Library of Australia, while formally established by the passage of the National Library Act 1960, had been functioning as a national library rather than a Parliamentary Library since its inception. In 1901, a Commonwealth Parliamentary Library was established to serve the newly formed Federal Parliament of Australia. From its inception the Commonwealth Parliamentary Library was driven to development of a national collection. In 1907 the Joint Parliamentary Library Committee under the Chairmanship of the Speaker, Sir Frederick William Holder defined the objective of the Commonwealth Parliamentary Library in the following words: The Library Committee is keeping before it the ideal of building up, for the time when Parliament shall be established in the Federal Capital, a great Public Library on the lines of the world-famed Library of Congress at Washington.
The present library building was opened on 15 August 1968 by Prime Minister John Gorton. The building was designed by the architectural firm of Bunning and Madden in the Late Twentieth Century Stripped Classical style; the foyer is decorated in marble, with stained-glass windows by Leonard French and three tapestries by Mathieu Matégot. The building was listed on the Australian Commonwealth Heritage List on 22 June 2004. In 2012–13 the Library collection comprised 6,496,772 items, with an estimated additional 2,325,900 items held in the manuscripts collection; the Library's collections of Australiana have developed into the nation's single most important resource of materials recording the Australian cultural heritage. Australian writers and illustrators are sought and well represented—whether published in Australia or overseas; the Library's collection includes all formats of material, from books, journals and manuscripts to pictures, maps, oral history recordings, manuscript papers and ephemera.
92.1% of the Library's collection has been catalogued and is discoverable through the online catalogue. The Library has digitized over 174,000 items from its collection and, where possible, delivers these directly across the Internet; the Library is a world leader in digital preservation techniques, maintains an Internet-accessible archive of selected Australian websites called the Pandora Archive. The Library collects material produced by Australians, for Australians or about the Australian experience in all formats—not just printed works—books, newspapers, posters and printed ephemera—but online publications and unpublished material such as manuscripts and oral histories. A core Australiana collection is that of John A. Ferguson; the Library has particular collection strengths in the performing arts, including dance. The Library's considerable collections of general overseas and rare book materials, as well as world-class Asian and Pacific collections which augment the Australiana collections.
The print collections are further supported by extensive microform holdings. The Library maintains the National Reserve Braille Collection; the Library houses the largest and most developing research resource on Asia in Australia, the largest Asian language collections in the Southern hemisphere, with over half a million volumes in the collection, as well as extensive online and electronic resources. The Library collects resources about all Asian countries in Western languages extensively, resources in the following Asian languages: Burmese, Persian, Japanese, Korean, Manchu, Thai and Vietnamese; the Library has acquired a number of important Western and Asian language scholarly collections from researchers and bibliophiles. These collections include: Australian Buddhist Library Collection Braga Collection Claasz Collection Coedes Collection London Missionary Society Collection Luce Collection McLaren-Human Collection Otley Beyer Collection Sakakibara Collection Sang Ye Collection Simon Collection Harold S. Williams Collection The Asian Collections are searchable via the National Library's catalogue.
The National Library holds an extensive collection of manuscripts. The manuscript collection contains about 26 million separate items, covering in excess of 10,492 meters of shelf space; the collection relates predominantly to Australia, but there are important holdings relating to Papua New Guinea, New Zealand and the Pacific. The collection holds a number of European and Asian manuscript collections or single items have been received as part of formed book collections; the Australian manuscript collections date from the period of maritime exploration and settlement in the 18th century until the present, with the greatest area of strength dating from the 1890s onwards. The collection includes a large number of outstanding single items, such as the 14th century Chertsey Cartulary, the journal of James Cook on the HM Bark Endeavour, inscribed on t
Princess Alexandra Hospital, Brisbane
The Princess Alexandra Hospital is a major Australian teaching hospital of the University of Queensland, located in Brisbane, Queensland. It is a tertiary level teaching hospital with all major medical and surgical specialities onsite except for obstetrics and paediatrics, it has a catchment population of 1.6 million people with 780 beds and 5,800 full-time equivalent staff. In 2005, the hospital received Magnet Recognition; the hospital is located on Ipswich Road in an inner-city suburb of Brisbane. The hospital is built on the site of the 1883 Diamantina Orphanage, named after Diamantina Bowen, wife of the first Governor of Queensland. In 1901, it became Diamantina Hospital for Chronic Diseases. In 1943, it became the South Brisbane Auxiliary Hospital and the South Brisbane Hospital in 1956. In 1959, it became the Princess Alexandra Hospital and was opened by and named after HRH Princess Alexandra, to mark the Centennial of Queensland. In 2000, a new building was opened to replace the ageing red-brick hospital complex built in the 1950s.
It was the first hospital in Queensland to be digitised in 2016, a process led by Dr Stephen Ayre, a former general practitioner, the executive director. Observations and vital signs from patient monitoring devices are automatically uploaded to patient records. All records are visible to all clinicians. Within a year this resulted in significant benefits: 14% fewer drug administration and monitoring errors 33% fewer drug dispensing and supply incidents, 17% fewer emergency readmissions within 28 days of discharge, drug costs per weighted activity unit came down by 14%, 56% fewer stage 3 & 4 hospital-acquired pressure ulcers healthcare associated infections down 37%. Early identification of deteriorating patients went up by 59%. Queensland's spinal injuries unit and the liver and kidney transplantation services are based at the hospital; the Cardiothoracic Surgery Unit opened in 1998. In the following years the unit performed more than 10,000 operations. From 2009 to 2011 major expansion works were undertaken, including the doubling in size of the emergency department, the construction of a helipad with express elevators, new oncology bunkers for cancer treatment.
The P. A. Foundation is located at the Princess Alexandra Hospital; the foundation raises money for medical research on the P. A. hospital campus. In April 2008, the Diamantina Institute for Cancer and Metabolic Medicine was opened at the hospital. In July 2011, the Diamantina Health Partners, Queensland's first academic health science centre, was opened; the Diamantina Health Partners head office is located within the Translational Research Institute on the P. A. hospital campus. In mid-2014, the Diamantina Health Partners joined together with the Mayne Health Science Alliance and Children's Health Queensland to form the Brisbane Diamantina Health Partners Academic Health Science System housed within the Translational Research Institute on the Princess Alexandra Hospital campus; the PA Hospital can be accessed by the dedicated PA Hospital busway station, the Dutton Park Railway Station and by buses on Ipswich Road or Cornwall Street. A taxi rank is located on Ipswich Road. In March 2008 a new 1400 bay car park was opened to service visitors and staff parking needs.
Healthcare in Australia Lists of hospitals List of hospitals in Australia PA Foundation. P. A. Hospital Foundation P. A. Hospital
John Barry Humphries, is an Australian comedian, satirist and author. He is best known for writing and playing his on-stage and television alter egos Dame Edna Everage and Sir Les Patterson, he is a film producer and script writer, a star of London's West End musical theatre, an award-winning writer, an accomplished landscape painter. For his delivery of dadaist and absurdist humour to millions, biographer Anne Pender described Humphries in 2010 as not only "the most significant theatrical figure of our time … the most significant comedian to emerge since Charlie Chaplin". Humphries' characters have brought him international renown, he has appeared in numerous films, stage productions, television shows. Conceived as a dowdy Moonee Ponds housewife who caricatured Australian suburban complacency and insularity, Dame Edna Everage has evolved over four decades to become a satire of stardom – a gaudily dressed, acid-tongued, internationally fêted Housewife "Gigastar"; the stories about "Bazza" gave wide circulation to Australian slang jokes about drinking and its consequences, the character went on to feature in two Australian films, in which he was portrayed by Barry Crocker.
Humphries' other satirical characters include the "priapic and inebriated cultural attaché" Sir Les Patterson, who has "continued to bring worldwide discredit upon Australian arts and culture, while contributing as much to the Australian vernacular as he has borrowed from it". Humphries was born in the suburb of Kew in Melbourne, the son of Eric Humphries, a construction manager, his wife Louisa Agnes, his grandfather was an emigrant to Australia from England. His father was well-to-do and Barry grew up in a "clean and modern home" on Christowel Street, Camberwell one of Melbourne's new "garden suburbs", his early home life set the pattern for his eventual stage career. Disguising myself as different characters and I had a whole box of dressing up clothes... Red Indian, sailor suit, Chinese costume and I was spoiled in that way... I found that entertaining people gave me a great feeling of release, making people laugh was a good way of befriending them. People couldn't hit you, his parents nicknamed him "Sunny Sam", his early childhood was happy and uneventful.
However, in his teens Humphries began to rebel against the strictures of conventional suburban life by becoming "artistic", much to the dismay of his parents who, despite their affluence, distrusted "art". A key event took place when he was nine – his mother gave all his books to The Salvation Army, cheerfully explaining: "But you've read them, Barry". Humphries responded by becoming a voracious reader, a collector of rare books, a painter, a theatre fan and a surrealist. Dressing up in a black cloak, black homburg and mascaraed eyes, he invented his first sustained character, "Dr Aaron Azimuth", agent provocateur and Dadaist. Educated firstly at Camberwell Grammar School, Humphries has been awarded his place in the Gallery of Achievement there; as his father's building business prospered, Humphries was sent to Melbourne Grammar School where he spurned sport, detested mathematics, shirked cadets "on the basis of conscientious objection" and matriculated with brilliant results in English and Art.
Humphries himself described this schooling, in a Who's Who entry, as "self-educated, attended Melbourne Grammar School". Humphries spent two years studying at the University of Melbourne, where he studied Law and Fine Arts. During this time he became Australia's leading exponent of the deconstructive and absurdist art movement, Dada; the Dadaist pranks and performances he mounted in Melbourne were experiments in anarchy and visual satire which have become part of Australian folklore. An exhibit entitled "Pus in Boots" consisted of a pair of Wellington boots filled with custard, he was part of a group that made a series of Dada-influenced recordings in Melbourne from 1952–53. "Wubbo Music" is thought to be one of the earliest recordings of experimental music in Australia. Other exhibits include "Creche Bang", a pram covered in meat and "Eye and Spoon Race", a spoon with a sheep's eye. Humphries was legendary for his provocative public pranks. One infamous example involved Humphries dressing as a Frenchman, with an accomplice dressed as a blind person.
At the appropriate juncture Humphries would force his way past the "blind" man, yelling "Get out of my way, you disgusting blind person", kicking him viciously in the shins and jumping off the tram and making his escape in a waiting car. An more extreme exam
Sir Percy Claude Spender, was an Australian politician and judge. He served in the House of Representatives from 1937 to 1951, including as a cabinet minister under Robert Menzies and Arthur Fadden, he was Ambassador to the United States and a member of the International Court of Justice, including as president of the court from 1964 to 1967. Spender was born on 5 October 1897 in Darlinghurst, New South Wales, he was the fifth of six children born to Frank Henry Spender. Spender's mother died in 1902 and his father remarried, giving him a stepsister and two half-siblings, he began his education at Darlinghurst Public School, attended Fort Street High School. After failing his matriculation exam, he found work as a clerk with the Sydney City Council. Spender passed the entrance exam to the University of Sydney, where he graduated Bachelor of Arts in 1918, he enlisted in the Australian Imperial Force in September 1918, but did not see active service before the war ended a few months later. Spender subsequently completed a Bachelor of Laws, graduating in 1922 with first-class honours and the University Medal in law.
He was admitted to the bar in 1923 and made a King's Counsel in 1935. Spender entered politics at the 1937 election when he was elected to the House of Representatives as member for Warringah, he ran as an "independent UAP" candidate, unexpectedly defeating the sitting member, Sir Archdale Parkhill. On 20 October 1938, Spender announced that he would join the UAP, but that he would "continue to stand for independent expression of thought and action and against the principle of preselection of candidates". Robert Menzies became prime minister in April 1939 and appointed himself as Treasurer, as was common at the time. Spender was promoted to cabinet as a minister without portfolio, but ran the Department of the Treasury in Menzies' stead, he was given the title "Minister without portfolio assisting the Treasurer", in November 1939 was named Acting Treasurer. He was a member of two subcommittees within cabinet – the Economic Cabinet and War Cabinet – and in January 1940 was additionally made Vice-President of the Executive Council.
Spender was appointed Treasurer a few months in March 1940. He would recall in his memoirs that he had been "in full charge of Treasury throughout". Spender's primary objective as Treasurer was to accelerate the country's transition to a war economy. Australian troops were fighting in Europe and the Middle East, although the Pacific War would not begin until November 1941 it was believed by many that the appeasement of Japan had failed and fighting closer to home was inevitable. Spender was concerned that permanent officials at Treasury, including departmental secretary Stuart McFarlane, were not taking the situation enough, he began to rely more on the advice of temporary staff and independent economists like Lyndhurst Giblin. According to political historian John Hawkins, Spender was "the most academically qualified economist among pre-WWII treasurers", he promoted interventionist Keynesian policies, such as borrowing money and raising taxes to spend on defence-related projects and thereby reduce unemployment.
He wished to control private investing so that capital would be available to the government for defence purposes, introducing requirements for private banks to place a set proportion of deposits with the Commonwealth Bank. After the 1940 federal election, Arthur Fadden was elected leader of the Country Party, the UAP's coalition partner, demanded the position of Treasurer. Spender was instead made Minister for the Army, which he would hold until the government's defeat on a confidence motion in October 1941. Anticipating Japan's entry into the war, he pressed for Australian troops to be moved from the Middle Eastern theatre closer to home, he "invited Australian generals to communicate directly with him and challenged British reassurances about the defences of Singapore". Menzies resigned as UAP leader in October 1941, Spender was an unsuccessful candidate for the leadership, he was eliminated on the first ballot, with Billy Hughes subsequently defeating Allan McDonald by a narrow margin. Spender was a candidate for the UAP leadership in 1943, when Hughes resigned.
He was again eliminated on the first ballot, polling only a handful of votes. In February 1944, the UAP voted to withdraw its members from the Advisory War Council. Spender refused to resign from the council, was expelled from the UAP as a result on 23 February 1944; the party voted 21 to 5 in favour of an expulsion motion moved by Robert Menzies –, responsible for the creation of the council as a nonpartisan body. John Curtin subsequently sent Spender a letter thanking him for staying on. Billy Hughes was expelled in similar circumstances two months later. Spender sat as an independent after being expelled from the UAP, he declined. In May 1945, Spender became a financial member of the Mosman branch of the Liberal Party of Australia. However, he was not admitted to the parliamentary Liberal Party until 13 September 1945, when the Advisory War Council was abolished. Hughes was re-admitted at that point. Upon Menzies' return to power in 1949, Spender was made Minister for External Affairs and Minister for External Territories.
Spender's greatest influence on Australian politics occurred during this period. He led Australian delegations to the British Commonwealth Conference in Colombo, Ceylon and to the Fifth S
Sir Charles Moses was a British-born Australian administrator, general manager of the Australian Broadcasting Commission from 1935 until 1965. A 1918 graduate of the Royal Military College, Moses served in the Occupation of the Rhineland and the Irish War of Independence, he emigrated to Australia in 1922. After a few years as a farmer and car salesman, he joined the ABC in 1930 as a radio sports announcer. During the Second World War he escaped from Singapore with Major General Gordon Bennett, led the 2/7th Cavalry Regiment at the Battle of Buna-Gona, crossed the Rhine as a media executive accompanying the British Commandos. After the war ended, the ABC created its own news organisation, it expanded its audience in rural areas through the new ABC Rural department with The Country Hour, the iconic radio serial, Blue Hills. With the arrival of television in Australia in 1956, Moses oversaw the ABC's move to provide Australia's first national television service in time for the 1956 Olympic Games in Melbourne.
Charles Joseph Alfred Moses was born at Woodlands Farm in Westhoughton, England, on 21 January 1900, one of five children of Joseph Moses, a farmer, his wife Elizabeth, née Henderson. In 1902, the family moved to Shropshire, where he was educated at Oswestry School, from which he graduated in 1912, he entered the Royal Military College, graduating in 1917. Shortly before the Armistice of 11 November 1918 that ended the Great War, he joined the 2nd Battalion, the Border Regiment, served in the Occupation of the Rhineland. In 1919, the 2nd Battalion moved to Ireland. There, he fell in love with Kathleen O'Sullivan of Castlebar in County Mayo. Courting her was dangerous, they were married in the Catholic Church at Aughrim Street in Dublin on 3 June 1922. They had a son, a daughter, Kathleen. Peacetime soldiering not being to his liking, Moses resigned his commission that year, he used his payout from the British Army to buy the family farm in Victoria. Although he knew a great deal about cattle and sheep farming in England from having grown up on a farm there and citrus growing in Australia was quite different.
The farm was not a success, he lost all his money. He moved to Melbourne where he tried selling real estate, worked at being a physical training instructor, he sold cars for six years before the onset of the Great Depression, when he found himself out of work. Moses applied for a position as a radio announcer at the Australian Broadcasting Commission, his southern English accent was considered the ideal radio voice at the ABC at the time, in 1930 he was invited to commentate on an ice hockey game. He was 6 feet tall and weighed 17 stone, was noted for his prowess as an athlete, he had represented the state of Victoria in rugby union, was a champion discus-thrower, had won the Victorian amateur heavyweight boxing championship in 1925. He had played soccer and hockey while in the Army, he called the game. His broadcast was successful, he was invited to join the ABC a week in August 1930. Over the next few years, Moses became well known as a sport caster, calling the rugby and The Ashes matches of the Australian cricket team in England in 1934 from telegraphed despatches as if the commentary was live from the venue.
He became the ABC's Sporting Editor in Sydney in January 1933, the Federal Controller of Talks in September 1934, the Federal Liaison Officer in August 1935, in November 1935, the General Manager. His predecessor, Walter Conder, had been in conflict with the chairman of the ABC, William James Cleary. Conder had wanted to give the listeners what he thought they wanted: entertainment. Cleary won the argument. Cleary and Moses fostered Australian talent and promoted original content, but they brought out overseas artists like Elisabeth Rethberg, Ezio Pinza, Malcolm Sargent, Lotte Lehman, Arthur Rubinstein. Concert organisers charged that the ABC had no right to break monopolies by producing its own concerts. A compromise was reached, whereby the ABC was permitted to broadcast any concert for which admission was charged. Access to news produced a similar problem, with the ABC confronting Keith Murdoch's powerful News Limited, which had great influence over conservative politicians like Joseph Lyons and Robert Menzies.
Without its own news-gathering organisation, the ABC was dependent on News Limited. When war broke out in September 1939, Moses decided to broadcast the news before News Limited allowed. Menzies refused to back the ABC. Moses volunteered for service with the Second Australian Imperial Force on 13 May 1940, was given the AIF service number NX12404. A lieutenant in the British Army Reserve of Officers, he was commissioned in the AIF as a lieutenant on 17 May 1940, he was promoted to captain on 1 July, was posted to the 2/20th Battalion as a company commander. On 3 February 1941, he embarked for Singapore on the ocean liner RMS Queen Mary, he was promoted to major on 24 August 1941, on 30 August joined the staff of AIF Malaya, under Major General Gordon Bennett. As liaison officer to the 11th Indian Division, Moses twice narrowly escaped ambushes. On 11 February 1942, he had a conversation with Bennett's