Zeitschriftenartikel zum Thema „Australian Centre for Contemporary Art“
Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Australian Centre for Contemporary Art.
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Zeitschriftenartikel für die Forschung zum Thema "Australian Centre for Contemporary Art" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Zeitschriftenartikel für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Stevenson, Ian. „Sonic Residues 02 Australian Centre for Contemporary Art, Melbourne, Australia, 17 November 2 December 2000“. Computer Music Journal 25, Nr. 3 (September 2001): 82–85. http://dx.doi.org/10.1162/comj.2001.25.3.82.
Der volle Inhalt der Quelle
2
Vett. „Australian Indigenous Art Centres Online: A Multi-Purpose Cultural Tourism Framework“. Arts 8, Nr. 4 (26.10.2019): 145. http://dx.doi.org/10.3390/arts8040145.
Der volle Inhalt der QuelleAnnotation:
In early 2019, Australia’s Northern Territory (NT) government announced the $106 million funding and promotion of a new state-wide Territory Arts Trail featuring Indigenous art and culture under the banner “The World’s biggest art gallery is the NT.” Some of the destinations on the Arts Trail are Indigenous art centres, each one a nexus of contemporary creativity and cultural revitalisation, community activity and economic endeavour. Many of these art centres are extremely remote and contend with resourcing difficulties and a lack of visitor awareness. Tourists, both independent and organised, make their travelling decisions based upon a range of factors and today, the availability of accessible and engaging online information is vital. This makes the quality of the digital presence of remote art centres, particularly their website content, a critical determinant in visitor itineraries. This digital content also has untapped potential to contribute significant localised depth and texture to broader Indigenous arts education and comprehension. This article examines the context-based website content which supports remote Indigenous art centre tourism and suggests a strategic framework to improve website potential in further advancing commercial activities and Indigenous arts education.
3
Fosdike, Tahney. „Kader Attia, Australian Centre for Contemporary Art (Melbourne, Australia), 30 September–19 November 2017. Curated by Rachel Kent“. Journal of Visual Art Practice 17, Nr. 2-3 (29.05.2018): 230–32. http://dx.doi.org/10.1080/14702029.2018.1426760.
Der volle Inhalt der Quelle
4
Anderson, Margot. „Dance Overview of the Australian Performing Arts Collection“. Dance Research 38, Nr. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
Der volle Inhalt der QuelleAnnotation:
The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
5
Tuohy, Ian R. „A Proposal for an Australian Space Astronomy Data Centre“. Publications of the Astronomical Society of Australia 7, Nr. 1 (1987): 80–87. http://dx.doi.org/10.1017/s1323358000021901.
Der volle Inhalt der QuelleAnnotation:
AbstractThe concept of a national centre for the analysis of archival and contemporary space astronomy data has been identified as a highly desirable objective by the Australian astronomical community for a number of years. With the approaching launch of the Hubble Space Telescope (HST), the time is now appropriate to actively pursue this objective. HST will generate a data archive of unique astrophysical significance over the course of the ≥ 20 year mission. It is essential that Australian astronomers have efficient access to this resource, both to maintain our position at the forefront of astronomical research, and to complement our major ground-based facilities (particularly the AAT and the Australia Telescope). An Australian facility would provide efficient access to HST data and also to the analysis tools and expertise necessary for utilizing the data. Archival data from other NASA and ESA missions could also be supported, and in the longer term, the facility could become the science centre for the Lyman/Quasat missions.This paper presents the case for an Australian Space Astronomy Data Centre, reviews the astronomy missions of relevance, and addresses the role, scope and implementation timescale of the facility. Preliminary estimates are given for the resources that will be required, and possible routes for funding the centre are outlined. Above all, the report is intended as a Discussion Paper to promote further consideration of the concept and of the service that could be provided to the Australian astronomical community.
6
McQuilten, Grace. „Who is afraid of public space? Public art in a contested, secured and surveilled city“. Art & the Public Sphere 8, Nr. 2 (01.12.2019): 235–54. http://dx.doi.org/10.1386/aps_00023_1.
Der volle Inhalt der QuelleAnnotation:
In the wake of multiple global crises, fears of terrorism, rising nationalistic sentiments globally and the pervasive impacts of gender-based violence in public spaces, contemporary urban cities are permeated with surveillance, anxiety, fear and division. In this context, what role can (and should) public art be playing? This article explores this question in the context of Melbourne, a major metropolitan centre in Australia, which has been ruptured by the multiplying effects of highly publicized episodes of street violence, isolated terrorist attacks, high-profile murders and politically driven narratives about youth gangs. Looking at the work of female artists Maryann Talia Pau, Amy Spiers and Catherine Ryan, and artists from African Australian communities including Ez Deng, Atong Atem and Asia Hassan, the article addresses questions about agency and marginalization for artists working in public space, and considers how marginalized community groups may face barriers to creating artworks that engage directly in mainstream public spaces.
7
Loaney, Denis. „Australian Indigenous Art Innovation and Culturepreneurship in Practice: Insights for Cultural Tourism“. Arts 8, Nr. 2 (09.04.2019): 50. http://dx.doi.org/10.3390/arts8020050.
Der volle Inhalt der QuelleAnnotation:
Indigenous cultural tourism offers significant future opportunities for countries, cities and Indigenous communities, but the development of new offerings can be problematic. Addressing this challenge, this article examines contemporary Australian Indigenous art innovation and cultural entrepreneurship or culturepreneurship emanating from Australia’s remote Arnhem Land art and culture centres and provides insight into the future development of Indigenous cultural tourism. Using art- and culture-focused field studies and recent literature from the diverse disciplines of art history, tourism, sociology and economics, this article investigates examples of successful Indigenous artistic innovation and culturepreneurship that operate within the context of cultural tourism events. From this investigation, this article introduces and defines the original concept of Indigenous culturepreneurship and provides six practical criteria for those interested in developing future Indigenous cultural tourism ventures. These findings not only challenge existing western definitions of both culture and culturepreneurship but also affirm the vital role of innovation in both contemporary Indigenous art and culturepreneurial practice. Equally importantly, this investigation illuminates Indigenous culturepreneurship as an important future-making socio-political and economic practice for the potential benefit of Indigenous communities concerned with maintaining and promoting their cultures as living, growing and relevant in the contemporary world.
8
Fisher, Laura, und Gay McDonald. „From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas“. Media International Australia 158, Nr. 1 (11.01.2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.
Der volle Inhalt der QuelleAnnotation:
In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine art status – something that, while no longer questioned in Australia, continues to be precarious overseas. By considering how both political and aesthetic concerns were addressed by Indigenous curators Hetti Perkins and Brenda L. Croft, this discussion sheds light on the ways in which emergent political meanings associated with Indigeneity have driven new kinds of institutional practice and international cultural brokerage.
9
Porr, Martin. „Art und rock-art of the Kimberley, Northwest Australia: Narratives, interpretations and imaginations“. EAZ – Ethnographisch-Archaeologische Zeitschrift 51, Nr. 1/2 (24.03.2010): 173–90. http://dx.doi.org/10.54799/bwdk8871.
Der volle Inhalt der QuelleAnnotation:
This chapter introduces some issues related to the different interpretations and narratives that have been put forward in relation to the Indigenous rock-art of the Kimberley, Northwest Australia. At the centre of inquiry is an examination of the construction of European narratives around these images in their respective historical context. The earliest interpretations were put forward by British explorers and were constructed within the racist and evolutionistic frameworks of the 19th century. These narratives were intimately bound to the contemporary colonialist experience. However, it is also shown that certain elements of these interpretations have lasting effects that resonate until today. Interpretations about the art and the rock-art of the Kimberley find their place today in disputes over the control over land and resources between Aboriginal and other interest groups in post-colonial Australia.
10
Byrne, Paula Jane. „Tracing a Female Mind in Late Nineteenth Century Australia: Rose Selwyn“. Genealogy 7, Nr. 2 (27.04.2023): 30. http://dx.doi.org/10.3390/genealogy7020030.
Der volle Inhalt der QuelleAnnotation:
Rose Selwyn (1824–1905) was a first wave Australian feminist and public speaker. The poetry, art, and scraps of writing Rose left in her archive allow the reader to piece together an intellectual history, a genealogy of the making of self. Rose attained her way of being through several contemporary influences—the mysticism of Tractarianism, a concern with death and its meanings, an interest in the literary edges of the world, a concern with the suffering body, and a passion for women and a woman-centred world. From these tangled contemporary concerns, she made a feminism for all non-Aboriginal women apparent in her speeches. Her role as a colonising woman in a violent landscape created a complex relationship with Aboriginal people where she may be seen to be criticising her elite landholding (squatter) peers and introducing concepts such as an Aboriginal parliament.
11
Braginsky, Vladimir I. „Rediscovering the ‘Oriental’ in the Orient and Europe: new books on the East-West cultural interface: a review article“. Bulletin of the School of Oriental and African Studies 60, Nr. 3 (Oktober 1997): 511–32. http://dx.doi.org/10.1017/s0041977x00032523.
Der volle Inhalt der QuelleAnnotation:
The literature on the cultural interrelations of East and West published up to the present time is enormous. Even so, every new scholarly study in this field cannot but provoke interest, so important is the topic, particularly today in the era of so-called globalization. The books under review here, edited and introduced by Andrew Gerstle (SOAS) and Anthony Milner (ANU),1 are based on papers presented at conferences held by the Humanities Research Centre of the Australian National University. The theme of the conferences—‘Europe and the Orient‘—attracted a great number of specialists in art history, musicology, anthropology and history, Asianists and Europeanists, from Europe, the United States and Australia. It is worth noting that the most of the papers are based on published works in which their authors have discussed the same or closely related topics. In presenting the principal ideas of those publications, these collections of papers form a ‘miniature library’ of works on East-West comparative cultural studies. The interdisciplinarity of the articles—their extraordinary ‘polyphony’, the diversity of their often mutually contradictory and polemical approaches, judgements and evaluations—reveals the complexity, multifacetedness and theoretical difficulties which are only too characteristic of the study of comparative culture. The reader is here provided with quite a complete picture of the contemporary state of the field, as well as of the strong and weak sides of its investigations. This breadth of coverage is one of the main strengths of the volumes.
12
Ley, Graham. „Diaspora Space, the Regions, and British Asian Theatre“. New Theatre Quarterly 27, Nr. 3 (August 2011): 215–28. http://dx.doi.org/10.1017/s0266464x11000431.
Der volle Inhalt der QuelleAnnotation:
In 1996 Graham Ley compiled for NTQ a record of the first twenty years of Tara Arts, the London-based British Asian theatre company. In this essay, he tests the theoretical concept of a third space for diaspora culture against the experience of two leading British Asian theatre companies, and considers the contrasting role of an Asian arts centre. From 2004 to 2009 Graham Ley led an AHRC-funded research project on ‘British Asian Theatre: Documentation and Critical History’, and has co-edited with Sarah Dadswell two books soon to be published by the University of Exeter Press: British South Asian Theatres: a Documented History and Critical Essays on British South Asian Theatre. He has earlier published in NTQ on Australian theatre and enlightenment and contemporary performance theory, and is presently Professor of Drama and Theory at the University of Exeter.
13
Rosen, Alan. „Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia“. Epidemiologia e Psichiatria Sociale 16, Nr. 2 (Juni 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.
Der volle Inhalt der QuelleAnnotation:
SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Results - Earlier practices with regardto the artworks of captive patients of psychiatrists, psychotherapists, art therapists, occupational and diversional therapists, often emphasised diagnostic or interpretive purposes, or were used to gauge progress or exemplify particular syndromes. As artists and art historians began to take an interest in such artworks, they emphasised their expressive, communicative and aesthetic aspects, sometimes in relation to primitive art. These efforts to ascribe value to these works, while well-meaning, were sometimes patronising and vulnerable to perversion by totalitarian regimes, which portrayed them as degenerate art, often alongside the works of mainstream modernist artists. This has culminated in revelations that the most prominent European collection of psychiatric art still contains, and appears to have only started to acknowledge since these revelations, unattributed works by hospital patients who were exterminated in the so-called “euthanasia” program in the Nazi era. Conclusions - Terms like Psychiatric Art, Art Therapy, Art Brut and Outsider Art may be vulnerable to abuse and are a poor fit with the aspirations of artists living with severe mental illnesses, who are increasingly exercising their rights to live and work freely, without being captive, or having others controlling their lives, or mediating and interpreting their works. They sometimes do not mind living voluntarily marginal lives as artists, but they prefer to live as citizens, without being involuntarily marginalised by stigma. They also prefer to live with culturally valued roles which are recognised as legitimate in the community, where they are also more likely to heal and recover.Declaration of Interest: This paper was completed during a Visiting Fellowship, Department of Social Medicine, School of Public Health, & Department of Medical Anthropology, Faculty of Arts & Sciences, Harvard University, Cambridge, Mass, USA. A condensed version of this paper is published in “For Matthew & Others: Journeys with Schizophrenia”, Dysart, D, Fenner, F, Loxley, A, eds. Sydney, University of New South Wales Press in conjunction with Campbelltown Arts Centre & Joan Sutherland Performing Arts Centre, Penrith, 2006, to accompany with a large exhibition of the same name, with symposia & performances, atseveral public art galleries in Sydney & Melbourne, Australia. The author is also a printmaker, partly trained at Ruskin School, Oxford, Central St. Martin's School, London, and College of Fine Arts, University of New South Wales, Sydney.
14
Lindsey, Kiera. „'Remember Aesi':“. Public History Review 28 (22.06.2021): 46–71. http://dx.doi.org/10.5130/phrj.v28i0.7760.
Der volle Inhalt der QuelleAnnotation:
In this article I draw upon a definition of ‘dialogical memorial’ offered by Brad West to offer an experimental artist's brief that outlines the various ways that a contemporary monument to the colonial artist, Adelaide Eliza Scott Ironside (1831-1867), could ‘talk back’ to the nineteenth-century statues of her contemporaries, and ‘converse’ with more recent acts of history making. In contrast to the familiar figure of the individual hero, which we associate with the statuary of her age, I suggest a group monument that acknowledges the intimate intergenerational female network which shaped Aesi's life and also ‘re-presents’ – a term coined by the historian Greg Dening – several native born and convict women from the Georgian, Regency and Victorian eras who influenced her life. Instead of elevating Aesi upon a plinth, I recommend grounding this group monument on Gadigal country and planting around it many of the Australian Wildflowers she painted in ways that draw attention to the millennia-old Indigenous uses of the same plants. And finally, by situating Aesi’s monument in the Outer Domain (behind the New South Wales Art Gallery in Sydney’s Botanic Gardens and to the east of the Yurong Pennisula, near Woolloomooloo Bay), in an area where she once boldly assumed centre stage before a large male audience in a flamboyant moment of her own theatrical history-making, I argue that this memorial will have the capcity to speak for itself in ways that challenge the underepresentation of colonial women in Sydney's statuary, abd, as West suggests, do much to ‘alter the stage on which Sydney's colonial history 'is narrated and performed’.
[i] Greg Dening, Performances, Melbourne University Press, Melbourne, 1992, p37.
15
Brueggemeier, Jan. „Nature in the Dark - Public Space for More-than-Human Encounters“. Animal Studies Journal 10, Nr. 2 (2021): 19–45. http://dx.doi.org/10.14453/asj.v10i2.2.
Der volle Inhalt der QuelleAnnotation:
Drawing on the continuing work of the Nature in the Dark (NITD) project, an art collaboration and publicity campaign between the Centre for Creative Arts (La Trobe University) and the Victorian National Parks Association (VNPA), this paper aims to explore some of the disciplinary crossovers between art, science and philosophy as encountered by this project and to think about their implications for an environmental ethics more generally. Showcasing animal life from Victoria, Australia, the NITD video series I and II invited international artists to create video works inspired by ecological habitat surveys from the Victorian National Parks land and water. Videos and photographs originally used to identify animals and population sizes are now creatively repurposed and presented to new audiences. NITD negotiate ‘the distribution of the sensible’ (Rancière), as they mark the domain of what is accessible to the public. This paper relates the discussion in the contemporary arts about the politics of aesthetics with the ethical conundrum of how we might care about something that is beyond our reach and we are not yet aware of, given our own perceptual blind spots. Drawing on a conversation between the philosopher Georgina Butterfield and myself as an artist and curator, this paper argues that we cannot justify setting arbitrary limits on our valuing, questioning or understanding of the non-human world, and as such it is a position both the philosopher and artist share. While it may be an ultimately unreachable goal, it is paradoxically an essential starting point for ecological ethics.
16
Kuppers, Petra. „Moving Bodily Fantasies: Medical Performances and Modes of Communication“. Dance Research Journal 37, Nr. 2 (2005): 73–88. http://dx.doi.org/10.1017/s0149767700008573.
Der volle Inhalt der QuelleAnnotation:
This article investigates the relationship between movement, communication, and medical presentation in three contemporary dance performances. In particular, I wish to present three instances of collaborative work: of work where boundaries between specialists and “lay people,” between different kinds of expertise, and different kinds of knowledges become questioned, dismantled, and (re)erected through performance. My argument hinges on the ongoing creative work involved in the translations between embodiment, phenomenological experience, narratives of self, medical stories, and cultural context. Living as a body in the world means a constant readjustment of these frames, a productive and often painful emergence of life through tensions. What it means to be a (gendered) specialist or a lay person, a patient, or a spectator, emerges in the call-and-response of everyday life, as roles are taken on, re-created, changed, and discarded.A celebrated U.K. dance performance (winner of the Critic's Circle National Dance Award 2004), a U.K. exploratory sci-art experiment by medical experts, writers, and performers, and an Australian music theater piece are at the heart of this analysis: the article explores alignments between semiotic and phenomenological knowledges in these performances. In all of these performances, women are center stage, sometimes as informers, sometimes as playwrights and visual artists, sometimes as main performers.
17
McCann, Andrew. „ROSA PRAED AND THE VAMPIRE-AESTHETE“. Victorian Literature and Culture 35, Nr. 1 (22.01.2007): 175–87. http://dx.doi.org/10.1017/s1060150307051479.
Der volle Inhalt der QuelleAnnotation:
ROSA CAMPBELL PRAED left Australia for London in 1876. In the decade or so subsequent to her arrival in the metropolis she forged a successful career as a writer of occult-inspired novels that drew on both theosophical doctrine and a nineteenth-century tradition of popular fiction that included Edward Bulwer-Lytton and Joseph Sheridan Le Fanu. A string of novels published in the 1880s and the early 1890s, including Nadine: the Study of a Woman (1882), Affinities: A Romance of Today (1885), The Brother of the Shadow: A Mystery of Today (1886), and The Soul of Countess Adrian: A Romance (1891), produced a sort of popular aestheticism that melded an interest in fashionable society, a market-oriented Gothicism, and speculations on the philosophy of art that were indicative of Praed's relationship to a fin-de-siècle Bohemia and its literary circles. There is no doubt that these novels can be located in terms of the numerous popular genres – the art novel, the aesthetic novel, the occult novel – that form the literary background to much better known texts such as Oscar Wilde's The Picture of Dorian Gray, Bram Stoker's Dracula and George du Maurier's Trilby. But to account for Praed's ephemerality in terms of a series of generic categories elides too easily the pressures – economic, political, and aesthetic – impinging on a colonial, female novelist quickly forging a career at the centre of an imperial culture. Praed's novels are hybrid, polysemic creations, over-determined by these pressures, which in turn, no doubt, have contributed to her invisibility in contemporary literary studies. Their Gothicism and their appropriation of theosophical doctrine are both manifest in themes like mesmerism, telepathy, duel personality, and the recurring figure of the spiritual or “moral vampire.” Yet these obviously commercial novels are also intensely invested in aesthetic questions, in the dislocated character of imperial experience, in the accrual of cultural capital, and in their own relationship to the vexed question of their originality vis-à-vis the market for popular fiction.
18
Allatson, Paul, und Andrea Connor. „Ibis and the city: bogan kitsch and the avian revisualization of Sydney“. Visual Communication 19, Nr. 3 (24.05.2020): 369–90. http://dx.doi.org/10.1177/1470357220912788.
Der volle Inhalt der QuelleAnnotation:
The Australian White Ibis (Ibis) ( Threskiornis molucca) is one of three endemic Ibis species in Australia. In a short time frame beginning in the 1970s, this species has moved from inland waterways to urban centres along the eastern and southeastern seaboards, Darwin and the Western Australian southwest. Today Ibis are at home in cities across the country, where they thrive on the food waste, water resources and nesting sites supplied by humans. In this article, the authors focus on Sydney to argue that the physical and cultural inroads of Ibis, and the birds’ urban homeliness, are resignifying urban surfaces and the multispecies ecologies in which contemporary Australians operate. They explore how the very physical and sensory presence of Ibis disrupts the assumptions of many urban Australians, and visitors from overseas, that cities are human-centric or human-dominant, non-hybrid assemblages. They also introduce to this discussion of disrupted human expectations a cultural parallel, namely, the recent rise of Ibis in popular culture as an icon-in-the-making of the nation and as a totem of the modern Australian city itself. This trend exemplifies an avian-led revisualization of urban spaces, and is notable for its visual appeals to Ibis kitsch, and to working class or ‘bogan’ sensibilities that assert their place alongside cosmopolitan visions of being Australian. Sometimes kitsch Ibis imagery erupts across the urban landscape, as occurs with many Ibis murals. At other times it infiltrates daily life on clothing, on football club, university and business logos, as tattoos on people’s skin, and as words in daily idiom, confirmed by terms such as ‘picnic pirates’, ‘tip turkeys’ and ‘bin chickens’. The article uses a visual vignette methodology to chart Ibis moves into Sydney and the realms of representation alike, and thus to reveal how new zoöpolitical entanglements are being made in the 21st century.
19
KITLV, Redactie. „Book Reviews“. Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 157, Nr. 4 (2001): 903–59. http://dx.doi.org/10.1163/22134379-90003797.
Der volle Inhalt der QuelleAnnotation:
-Doris Jedamski, René Witte, De Indische radio-omroep; Overheidsbeleid en ontwikkeling, 1923-1942. Hilversum: Verloren, 1998, 202 pp. -Edwin Jurriëns, Philip Kitley, Television, nation, and culture in Indonesia. Athens, Ohio: Ohio University Center for International Studies, 2000, xviii + 411 pp. [Research in International Studies, Southeast Asia Series 104.] -Gerrit Knaap, Scott Merrillees, Batavia in nineteenth century photographs. Richmond, Surrey: Curzon, 2000, 282 pp. -C.C. MacKnight, David Bulbeck ,Land of iron; The historical archaelogy of Luwu and the Cenrana valley; Results of the Origin of Complex Society in South Sulawesi Project (OXIS). Hull and Canberra: Centre for South-East Asian Studies, University of Hull / School of Archaeology and Anthropology, Australian National University, 2000, vi + 141 pp., Ian Caldwell (eds) -Niels Mulder, Toh Goda, Political culture and ethnicity; An anthropological study in Southeast Asia. Quezon City: New Day, 1999, xviii + 182 pp. -Niels Mulder, Norman G. Owen, The Bikol blend; Bikolanos and their history. Quezon City: New Day, 1999, x + 291 pp. -Anton Ploeg, Donald Tuzin, Social complexity in the making; A case study among the Arapesh of New Guinea. London: Routledge, 2001, xii + 159 pp. -Henk Schulte-Nordholt, Maarten Kuitenbrouwer, Tussen oriëntalisme en wetenschap; Het Koninklijk Instituut voor Taal-, Land- en Volkenkunde in historisch verband 1851-2001. Leiden: KITLV Uitgeverij, 2001, ix + 362 pp. -Sri Margana, Peter Carey ,The archive of Yogyakarta, Volume II, Documents relating to economic and agrarian affairs. New York: Oxford University Press, 2000, 566 pp., Mason C. Hoadley (eds) -Eric Venbrux, Wilfried van Damme, Bijdragen over kunst en cultuur in Oceanië/Studies in Oceanic Art and Culture. Gent: Academia Press, 2000, 122 pp. -Edwin Wieringa, Raharjo Suwandi, A quest for justice; The millenary aspirations of a contemporary Javanese wali. Leiden: KITLV Press, 2000, x + 229 pp. [Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde 182.] -Willem G. Wolters, Benito J. Legarda Jr., After the galleons; Foreign trade, economic change and entrepreneurship in the nineteenth-century Philippines. Quezon City: Ateneo de Manila University Press, 1999, xiv + 401 pp. -Brenda Yeoh, Jürgen Rüland, The dynamics of metropolitan management in Southeast Asia. Singapore: Institute of Southeast Asian Studies, 1996, 230 pp. -David Henley, Albert Schrauwers, Colonial 'reformation' in the highlands of Central Sulawesi, Indonesia, 1892-1995. Toronto: University of Toronto Press, 2000, xiv + 279 pp. -David Henley, Lorraine V. Aragon, Fields of the Lord; Animism, Christian minorities, and state development in Indonesia. Honolulu: University of Hawai'i Press, 2000, xii + 383 pp. -Jennifer W. Nourse, Jennifer W. Nourse, Conceiving spirits; Birth rituals and contested identities among Laujé of Indonesia. Washington, D.C.: Smithsonian Institution Press, 1999, xii + 308 pp.
20
Shaw, Margaret. „AARTI: Australian Art Index“. Art Libraries Journal 11, Nr. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.
Der volle Inhalt der QuelleAnnotation:
The Australian Art Index, AARTI, is one of a group of data bases within the Ausinet network which will, between them, cover contemporary Australian art and architecture on a national basis. National coverage is possible because of the small size of the Australian population, the existence of people prepared to take on the task with managements to back them and the availability of a network with the flexibility to take data in a wide range of formats. AARTI contains records of four types: monographs, journal articles, exhibitions and artists’ profiles. By April 1985 it contained some 9,500 records available online with a microfiche alternative for non-Ausinet members.
21
Léger, Danielle. „Le Centre d’information Artexte: Medi(t)ations autour du catalogue d’exposition et de la francophonie“. Art Libraries Journal 21, Nr. 3 (1996): 34–39. http://dx.doi.org/10.1017/s0307472200009962.
Der volle Inhalt der QuelleAnnotation:
Founded in Montréal in 1980, the Centre d’information Artexte is a non-profit organisation devoted to the collection and distribution of information on all aspects of contemporary visual arts. The organisation has developed two subject areas in support of its objective (the exhibition catalogue and Canadian art) and sponsors activities on 3 fronts (documentation, distribution and publication). The Centre d’information Artexte’s collections are noted for their comprehensive holdings in contemporary art (1965-). A bibliographic database was developed by the Centre to support advanced research in contemporary art. A bilingual tool, it indexes indepth information found within the exhibition catalogue. Artexte serves both the French and English communities in Canada and promotes Canadian publications in contemporary art abroad.
22
Nakajima, Makiko. „Contemporary Art and Censorship: The Australian Museum Context“. International Journal of the Inclusive Museum 3, Nr. 4 (2011): 129–46. http://dx.doi.org/10.18848/1835-2014/cgp/v03i04/44346.
Der volle Inhalt der Quelle
23
Gralton, Beatrice, Suhanya Raffel, Aaron Seeto und Stephen H. Whiteman. „Curating Chinese Contemporary Art in an Australian Context“. Australian and New Zealand Journal of Art 16, Nr. 2 (02.07.2016): 247–63. http://dx.doi.org/10.1080/14434318.2016.1240653.
Der volle Inhalt der Quelle
24
Pierce, Imogen Van. „Contemporary Debates: The Hundertwasser Art Centre with Wairau Maori Art Gallery“. Back Story Journal of New Zealand Art, Media & Design History, Nr. 2 (01.12.2017): 5–25. http://dx.doi.org/10.24135/backstory.vi2.16.
Der volle Inhalt der QuelleAnnotation:
What began as a humble sketch on the back of an envelope, the Hundertwasser Art Centre with Wairau Māori Art Gallery project has evolved into a unique and ambitious quest for artistic representation in Northland. The history of this controversial public art project, yet to be built, has seen a number of debates take place, locally and nationally, around the importance of art in urban and rural societies and the broader socio-economic context surrounding the development of civic architecture in New Zealand. This project has not only challenged the people of Northland to think about the role of art in their community, but it has prompted New Zealanders to question whether there is an appropriate level of investment in the arts in New Zealand.
25
Best, Susan. „Repair in Australian Indigenous art“. Journal of Visual Culture 21, Nr. 1 (April 2022): 190–205. http://dx.doi.org/10.1177/14704129221088289.
Der volle Inhalt der QuelleAnnotation:
This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robert Andrew. McGregor’s work draws on possum skin cloak making, Harding has incorporated the stencil technique of rock art into his practice and Andrew uses a traditional pigment ochre and Yawuru language.
26
Gayduk, Vladislava L. „THE HISTORY OF THE CENTER FOR CONTEMPORARY ART ON YAKIMANKA. ARCHIVE OPTICS“. Articult, Nr. 3 (2021): 81–95. http://dx.doi.org/10.28995/2227-6165-2021-3-81-95.
Der volle Inhalt der QuelleAnnotation:
The history of the Center for Contemporary Art on Yakimanka is analyzed through the prism of archival documents that are stored in the Media Library of the Pushkin State Museum of Fine Arts. The investigation of the all types of the archival documents allows us to consider the Centre for contemporary art not as an art institution but as the embodiment of the “artistic tusovka”. This term was suggested by Victor Misiano. The magnitude of the exhibition and other art projects that were created in the Center (the newspaper of contemporary art “Vernisage”, the magazine “Artograph”, the Curators’ workshop, Visual Anthropology workshop, etc.) confirms this hypothesis. Despite the weak institutional ties that characterize artistic tusovka, the Centre became one of the important milestones in the development of contemporary Russian art.
27
Pane, J. B., J. Rilatupa und S. Simatupang. „The development of an arts centre with the application of futuristic architecture“. IOP Conference Series: Earth and Environmental Science 878, Nr. 1 (01.10.2021): 012029. http://dx.doi.org/10.1088/1755-1315/878/1/012029.
Der volle Inhalt der QuelleAnnotation:
Abstract Art is a culture that was born from human freedom of expression. One type is contemporary art, which is the development of art that is affected by the impact of modernization, but contemporary and modern are two different things, because contemporary continues to keep up with the times. Appreciation for art in Indonesia has recently been appreciated both at the national and international levels, art appreciation is shown by the many art activities held, this has resulted in many artists being required to hold their work so they need a place such as an art gallery building so that the public can understand the activities contained therein. and can enjoy the art exhibition. The Contemporary Art Gallery was built to help artists show their work. This building was built with a futuristic architectural design, namely a building style whose planning does not look to the past but to the future, this can be seen from the shape and materials used which have high hi-tech. The appearance of the building is made expressive as the hearts of the artists can be seen from the spatial processing, forms and games of building facades.
28
Geissler, Marie. „Contemporary Indigenous Australian Art and Native Title Land Claim“. Arts 10, Nr. 2 (11.05.2021): 32. http://dx.doi.org/10.3390/arts10020032.
Der volle Inhalt der QuelleAnnotation:
This paper investigates a select number of examples in which largely non-literate First Nation peoples of Australia, like some First Nations peoples around the world, when faced with a judicial challenge to present evidence in court to support their land title claim, have drawn on their cultural materials as supporting evidence. Specifically, the text highlights the effective agency of indigenous visual expression as a communication tool within the Australian legal system. Further, it evaluates this history within an indigenous Australian art context, instancing where of visual art, including drawings and paintings, has been successfully used to support the main evidence in native title land claims. The focus is on three case studies, each differentiated by its distinct medium, commonly used in indigenous contemporary art—namely, ink/watercolours on paper, (Case study 1—the Mabo drawings of 1992), acrylics on canvas (Case study 2—the Ngurrara 11 canvas 1997) and ochre on bark, (Case study 3—The Saltwater Bark Collection 1997 (onwards)). The differentiation in the stylistic character of these visual presentations is evaluated within the context of being either a non-indigenous tradition (e.g., represented as European-like diagrams or sketches to detail areas and boundaries of the claim sites in question) or by an indigenous expressive context (e.g., the evidence of the claim is presented using traditionally inspired indigenous symbols relating to the claimant’s lands. These latter images are adaptations of the secret sacred symbols used in ceremonies and painting, but expressed in a form that complies with traditional protocols protecting secret, sacred knowledge). The following text details how such visual presentations in the aforementioned cases were used and accepted as legitimate legal instruments, on which Australian courts based their legal determinations of the native land title.
29
Szulakowska, Urszula. „Electronic Space in Contemporary Australian Art: Practice and Theory“. Leonardo 24, Nr. 2 (1991): 167. http://dx.doi.org/10.2307/1575289.
Der volle Inhalt der Quelle
30
Stone, Paul. „Gateshead: Susan Hiller at BALTIC Centre for Contemporary Art“. Circa, Nr. 109 (2004): 74. http://dx.doi.org/10.2307/25564193.
Der volle Inhalt der Quelle
31
Carruthers, Victoria, und Jaime Tsai. „Surrealism, Counter-Mapping and COVID: Confluences in Contemporary Asian Australian Art“. International Journal of Surrealism 1, Nr. 2 (März 2024): 65–86. http://dx.doi.org/10.1353/ijs.2024.a922368.
Der volle Inhalt der QuelleAnnotation:
Abstract: COVID-19 originating in China was all it took to destabilize Australia's claim to a proud, multicultural society, and with it, the sense of place and belonging felt by much of the Asian Australian community. Living and working in Melbourne, the most locked-down city in the world during the COVID period, the Asian Australian multimedia and performance artists Eugenia Lim and James Nguyen witnessed firsthand the resurgence of sinophobia, which exposed the ongoing resilience of the government's former White Australia Policy in the national imagination. Working approximately one hundred years after André Breton's Dada excursion (1921), and the surrealist survey on "Irrational Embellishments" of Parisian monuments (1933), Lim and Nguyen's counter-mapping practices echo these reorientations of site that seek to dismantle ideological codifications of space and reestablish them as imaginative and inclusive. As a strategy of spatial contestation and world building, Lim and Nguyen counter-map several historical and culturally significant sites across Australia, offering a decolonial inflexion of the more iconoclastic gestures of their European progenitors. Refracted through the lens of COVID, these Asian-Australian interventions bring the underlying cultural and racial tensions in Australian society into sharp relief. Their work resists reductive narratives of nationhood and renders the Australian landscape permeable to an interplay of hybrid stories and identities.
32
Thomson, John, und Joye Volker. „Australian visual arts: libraries and the new technologies“. Art Libraries Journal 21, Nr. 1 (1996): 4–7. http://dx.doi.org/10.1017/s0307472200009676.
Der volle Inhalt der QuelleAnnotation:
Electronic networking has been welcomed in Australia not least because of its potential to help solve problems of distances within Australia and of the isolation of Australia. In the world as a whole, the Internet, and the World Wide Web in particular, is transforming the communication of art information and access to art images. Three Australian Web servers focus on the visual arts: Art Serve, Diva, and AusArts. A number of initiatives intended to provide online bibliographic databases devoted to Australian art were launched in the 1980s. More recently a number of CD-ROMs have been published. As elsewhere, art librarians in Australia need new skills to integrate these products of new technology into the art library, and to transform the latter into a multimedia resource centre.
33
Mačianskaitė, Vilma. „Contemporary Lithuanian Artists: Career Opportunities“. Art History & Criticism 13, Nr. 1 (01.12.2017): 88–110. http://dx.doi.org/10.1515/mik-2017-0007.
Der volle Inhalt der QuelleAnnotation:
Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.
34
Skilbeck, Ruth. „Art journalism and the impact of ‘globalisation’: New fugal modalities of storytelling in Austral-Asian writing“. Pacific Journalism Review : Te Koakoa 14, Nr. 2 (01.09.2008): 141–61. http://dx.doi.org/10.24135/pjr.v14i2.949.
Der volle Inhalt der QuelleAnnotation:
The writing of art journalism has played a key yet little acknowledged role in the ongoing expansion of the international contemporary art world, and the multi-billion dollar global art economy. This article discusses some contradictory impacts of globalisation on art journalism—from extremes of sensationalist record-breaking art market reporting in the global mass media to the emergence of innovative modalities of story-telling in Australian independent journalistic art writing.
This article discusses some contradictory impacts of gobalisation on art journalism— from extremes of sensationalist record-breaking art market reporting in the global mass media to the emergence of innovative modalities of story-telling in Australian independent art writing.
35
Freire, Mela Dávila, und Pamela Sepúlveda Arancibia. „Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)“. Art Libraries Journal 37, Nr. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.
Der volle Inhalt der QuelleAnnotation:
The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well as special materials from letters to photographic negatives, alongside information from galleries, cultural spaces and artistic centres.
36
Nguyen, Anh. „Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017“. Migration, Mobility, & Displacement 4, Nr. 1 (07.06.2019): 133–39. http://dx.doi.org/10.18357/mmd41201918976.
Der volle Inhalt der QuelleAnnotation:
Anh Nguyen was co-curator, with Nadia Rhook, of the “Vietnamese Here Contemporary Art and Refections” exhibition about Vietnamese migrants in Melbourne, Australia, May 4–26, 2017. Phuong Ngo’s work, the basis of this photo essay, was part of the exhibition, which featured visual art, performance art, and readings refecting on Vietnamese heritage, history, and memory in the diaspora. The exhibition was sponsored by the Australian Research Council’s Kathleen Fitzpatrick Laureate Fellowship, of which Anh Nguyen is a researcher.
37
Szafrański, Wojciech. „‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING“. Muzealnictwo 62 (13.09.2021): 227–35. http://dx.doi.org/10.5604/01.3001.0015.2686.
Der volle Inhalt der QuelleAnnotation:
The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.
38
Lam, K., M. Savage, D. Murdoch, C. Raffel, D. Walters, E. Shaw und S. Paitry. „Contemporary Fractional Flow Reserve (FFR) Utilisation in a Large Australian Tertiary Centre“. Heart, Lung and Circulation 25 (August 2016): S260. http://dx.doi.org/10.1016/j.hlc.2016.06.605.
Der volle Inhalt der Quelle
39
Griffin, Lynn, Steven Griffin und Michelle Trudgett. „At the Movies: Contemporary Australian Indigenous Cultural Expressions – Transforming the Australian Story“. Australian Journal of Indigenous Education 47, Nr. 2 (21.06.2017): 131–38. http://dx.doi.org/10.1017/jie.2017.15.
Der volle Inhalt der QuelleAnnotation:
Cinema is an art form widely recognised as an agent to change the social condition and alter traditional norms. Movies can be used to educate and transform society's collective conscience. Indigenous Australian artists utilise the power of artistic expression as a tool to initiate change in the attitudes and perceptions of the broader Australian society. Australia's story has predominately been told from the coloniser's viewpoint. This narrative is being rewritten through Indigenous artists utilising the power of cinema to create compelling stories with Indigenous control. This medium has come into prominence for Indigenous Australians to express our culture, ontology and politics. Movies such as Samson and Delilah, Bran Nue Dae, The Sapphires and Rabbit-Proof Fence for example, have highlighted the injustices of past policies, adding new dimensions to the Australian narrative. These three films are just a few of the Indigenous Australian produced films being used in the Australian National Curriculum.Through this medium, Australian Indigenous voices are rewriting the Australian narrative from the Indigenous perspective, deconstructing the predominant stereotypical perceptions of Indigenous culture and reframing the Australian story. Films are essential educational tools to cross the cultural space that often separates Indigenous learners from their non-Indigenous counterparts.
40
Marsh, Angela. „Pragmatist Aesthetics and New Visions of the Contemporary Art Museum: The Tate Modern and the Baltic Centre for Contemporary Art“. Journal of Aesthetic Education 38, Nr. 3 (2004): 91. http://dx.doi.org/10.2307/3527445.
Der volle Inhalt der Quelle
41
Marsh, Angela. „Pragmatist Aesthetics and New Visions of the Contemporary Art Museum: The Tate Modern and the Baltic Centre for Contemporary Art“. Journal of Aesthetic Education 38, Nr. 3 (2004): 91–106. http://dx.doi.org/10.1353/jae.2004.0027.
Der volle Inhalt der Quelle
42
Kiss, Gabriella. „Get involved! Krétakör: Crisis, Part III – The Priestess, 2011“. Theatron 17, Nr. 4 (2023): 94–109. http://dx.doi.org/10.55502/the.2023.4.94.
Der volle Inhalt der QuelleAnnotation:
The twelfth production of the contemporary art centre Krétakör (Chalk Circle) was part of the “Crisis Project,” presented twice in its entirety and on view at the TRAFÓ House of Contemporary Arts, and the result of a societal therapy through interdisciplinary art. The current study reconstructs, employing the Philther Method, from the perspective of community theatre and education in theatre, this societal workshop. The analyses re-contextualise, for their own sake, the concept of participation by straining the boundaries of public education, understood as community art.
43
Lloyd, Kirsten. „Art, Life and Capitalist Social Reproduction: Curating Social Practice“. Journal of Curatorial Studies 10, Nr. 2 (01.10.2021): 150–76. http://dx.doi.org/10.1386/jcs_00041_1.
Der volle Inhalt der QuelleAnnotation:
Addressing the latest encounter between feminist politics and art, this article identifies a curatorially driven turn towards social reproduction processes and infrastructures across the contemporary art field. It analyses the curatorial mediation of social practice through two UK-based projects that foreground social and economic justice issues, specifically through the politics and economies of food: Effy Harle and Finbar Prior’s Wandering Womb (2018), commissioned by Manual Labours for Nottingham Contemporary, and WochenKlausur’s Women-led Workers’ Cooperative (2013), initiated through Glasgow’s Centre for Contemporary Arts as part of the ECONOMY exhibition project. The central argument is that a rigorous engagement with social reproduction perspectives and theoretical vectors is vital to the analysis and critique of feminist curatorial work within the contemporary art institution.
44
Shevtsova, Maria. „The Art of Stillness: Brook's ‘Impressions de Pelléas’“. New Theatre Quarterly 10, Nr. 40 (November 1994): 358–65. http://dx.doi.org/10.1017/s0266464x00000907.
Der volle Inhalt der QuelleAnnotation:
How well Jan Kott understands that theatre is always our contemporary and must be shown to be our contemporary if it is not to become like old bones locked up in a glass case in a museum. He also explains with rare finesse that it is contemporary differently. Theatre lives in the here-and-now according to the culture making, interpreting, and appropriating it – and even reappropriating it, when it seems to have gone to belong somewhere else. Jan Kott knows, too, that reclaiming a culture means reclaiming a part of oneself. This tribute – part of research supported by the Australian Research Council Large Grants Scheme – explores a kind of reappropriation in the work of an early, professed admirer of Kott, Peter Brook.
45
Robertson, Carmen. „Utilising PEARL to Teach Indigenous Art History: A Canadian Example“. Australian Journal of Indigenous Education 41, Nr. 1 (August 2012): 60–66. http://dx.doi.org/10.1017/jie.2012.9.
Der volle Inhalt der QuelleAnnotation:
This article explores the concepts advanced from the Australian Learning and Teaching Council (ALTC)-funded project, ‘Exploring Problem-Based Learning pedagogy as transformative education in Indigenous Australian Studies’. As an Indigenous art historian teaching at a mainstream university in Canada, I am constantly reflecting on how to better engage students in transformative learning. PEARL offers significant interdisciplinary theory and methodology for implementing content related to both Canadian colonial history and Indigenous cultural knowledge implicit in teaching contemporary Aboriginal art histories. This case study, based on a third-year Indigenous art history course taught at University of Regina, Saskatchewan in Canada will articulate applications for PEARL in an Aboriginal art history classroom. This content-based course lends itself to an interdisciplinary pedagogical approach because it remains outside the traditional disciplinary boundaries accepted in most Eurocentric-based histories of art. Implementing PEARL both theoretically and methodologically in tandem with examples of contemporary Indigenous art allows for innovative ways to balance course content with the sensitive material required for students to better understand and read art created by Indigenous artists in Canada in the past 40 years.
46
Trotter, Robin. „The Australian Stockman's Hall of Fame and the Australian Legend“. Queensland Review 5, Nr. 1 (Mai 1998): 17–29. http://dx.doi.org/10.1017/s1321816600001677.
Der volle Inhalt der QuelleAnnotation:
On the fortieth anniversary of the publication of Russell Ward's Australian Legend, it is timely to evaluate the strength of the bush legend in contemporary Australia. One way of doing this is to consider how elements of the legend have been taken up in tourist products and this study, which takes up on an earlier study undertaken in 1988 (Trotter, 1992), looks at the impacts the Australian Stockman's Hall of Fame and Outback Cultural Centre in Longreach (the Hall) has had on the town, the region, and broader spheres. Also celebrating an anniversary in April — its tenth — the Hall has, over the decade, become a significant outback tourist site; and the journey there has acquired almost pilgrimage status. It has put Longreach ‘on the map’; and it has also provided a model for towns and regions aspiring to a ‘heritage-led’ economic recovery.
47
Baltaziuk, Iryna. „DEVELOPMENT OF CREATIVITY WITHIN THE CONDITIONS OF CONTEMPORARY ARTMARKET“. Research and methodological works of the National Academy of Visual Arts and Architecture, Nr. 28 (15.12.2019): 83–89. http://dx.doi.org/10.33838/naoma.28.2019.83-89.
Der volle Inhalt der QuelleAnnotation:
Article is dedicated to the research of creativity within the conditions of contemporary Ukraine art market. Author have discovered factors, that improve development of current art practice in academic and non academic artistic education. The article explores contemporary education centers, that forms connection between emergency artists and established artmarket, topical Ukraine art, contemporary art galleries and education institutions. As important element of contemporary art, academic education forms process of it’s development in quality, innovative and actual aspects. Such factors as creativity, “unconventional thinking”, intuition, esthetic competence, self development, emotional intellect, idea thinking and project vision improve development of current art practice in academic and non academic artistic education.Contemporary art requires from artist to develop deep vision on period, time and actuality of current events. This means that artist should be active in artistic and social sphere. New art stands for culture as phenomenon.Development of project approach in contemporary art effect appearance of new communication — network communication, when occurs partners and sponsors support. In this context started to develop national and international grant programs, residencies, educational centers, art institutions forming path for emergency artists to contemporary art field.The most popular educational centers in Kyiv, Ukraine: Modern art research institute, Art Arsenal, Pinchuk Art Centre, Kyiv academy of media arts, Art Ukraine Gallery, Port creative hub, Shcherbenko art center etc. The main feature that combine well known educational centers with several years of practice, and those that just opened is openness to the public. No matter of education, social status, or belonging to art school, everyone can gain experience from professionals.
48
Beniakh, Nataliia. „Glass Art Department at Lviv National Academy of Arts: unique centre of contemporary glassmaking“. Bulletin of Lviv National Academy of Arts, Nr. 41 (26.12.2019): 53–56. http://dx.doi.org/10.37131/2524-0943-2019-41-04.
Der volle Inhalt der QuelleAnnotation:
The preconditions for the emergence of professional art education in the field of art glass in Lviv and Galicia are considered. The history of artistic glass and its influence on the development of the modern center in Lviv on the basis of the Lviv National Academy of Arts is analyzed. The history of the Department began in 1961 with an experiment, when at Lviv State Institute of Applied and Decorative Art (today Lviv National Academy of Arts) a small department of plastic and glass art was opened. Full formation of the unit took place in 1963–1964 and corresponded to the needs of provision with the specialists of experimental workshop of glass art of Lviv Experimental Ceramic and Sculpture Factory of those times. The curriculum of basic art disciplines is formed in accordance with the specificity of the material – glass art and is focused on consideration of the importance of imaginative or constructive thinking, according to selected specialized direction. For decades, the staff of the Glass Department keep contact with glass artists in the whole world, participates in organization of international symposiums and exhibitions, meetings with students, lectures, workshops with the participation of the most famous artists in the world. Since 1989, the teachers and staff of the Department have been actively participating in the organization of International Symposiums of Blown Glass that are the most long-lasting continuous forums of glass artists in the world nowadays. On the base of the Department, mini-symposiums for students took place, and in 2013 and 2016, a scientific and creative workshop (glass-melting furnace) became the main base for the work of famous glass artists from different countries of the world. Every three years the students have an opportunity to observe the work of the most world well-known glass artists from various countries, participate in workshops and lectures. The purpose of the article is to analyze the activities of the Department of Art Glass of the Lviv National Academy of Arts in the modern studio movement.
49
Gunn, Robert, und Susan Lowish. „Australian Rock Art in the Expanded Field: History, Meaning, and Contemporary Context“. Australian and New Zealand Journal of Art 19, Nr. 2 (03.07.2019): 139–41. http://dx.doi.org/10.1080/14434318.2019.1701383.
Der volle Inhalt der Quelle
50
Black, Jane. „Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives“. Art Libraries Journal 44, Nr. 3 (12.06.2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.
Der volle Inhalt der QuelleAnnotation:
The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contemporary artists of Celia Rosser, Collin Woolcock, Gillian Scott and Aboriginal artists including Teresa Purla McKeeman as well as photographs and outdoor installations.