Journal articles on the topic 'Art, Australian Exhibitions'
To see the other types of publications on this topic, follow the link: Art, Australian Exhibitions.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Art, Australian Exhibitions.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Rey, Una. "Australian Art Exhibitions: Opening Our Eyes." Australian and New Zealand Journal of Art 19, no. 2 (July 3, 2019): 260–62. http://dx.doi.org/10.1080/14434318.2019.1675572.
Full text
2
Fisher, Laura, and Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas." Media International Australia 158, no. 1 (January 11, 2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.
Full textAbstract:
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.
3
Shaw, Margaret. "AARTI: Australian Art Index." Art Libraries Journal 11, no. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.
Full textAbstract:
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.
4
Bowker, Sam. "No Looking Back." Australian Journal of Islamic Studies 4, no. 1 (July 17, 2019): 18–32. http://dx.doi.org/10.55831/ajis.v4i1.153.
Full textAbstract:
This is a critical review of changes in the two years since I wrote “The Invisibility of Islamic Art in Australia” for The Conversation in 2016. This includes the National Museum of Australia’s collaborative exhibition “So That You May Know Each Other” (2018), and the rise of the Eleven Collective through their exhibitions “We are all affected” (2017) in Sydney and “Waqt al-Tagheer – Time of Change” (2018) in Adelaide. It considers the representation of Australian contemporary artists in the documentary “You See Monsters” (2017) by Tony Jackson and Chemical Media, and the exhibition “Khalas! Enough!” (2018) at the UNSW.
These initiatives demonstrate the momentum of generational change within contemporary Australian art and literary performance cultures. These creative practitioners have articulated their work through formidable public networks. They include well-established and emerging artists, driven to engage with political and social contexts that have defined their peers by antagonism or marginalisation.
There has never been a ‘Golden Age’ for ‘Islamic’ arts in Australia. But as the Eleven Collective have argued, we are living in a time of change. This is an exceptional period for the creation and mobilisation of artworks that articulate what it means to be Muslim in Australia.
5
Lorek-Jezińska, Edyta. "Affective Realities and Conceptual Contradictions of Patricia Piccinini’s Art: Ecofeminist and Disability Studies Perspectives." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 363–79. http://dx.doi.org/10.18778/2083-2931.12.22.
Full textAbstract:
The recent exhibition of Patricia Piccinini’s art called That’s Us (Toruń, CSW) largely represents the Australian artist’s visions and fascinations known from earlier exhibitions. Questioning and erasing the borders between species, the affective realities of Piccinini’s art are bound to the concepts of care, empathy and fragility, which refigure what is human and non-human and the relations between them by expanding the notion of mothering and fostering to include interspecies relations. Beginning with a discussion of the uncanny, abjection and monstrosity, this article aims to examine the complicated implications of interpreting Piccinini’s art within the conceptual framework of ecofeminism, as well as in the context of disability aesthetics. In her explorations of different and alternative corporealities, Piccinini, among many other things, asks questions about ideologies of normativity and able-bodiedness, suggesting the possibility of going beyond them.
6
Archer, Anita, and David M. Challis. "‘The Lucky Country’: How the COVID-19 Pandemic Revitalised Australia’s Lethargic Art Market." Arts 11, no. 2 (April 5, 2022): 49. http://dx.doi.org/10.3390/arts11020049.
Full textAbstract:
Since its publication in 1964, Australians have used the title of Donald Horne’s book, The Lucky Country, as a term of self-reflective endearment to express the social and economic benefits afforded to the population by the country’s wealth of geographical and environmental advantages. These same advantages, combined with strict border closures, have proven invaluable in protecting Australia from the ravages of the global COVID-19 pandemic, in comparison to many other countries. However, elements of Australia’s arts sector have not been so fortunate. The financial damage of pandemic-driven closures of exhibitions, art events, museums, and art businesses has been compounded by complex government stimulus packages that have excluded many contracted arts workers. Contrarily, a booming fine art auction market and commercial gallery sector driven by stay-at-home local collectors demonstrated remarkable resilience considering the extraordinary circumstances. Nonetheless, this resilience must be contextualised against a decade of underperformance in the Australian art market, fed by the negative impact of national taxation policies and a dearth of Federal government support for the visual arts sector. This paper examines the complex and contradictory landscape of the art market in Australia during the global pandemic, including the extension of pre-pandemic trends towards digitalisation and internationalisation. Drawing on qualitative and quantitative analysis, the paper concludes that Australia is indeed a ‘lucky country’, and that whilst lockdowns have driven stay-at-home collectors to kick-start the local art market, an overdue digital pivot also offers future opportunities in the aftermath of the pandemic for national and international growth.
7
Bennett, Theodore. "Tortured genius: The legality of injurious performance art." Alternative Law Journal 42, no. 1 (March 2017): 24–28. http://dx.doi.org/10.1177/1037969x17694791.
Full textAbstract:
In the 20th century, a distinct subset of performance art emerged in which the artist is deliberately physically injured as part of their performance. While such performances are now a settled type of artistic expression their legal status is unclear. This article examines the legality of such performances under the Australian criminal law. Focusing on common law principles, it compares injurious performance art to the legally recognised category of ‘dangerous exhibitions’ and ultimately argues that such performances will only be lawful if it can be clearly demonstrated that they have public utility.
8
bandt, ros. "designing sound in public space in australia: a comparative study based on the australian sound design project's online gallery and database." Organised Sound 10, no. 2 (August 2005): 129–40. http://dx.doi.org/10.1017/s1355771805000774.
Full textAbstract:
the purpose of this paper is to articulate some of the ways in which australian sound practitioners are already designing sound in the public domain so that current trends and practices can be examined, compared and contrasted. this paper interrogates the new hybrid art form, public sound art, and the design processes associated with it as it occurs in public space in australia. the right to quiet has been defined as a public commons (franklin 1993). public space in australia is becoming increasingly sound designed. this article investigates the variety of approaches by sound artists and practitioners who have installed in public space through a representative sample of works drawn from the australian sound design project's online gallery and article, http://www.sounddesign.unimelb.edu.au, a site dedicated to the multimedia publishing of diverse sound designs installed in public space in australia, as well as its international outreach hearing place. works include permanent public and ephemeral sculptures, time-dense computerised sound installations, museum designs, exhibits in airports, art galleries, car parks, digital and interactive media exhibitions, and real-time virtual habitats on and off the web. the degree of interactivity in the sound-designed artworks varies greatly from work to work. stylistic features and design processes are identified in each work and compared and contrasted as a basis for examining the characteristics of the genre as a whole and its impact on the soundscape now and in the future.
9
Tingay, Steven. "Indigenous Australian artists and astrophysicists come together to communicate science and culture via art." Journal of Science Communication 17, no. 04 (December 17, 2018): C02. http://dx.doi.org/10.22323/2.17040302.
Full textAbstract:
During the International Year of Astronomy in 2009, we initiated a collaboration between astrophysicists in Western Australia working toward building the largest telescope on Earth, the Square Kilometre Array (SKA), and Indigenous artists living in the region where the SKA is to be built. We came together to explore deep traditions in Indigenous culture, including perspectives of the night sky, and the modern astrophysical understanding of the Universe. Over the course of the year, we travelled as a group and camped at the SKA site, we sat under the stars and shared stories about the constellations, and we talked about the telescopes we wanted to build and how they could sit on the Indigenous traditional country. We found lots of interesting points of connection in our discussions and both artists and astronomers found inspiration. The artists then produced <150 original works of art, curated as an exhibition called “Ilgarijiri — Things belonging to the Sky” in the language of the Wadjarri Yamatji people. This was exhibited in Geraldton, Perth, Canberra, South Africa, Brussels, the U.S.A., and Germany over the course of the next few years. In 2015, the concept went further, connecting with Indigenous artists from South Africa, resulting in the “Shared Sky” exhibition, which now tours the ten SKA member countries. The exhibitions communicate astrophysics and traditional Indigenous stories, as well as carry to the world Indigenous culture and art forms. The process behind the collaboration is an example of the Reconciliation process in Australia, successful through thoughtful and respectful engagements, built around common human experiences and points of contact (the night sky). This Commentary briefly describes the collaboration, its outcomes, and future work.
10
Smiraglia, Christina. "Artworks at work: the impacts of workplace art." Journal of Workplace Learning 26, no. 5 (July 8, 2014): 284–95. http://dx.doi.org/10.1108/jwl-11-2013-0097.
Full textAbstract:
Purpose – This paper aims to explore the impact that employees and board members of an organization believe the art in their workplace has on their experience at work and identify the exhibition’s features salient to their experience of the art. Design/methodology/approach – Semi-structured interviews were conducted with 19 affiliates of an Australian organization with an institutional art collection. The interview data were transcribed and analyzed using thematic analysis by two researchers, with a final inter-rater reliability of 0.96. Findings – The results showed that respondents believe there are five main ways they are impacted by the art in their workplace: the art promotes social interactions, elicits emotional responses, facilitates personal connection-making, generally enhances the workplace environment and fosters learning. Participants indicated the salient features of the collection are its changing nature, creativity, diversity, quality and connection to the organization’s mission. Practical implications – The findings suggest that there may be a number of positive impacts on employees and other affiliates when art is present in the workplace, including interpersonal learning and mission-related content learning. The findings suggest that art connected to the organization’s mission, rotating exhibitions and diverse collections are valued by workplace viewers. Originality/value – The study highlights the importance of the aesthetic environment in the workplace and is one of the first to examine artworks in the work setting.
11
Lenette, Caroline, Tanja Johnston, Jandy Paramanathan, and Sonia Poorun. "Facilitated arts engagement with women veterans for health and well-being." Journal of Applied Arts & Health 12, no. 2 (July 1, 2021): 193–207. http://dx.doi.org/10.1386/jaah_00061_1.
Full textAbstract:
To demonstrate the health and well-being benefits of facilitated arts engagement with women veterans, we draw on a key practice-based example from the Australian National Veterans Arts Museum (ANVAM), an organization with expertise in collaborative art-making with veterans. We outline ANVAM’s framework and the processes art therapists use to create facilitated art exhibitions. We discuss how veterans’ involvement with art-making has therapeutic benefits, can contribute new knowledge on health and well-being, and convey nuances of gender-specific experiences. We briefly outline the trend in evidence from academic literature on arts-health research with veterans and the sparse creative research with women veterans to highlight the potential of art-based methods in veteran health and well-being research, given growing numbers and the expanding roles of women in defence. Arts-health research using diverse methods has yielded promising results in this field. As such, interdisciplinary, co-designed, and strength-based art-based research with women veterans can add to knowledge co-creation on this topic.
12
Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.
Full textAbstract:
Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.
13
Grincheva, Natalia. "The Form and Content of ‘Digital Spatiality’: Mapping the Soft Power of DreamWorks Animation in Asia." Asiascape: Digital Asia 6, no. 1-2 (April 29, 2019): 58–83. http://dx.doi.org/10.1163/22142312-12340102.
Full textAbstract:
Abstract The article explores a series of blockbuster exhibitions of DreamWorks Animation developed by the Australian Centre of the Moving Image (ACMI) in collaboration with one of the largest Hollywood producers. Curated by ACMI, this blockbuster exhibition was designed to provide a behind-the-scenes look into collaborative processes involved in DreamWorks animations. This exhibition travelled across the Asia-Pacific in 2015-2017 and was hosted by a number of museums, such as the ArtScience Museum in Singapore, the Te Papa Museum in New Zealand, the Seoul Museum of Art in South Korea, and the National Taiwan Science and Education Centre in Taiwan. It displayed over 400 unique objects from the studio’s archive ‘of rare and never before displayed material’, such as drawings, models, maps, photographs, posters, and other artworks. The article explores the highly favourable reception to the DreamWorks Animation blockbuster in different cities in Asia. It employs a geo-visualization of Asian engagement with the blockbuster exhibit to reveal and explain local and global mechanisms of ‘attraction’ power, generated by DreamWorks in different Asian countries. Contributing to the special issue, this article engages with two aspects of it: the form, cultural digital mapping; and the content, the nature of media pop culture exemplified through the traveling blockbuster.
14
McKay, Judith. "Ellis Rowan: Flower-hunting in the Tropics." Queensland Review 10, no. 2 (November 2003): 89–97. http://dx.doi.org/10.1017/s1321816600003354.
Full textAbstract:
Ellis Rowan was Australia's most celebrated flower painter of the late nineteenth and early twentieth centuries. An emancipated woman far ahead of her time, she turned what her fellow Australian artists deemed a ‘genteel’ female pastime of flower painting into an adventurous and profitable career which took her all over the world. In a career spanning fifty years and ending with her death in 1922, she produced the phenomenal number of more than 3000 paintings, and succeeded in placing many of these in public collections. Rowan exhibited her work as far afield as London and New York and achieved acclaim at intercolonial and international exhibitions of art and industry (with the award of ten gold, fifteen silver and four bronze medals). Also a skilled writer and publicist, she recounted her travels in the popular press and in a book entitled A Flower-Hunter in Queensland and New Zealand, published in 1898. This paper focuses on the artist's work in Queensland, a favourite hunting ground, and on her association with the tropics which was an essential part of her mystique.
15
Smith, Geraldine, and Anna Halafoff. "Multifaith Third Spaces: Digital Activism, Netpeace, and the Australian Religious Response to Climate Change." Religions 11, no. 3 (February 26, 2020): 105. http://dx.doi.org/10.3390/rel11030105.
Full textAbstract:
Multifaith spaces typically imply sites where people of diverse faith traditions gather to participate in shared activities or practices, such as multifaith prayer rooms, multifaith art exhibitions, or multifaith festivals. Yet, there is a lack of literature that discusses online multifaith spaces. This paper focuses on the website of an Australian multifaith organisation, the Australian Religious Response to Climate Change (ARRCC), which we argue is a third space of digital activism. We begin by outlining the main aims of the multifaith movement and how it responds to global risks. We then review religion and geography literature on space, politics and poetics, and on material religion and embodiment. Next, we discuss third spaces and digital activism, and then present a thematic and aesthetic analysis on the ARRCC website drawing on these theories. We conclude with a summary of our main findings, arguing that mastery of the online realm through digital third spaces and activism, combined with a willingness to partake in “real-world”, embodied activism, can assist multifaith networks and social networks more generally to develop Netpeace and counter the risks of climate change collaboratively.
16
Spear, Felicity. "Extending Vision: Sky-situated Knowledge and the Artist’s Eye." Culture and Cosmos 16, no. 1 and 2 (October 2012): 451–63. http://dx.doi.org/10.46472/cc.01216.0277.
Full textAbstract:
Increasingly, we are looking beyond our planet to speculate about our place in the Universe. In the context of ideas about the sky and cosmic space, art works have the potential to provoke curiosity and to play an educative and imaginative role in visualising connections with science, history and a space beyond the full range of our senses. While both artists and scientists reconstruct the material world on the basis of understanding, artists are able to exploit subjectivity and are not accountable to demonstrate proof. In this way, art seeks a poetic dimension or insight which speaks of things outside art in new or different ways. This paper discusses my recent research and the exhibitions I curated in order to coincide with the 2009 International Year of Astronomy. Included in these were an astrophotographer and a number of Australian artists, both Western and Indigenous, whose work has been influenced by the speculative and experimental processes involved with observation, image-capture and mapping, and the technological developments which shape human consciousness. They draw also on the history of human efforts to picture whatever lies beyond Earth’s atmosphere. This space, mostly beyond the naked eye, is revealed now through a machine-produced visibility which extends our vision. Together, these works show us how various systems of knowledge have sought to make sense of the cosmos and our place within it.
17
Hilton-Smith, Simon, M. Elizabeth Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nalani Wilson-Hokowhitu, Fei Chen, Yi Zheng, and Xiaorui Guan. "Exhibition Reviews." Museum Worlds 10, no. 1 (July 1, 2022): 257–89. http://dx.doi.org/10.3167/armw.2022.100121.
Full textAbstract:
[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)
18
Berlo, Janet Catherine. "Australian Art Exhibition Catalog:Dreamings; The Art of Aboriginal Australia." Museum Anthropology 14, no. 2 (May 1990): 31. http://dx.doi.org/10.1525/mua.1990.14.2.31.
Full text
19
Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection." Arts 8, no. 4 (September 27, 2019): 126. http://dx.doi.org/10.3390/arts8040126.
Full textAbstract:
Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
20
Nguyen, Anh. "Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017." Migration, Mobility, & Displacement 4, no. 1 (June 7, 2019): 133–39. http://dx.doi.org/10.18357/mmd41201918976.
Full textAbstract:
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.
21
Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.
Full textAbstract:
Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.
22
Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.
Full textAbstract:
Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017
23
Bojić, Zoja. "The Slav Avant-garde in Australian Art." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.
Full textAbstract:
Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.
24
Hoffman, Sheila K., Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim. "Exhibition Reviews." Museum Worlds 9, no. 1 (July 1, 2021): 175–207. http://dx.doi.org/10.3167/armw.2021.090114.
Full textAbstract:
Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan JiangTempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarinWonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra KearneyBrett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-BarnesThe “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim
25
Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism." Arts 8, no. 4 (December 6, 2019): 161. http://dx.doi.org/10.3390/arts8040161.
Full textAbstract:
Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.
26
Ladas, Nancy. "Ethical and Legal Considerations for Collection Development, Exhibition and Research at Museums Victoria." Heritage 2, no. 1 (March 13, 2019): 858–67. http://dx.doi.org/10.3390/heritage2010057.
Full textAbstract:
With over 17 million collection items, Museums Victoria is the largest museum in Australia. Museums Victoria recognises the public benefit derived from lending and borrowing between collecting institutions and actively participates in the international loans network in order to complement and enhance the potential for learning and enjoyment for all audiences. Museums Victoria staff undertook an extensive review of policies and procedures in order to apply for approval for protection under the Australian Government’s Protection of Cultural Objects on Loan Scheme (PCOL Scheme), established to administer the Commonwealth Protection of Cultural Objects on Loan Act 2013 (PCOL Act). The PCOL Scheme provides (with some limits) legal protection—immunity from seizure—for Australian and foreign cultural items on loan from overseas lenders for temporary public exhibition in Australia. The Ministry for the Arts also released the Australian Best Practice Guide to Collecting Cultural Material in 2015. The Guide is not a mandatory code. It recommends principles and standards to apply when acquiring collection items and in part for inward and outward loans. In 2016–2017 Museums Victoria staff used the Act and its Regulation along with the Guide to substantially update and formalise previous formal and informal policies and practices, in order to demonstrate its commitment to due diligence endeavours to verify the accuracy of information before acquiring, deaccessioning, borrowing, or lending items. This paper outlines the steps we took and what we have learned since receiving approval as a registered borrower under the PCOL Scheme.
27
O’Reilly, Chiara, and Anna Lawrenson. "Revenue, relevance and reflecting community: Blockbusters at the Art Galley of NSW." Museum and Society 12, no. 3 (April 20, 2015): 157–70. http://dx.doi.org/10.29311/mas.v12i3.257.
Full textAbstract:
Museums are judged not solely on the basis of their exhibition quality and collection care but, within a corporate model, they are also judged on quantitative measures such as audience numbers and, in turn, their financial viability. Programming has, therefore, become a major focus of forward planning and the basis for funding development. Blockbuster exhibitions, strategically placed throughout annual programs, have been a common way to increase audience numbers and sustain support. In more recent times, the blockbuster model has developed to address more complex measures of success beyond their quantifiable benefits. In addition to the aim of increasing visitor numbers, the blockbuster exhibition and its associated public and education programs, have been effectively utilized as a means of broadening and diversifying audiences. Such efforts help museums to meet expectations, often set by governments, to address and reflect the diverse demographic communities within which they are situated and to whom they serve.The Art Gallery of New South Wales (AGNSW) in Australia provides one such example of a museum that is working creatively within the blockbuster model in order to present exhibitions that build on their collection strengths and existing programs, attract large audiences and engage diverse audiences by focusing on community building. This paper uses the AGNSW blockbuster exhibition The First Emperor: China’s Entombed Warriors, to examine the role of this format in contemporary museums more broadly. We use this exhibition as a frame by which to analyse how the Gallery has modified the blockbuster model, and indeed built on it, in order to target geographically and culturally diverse audiences. We argue that this has been effectively achieved as a result of the Gallery building blockbusters around their curatorial and collection strengths, by working with external organizations and community groups and by offering a range of activities and opportunities for engagement both within the museum and outside of its boundaries. This exhibition proves that when blockbusters are used creatively to support museum wide efforts to engage culturally and linguistically diverse audiences they can achieve success that is both quantitative and qualitative.
28
Wolska, Dorota. "Garden Palace rozebrany do kości. Sztuka jako anamneza." Prace Kulturoznawcze 21, no. 4 (October 30, 2018): 69–78. http://dx.doi.org/10.19195/0860-6668.21.4.4.
Full textAbstract:
Garden Palace stripped to the bone. Art as anamnesisLondon’s Crystal Palace, the site of the first international exhibition in 1851 and the architectural symbol of modernity, was widely imitated not only in Europe. Sydney also had its crystal palace. The Australian Garden Palace, similarly to the ones in London, New York and Munich, burnt to the ground in 1882. In 2016 aboriginal artist Jonathan Jones tried to restore it in Australia’s collective memory. However, Jones’ project, barrangal dyara skin and bones, introduces a postcolonial perspective and recoveres the narratives that were repressed in White Australia, with the hope of working through the common past.
29
Swalwell, Melanie, Helen Stuckey, Denise de Vries, Cynde Moya, Candice Cranmer, Sharon Frost, Angela Goddard, Steven Miller, Carolyn Murphy, and Nick Richardson. "Archiving Australian Media Arts: A Project Overview." Preservation, Digital Technology & Culture 51, no. 4 (December 1, 2022): 155–66. http://dx.doi.org/10.1515/pdtc-2022-0026.
Full textAbstract:
Abstract This article presents an overview of the ARC Linkage Project “Archiving Australian Media Arts: Towards a method and a national collection,” which addresses the challenges of preserving digital media artworks that are stored on obsolete media and that require legacy computer environments to access. It lays out the challenges facing digital media arts, articulates the significance of the deposit of local media art organisation archives into the custody of major, jurisdictionally-appropriate cultural institutions, and details the selection of case studies for research from these organisations’ archives and other existing digital media art collections in our partner organisations’ custody. Case studies consist of the ANAT archive (formerly the Australian Network for Art and Technology), floppy disks from the Stan Ostoja-Kotkowski archive, Experimenta Media Art’s exhibition “Virtualities” (1995), dLux media art’s exhibition “Matinaze 97” (1997), and the Griffith University Art Museum’s collection of interactive CD-ROMs. The article reports on progress to date against two of the project’s aims, outlines the collective benefits to partners and to researchers of artworks and other materials from these archives being available, and indicates that access to born digital materials should improve in the near future with digital emulation infrastructure set to be built.
30
Boaden, Sue. "Art information networks in Asia and the Pacific." Art Libraries Journal 11, no. 4 (1986): 4–7. http://dx.doi.org/10.1017/s0307472200004855.
Full textAbstract:
As former colonial links and reliance on a technologically-developed ‘West’ recede into the past, Asian and Pacific countries, including Australia, are becoming increasingly aware of one another as neighbours. Circulation of exhibitions, artists’ visits, cultural festivals, government and UNESCO activities, and art publishing, provide a network for sharing art and art information between countries in this region. Among art libraries, those in Australia and New Zealand participate in the network represented by ARLIS/ANZ; the IFLA Section of Art Libraries and its global role offers scope for further developments. An Asian/Pacific ‘ARLIS’ is proposed.
31
Endersby, Jim. "The evolving museum." Public Understanding of Science 6, no. 2 (April 1997): 185–206. http://dx.doi.org/10.1088/0963-6625/6/2/005.
Full textAbstract:
This paper examines a recent exhibition on evolution at the Australian Museum, in Sydney, and contrasts it with the museum's earlier exhibitions on the same theme, looking at the images of science each presents. The differences between the most recent display and its predecessors can be broadly grouped under three themes: the use of narrative and chronology to organize the display; the use of realistic dioramas and reconstructions; and the use of glass cases to keep the visitors and the science apart. Partly through deliberate decisions and partly through other pressures—including space, time and financial considerations—the newest exhibition has resolved some of the problems exemplified by the earlier ones. Nevertheless, other difficulties remain and the conclusion sketches some possible directions which museum designers might explore in the future.
32
Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
Full textAbstract:
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.
33
Batchen, Geoffrey. "Installation View: Photography Exhibitions in Australia 1848–2020." History of Photography 45, no. 1 (January 2, 2021): 101–3. http://dx.doi.org/10.1080/03087298.2021.2020476.
Full text
34
Berryman, Jim. "Art and national interest: the diplomatic origins of the “blockbuster exhibition” in Australia." Journal of Australian Studies 37, no. 2 (June 2013): 159–73. http://dx.doi.org/10.1080/14443058.2013.781052.
Full text
35
Reichelt-Brushett, Amanda, and John Smith. "Connecting Silos - Inviting Art and Science Interactions." Leonardo 45, no. 5 (October 2012): 484–85. http://dx.doi.org/10.1162/leon_a_00453.
Full textAbstract:
In tertiary education in Australia there are often clear divisions between disciplines defined by hierarchy that is established for administrative purposes. These purposes often conflict with notions of trans-disciplinary study by creating an environment of competition rather than one of collaboration. Through this project we brought together science and art by developing a ‘hands on’ workshop where scientists and artists explored tools and techniques from unfamiliar disciplines. Collaborative projects and self emersion post workshop resulted in an exhibition of outcomes. The development of these outcomes challenged both artists and scientists to explore their discipline boundaries and connectivity by using tools and knowledge in unique ways.
36
Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter." Queensland Review 13, no. 1 (January 2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.
Full textAbstract:
Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.
37
Souliman, Victoria. "British Modernism from an Australian Point of View: Clarice Zander's 1933 Exhibition of British Contemporary Art." Australian and New Zealand Journal of Art 17, no. 1 (January 2, 2017): 84–96. http://dx.doi.org/10.1080/14434318.2017.1336190.
Full text
38
Gentle, Emma, Paul Linsley, and John Hurley. "“Their story is a hard road to hoe”: how art-making tackles stigma and builds well-being in young people living regionally." Journal of Public Mental Health 19, no. 2 (January 31, 2020): 109–18. http://dx.doi.org/10.1108/jpmh-10-2019-0087.
Full textAbstract:
Purpose Remote and regional Australia have comparatively fewer mental health services than their urban counterparts, what is more, mental health remains profoundly stigmatised. This study aims to understand how, if at all, the process of group art-making then publicly displaying the artworks can contribute to stigma reduction for young people (YP) experiencing mental health challenges in regional Australia. Design/methodology/approach Interviews were conducted with six young artists who use regional mental health services and 25 people who viewed their displayed art using a thematic analysis of the coded interview data. Findings Findings of this study demonstrated how art-making as a process increased self-esteem, social interaction and artistic expression; while the viewers experienced an emotional connection to the art. The viewer’s response enhanced YP’s confidence in their abilities. Originality/value Incorporating art-making and exhibiting the art in public spaces could be incorporated into YP’s mental health services to support well-being and inform the perception the general public hold of mental health, thus reducing stigma.
39
Rothenberg, M., and P. Hoffenburg. "Australia at the 1876 Exhibition in Philadelphia." Historical Records of Australian Science 8, no. 2 (1989): 55. http://dx.doi.org/10.1071/hr9900820055.
Full text
40
Clement, Tracey. "Making The Drowned World Manifest: Re-reading Ballard’s Novel Through Art." Open Cultural Studies 3, no. 1 (January 1, 2019): 563–78. http://dx.doi.org/10.1515/culture-2019-0050.
Full textAbstract:
Abstract In 1970, J.G. Ballard used a London gallery as a laboratory in which to test ideas he was toying with, ideas that eventually found their way into his 1973 novel, Crash. Ballard found that art and literature were a fecund combination. Considering the richness of his imagery and the complexity of his ideas, it is not surprising that Ballard’s works have gone on to inspire artistic responses. Perhaps the most well known of these is Robert Smithson’s masterpiece, Spiral Jetty, 1970. However, most works inspired by Ballard’s writing respond to vague notions of things Ballardian rather than to a particular novel or short story. In this essay I will focus specifically on recent contemporary Australian artworks which were made in direct response to Ballard’s 1962 novel, The Drowned World, for a 2015 exhibition I initiated and coordinated titled Mapping The Drowned World. Using my own artworks as examples, as well as work made by fellow Australian artists Roy Ananda, Jon Cattapan and Janet Tavener, I will demonstrate that art and Ballard’s literature continue to make a great synergistic team: together they produce more than the sum of their parts.
41
Jordan, Caroline. "Cultural Exchange in the Midst of Chaos: Theodore Sizer's Exhibition ‘Art of Australia 1788–1941’." Australian and New Zealand Journal of Art 13, no. 1 (January 2013): 24–49. http://dx.doi.org/10.1080/14434318.2013.11432641.
Full text
42
Thomson, Jody, and Bronwyn Davies. "Becoming With Art Differently: Entangling Matter, Thought and Love." Cultural Studies ↔ Critical Methodologies 19, no. 6 (February 14, 2019): 399–408. http://dx.doi.org/10.1177/1532708619830123.
Full textAbstract:
In this article, we put new materialist concepts to work in an experiment in thinking-with-matter. We write our way into an encounter with two artworks by Australian French Impressionist John Russell, hanging in an exhibition space at the Art Gallery of New South Wales. In being-with and becoming-with the pictures, we go off the beaten track, not concerning ourselves with aesthetics, critique, meaning-making, or sociocultural conventions. We begin with W. J. T. Mitchell’s question what do pictures want? We extend his question, drawing on new materialist philosophers, to explore what is made possible when the matter of paint-on-canvas is encountered, not as inert, but as lively, affective, and intra-active. Our experiment moves to what happens in between ourselves as human subjects and the more-than-human matter of these works of art.
43
Thorner, Sabra. "Two Exhibitions Resignify Aboriginality and Photographyin Australia's Visual Lexicon." American Anthropologist 110, no. 1 (April 29, 2008): 66–67. http://dx.doi.org/10.1111/j.1548-1433.2008.00011_1.x.
Full text
44
Illert, Chris. "The Australian Supercomputer Graphics Exhibition and First International Conchology Conference." Leonardo 29, no. 2 (1996): 158. http://dx.doi.org/10.2307/1576356.
Full text
45
Robertson, Emma. "A sense of coherence: Drawing for the mind." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 2020): 333–50. http://dx.doi.org/10.1386/drtp_00042_1.
Full textAbstract:
As part of the award-winning Big Anxiety Festival in Australia, an exhibition of mixed-media drawings of plants and seeds was displayed at the University of Sydney, at the same time as two public drawing workshops in the Royal Botanic Garden Sydney. This paper describes and summarizes the various drawing techniques used in these workshops, and discusses the feedback from participants, who self-identified as having anxiety. Drawing using different types of approaches allowed workshop participants to mediate their tacit knowledge of the symptoms and solutions of living with anxiety, and to transition to a lived experience of proactively using drawings to improve their individual cognition, mindsets and mental health. Utilizing the platform afforded by the promotion of Mental Health Month in New South Wales, allowed the drawing exhibitions and workshops to be understood more broadly within an interdisciplinary context, which embedded their impact on other fields of research, including ecopsychology and biophilia, in a salutogenic model of practice. Specific to this approach, a ‘sense of coherence’ was deliberately embedded in both of the workshops’ sequential drawing exercises, which were observational and objective in intent. The exhibitions in 2017 and 2019 also consciously deployed a ‘sense of coherence’ in their design. Documentation drawings have recently been used as a tool to alleviate anxiety and promote wellness in medical staff working in a UK Emergency Department during the COVID-19 pandemic. This demonstrated the widespread potential applications for drawings to provide an antidote and a method of communication to proactively and positively assist mental health. Further research and exploration of the role that drawing plants and nature can play in the construction of learning in the context of individuals struggling with anxiety may offer routes to new knowledge and better understanding and potentially enhance connections between art and health researchers and institutions globally.
46
Whittington, Vanessa. "Decolonising the museum?" Culture Unbound 13, no. 2 (February 8, 2022): 245–69. http://dx.doi.org/10.3384/cu.3296.
Full textAbstract:
As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation.
47
Taylor, Gretel, and Deborah Warr. "Touchy Art: A phenomenological approach to artistic practice in stigmatised neighbourhoods." Conjunctions. Transdisciplinary Journal of Cultural Participation 5, no. 1 (May 24, 2018): 1–16. http://dx.doi.org/10.7146/tjcp.v5i1.105290.
Full textAbstract:
This paper outlines an artistic method combining a socially engaged and site-responsive arts practice with sociological discursive reflection that aimed to challenge the stigmatising stereotypes associated with many low-income neighbourhoods in Australia. We characterise our approach as ‘touchy’ to draw attention to issues that informed our approach: the sensitivity of the topic of stigma for residents; the need for a phenomenological method that sensitised participants to see/perceive beyond stereotypes; and aims of creating experiential and tactile artworks that could engage local and wider audiences in the issues. The paper discusses our rationale for the method and explicates components of the approach – excursions, workshop activities and exhibitions – and draws on artefacts, artworks and interview material to visualise and give voice to participants’ experiences of the project. Artistic and social outcomes were suggestive of the potential of this approach to develop alternative, experiential portrayals that might challenge the persistently negative stereotyping of low-income neighbourhoods.
48
Karaičić, Danica. "[In]Corporeal Architecture: On the Clothed Body and Architectural Space." AM Journal of Art and Media Studies, no. 18 (April 15, 2019): 89. http://dx.doi.org/10.25038/am.v0i18.302.
Full textAbstract:
In this paper, I will discuss the clothed architectural body and how it simultaneously experiences and constructs architectural space. For this purpose, I will analyse [In]Corporeal Architecture, an art experiment that I conducted at an outdoor exhibition space called Testing Grounds in February 2018 as part of my current PhD studies in Melbourne, Australia. [In]Corporeal Architecture challenges relationships between the body, cloth and architecture. To address this complexity, I draw on Gins and Arakawa’s book Architectural Body. Article received: December 18, 2018; Article accepted: January 23, 2019; Published online: April 15, 2019; Original scholarly paperHow to cite this article: Karaičić, Danica. "[In]Corporeal Architecture: On the Clothed Body and Architectural Space." AM Journal of Art and Media Studies 18 (2019): 89–105. doi: 10.25038/am.v0i18.302
49
Bertrand, Ina. "Education or exploitation: The exhibition of ‘social hygiene ‘ films in Australia." Continuum 12, no. 1 (April 1998): 31–46. http://dx.doi.org/10.1080/10304319809365750.
Full text
50
Caso, Federica. "Representing indigenous soldiers at the Australian War Memorial: a political analysis of the art exhibition For Country, For Nation." Australian Journal of Political Science 55, no. 4 (August 12, 2020): 345–61. http://dx.doi.org/10.1080/10361146.2020.1804833.
Full text