Relevant bibliographies by topics / Art Gallery of New South Wales

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Art Gallery of New South Wales'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Art Gallery of New South Wales"

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O’Reilly, Chiara. "Collecting French art in the late 1800s at the Art Gallery of New South Wales." Journal of the History of Collections 32, no. 2 (March 18, 2019): 313–25. http://dx.doi.org/10.1093/jhc/fhz006.

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Abstract From the nineteenth century, Sydney’s Art Gallery of New South Wales has been a marker of cultural ambition in Australia. This paper critically considers five large French paintings purchased at the end of the nineteenth century at significant expense by the gallery. Feted by contemporaries as examples of the French academic style, they formed part of plans to develop a representative collection to further understanding of art in the colony and, over time, they have taken on a rich role in the collective cultural memory. Through close examination of these paintings, their historical reception, criticism, reproduction and traces in the gallery’s archives this article reveals a history of taste, class and the formation of the cultural value of art. Using an object-based approach, it positions these works as evidence of changing cultural ideas within the context of a state collection to offer new insight into their status, the gallery itself, and the multiple roles of public art collections.
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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.

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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.
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Schmocker, Susan. "Strengths and weaknesses in the international library exchange programme at the Art Gallery of New South Wales." Art Libraries Journal 13, no. 4 (1988): 24–25. http://dx.doi.org/10.1017/s0307472200005952.

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Since the 1970’s the international Exchange Programme at the Art Gallery of New South Wales has become more demanding. Consequently attention has been focussed on the strengths and weaknesses of various aspects of the programme. While some, though not all, of these weaknesses may be capable of being overcome, they are in any case outweighed by the benefits of exchange.
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Murphy, Carolyn. "Art on Paper/Variable Installation: Sara Hughes’ Torpedo at the Art Gallery of New South Wales." AICCM Bulletin 40, no. 1 (January 2, 2019): 16–28. http://dx.doi.org/10.1080/10344233.2019.1680030.

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Miller, Steven. "The English-speaking researcher in Italy." Art Libraries Journal 35, no. 2 (2010): 35–39. http://dx.doi.org/10.1017/s0307472200016382.

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Italy is celebrated for its outstanding patrimony in art and architecture. Less known are its equally rich libraries and archives. English researchers are sometimes daunted by the perceived barriers of language, cataloguing and access when they contemplate exploring these collections, scattered throughout the country in state, academic and ecclesiastical institutions. Steven Miller, acting Head Librarian of Sydney’s Art Gallery of New South Wales, shares his experience of using a wide range of Italian libraries and archives over the last ten years.
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Miller, Steven. "The Papunya Tula Archive at the Art Gallery of New South Wales: providing archival services for indigenous art." Art Libraries Journal 33, no. 2 (2008): 29–33. http://dx.doi.org/10.1017/s0307472200015327.

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Papunya Tula Artists is a company owned and directed by Aboriginal people from the Western Desert, predominantly from the Luritja and Pintupi language groups. It currently has 49 shareholders and represents around 120 artists. The broad aims of the company are to promote individual artists, and to provide economic development for the communities to which they belong, thereby preserving and extending their traditional culture. Towards the end of 1993 the Art Gallery of New South Wales entered into a formal partnership with the company to assist it in preserving, copying and providing access to their immensely important archival records. The project, which at first seemed straightforward and easily manageable, raised a number of important issues about the provision of archival services for Indigenous art and provides a useful case study for reflecting on these.
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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.

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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.
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Ryan, Louise. "Transcending Boundaries: “The Arts of Islam” Exhibition, Nasser Khalili Collection, Art Gallery of New South Wales, Australia, 2007." International Journal of the Arts in Society: Annual Review 4, no. 2 (2009): 67–80. http://dx.doi.org/10.18848/1833-1866/cgp/v04i02/35599.

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Denton, Derek. "Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 1 (2007): 97. http://dx.doi.org/10.1071/hr07005.

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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.
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Denton, Derek. "Erratum to: Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 2 (2007): 305. http://dx.doi.org/10.1071/hr07005_er.

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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.
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Dissertations / Theses on the topic "Art Gallery of New South Wales"

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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
Doctor of Philosophy (PhD)
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James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.
"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
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Kummerfeld, Rebecca Kay. "For Industry, Taste and Hand-eye Coordination: Art Education in Sydney from 1850 to 1915." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15551.

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This thesis explores the history of art education in Sydney from 1850 to 1915. This was a foundational period for the establishment of both art and education in Sydney. It was a time during which structures of schooling first emerged, technical instruction became a priority and a government supported art gallery was established. I draw on a wide range of English and Australian sources to consider what comprised art education in Sydney during this foundational period. It is a topic that has received little scholarly attention, but is important for allowing those currently involved in art education an understanding of the foundations on which our current system was built. This thesis focuses on four key research questions. The first, ‘why teach art?’ is examined through analysis of discourse surrounding art education in this period. Three major motivations that informed the provision of art education in Sydney are identified: the importance of art for industry, a desire to teach taste and the broader educational benefit of art instruction for improving hand-eye coordination. ‘Where was art taught?’ is a second major focus. The art instruction offered through schools, technical colleges, exhibitions and galleries is examined in order to map the landscape of art education in Sydney. This thesis offers a novel contribution through the creation of a chronology, tracing the development of art instruction across a range of educational institutions. Thirdly, ‘who taught art?’ is considered through a series of professional biographies, featuring a range of individuals involved in the provision of art education. These case studies show the way one person could influence instruction across a range of institutions. Analysis of periodicals, personal papers, educational magazines, government records and school archives is undertaken to gain a deeper understanding of the contribution of these individuals. Finally, the question of ‘how art was taught’ is considered through close analysis of the tools used in teaching. Plaster casts and copybooks are examined, both for their pedagogic value and as artistic objects in themselves and how they were used to disseminate visual culture in Sydney.
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Wood, Susan, and s2000093@student rmit edu au. "Creative embroidery in New South Wales, 1960 - 1975." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070206.160246.

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In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit their work, and to engage in embroidery education as teachers or as learners. Others worked independently, exhibited in commercial galleries and endeavoured to establish reputations as professional artists. Some of these women were trained artists and wanted embroidery to be seen as 'art'; others were enthusiastic amateurs, engaged in embroidery as a form of 'serious leisure'. They played a significant role in the development of creative embroidery and textile art in NSW and yet, for the most part, their story is absent from the narratives of Australian art and craft history. These women were involved in a network of interactions which displayed many of the characteristics of more organised art worlds, as posite d by sociologist Howard Becker. They produced work according to shared conventions, they established co-operative links with each other and with other organisations, they organised educational opportunities to encourage others to take up creative embroidery and they mounted exhibitions to facilitate engagement with a public audience. Although their absence from the literature suggests that they operated in isolation, my research indicates that there were many points of contact between the embroidery world, the broader craft world and the fine art community in NSW. This thesis examines the context in which creative embroiderers worked, discusses the careers of key individuals working at this time, explores the interactions between them, and evaluates the influence that they had on later practice in embroidery and textiles in NSW.
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Gibson, Lorraine Douglas. "Articulating culture(s) being black in Wilcannia /." Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/70724.

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Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Anthropology, 2006.
Bibliography: p. 257-276.
Introduction: coming to Wilcannia -- Wilcannia: plenty of Aborigines, but no culture -- Who you is? -- Cultural values: ambivalences and ambiguities -- Praise, success and opportunity -- "Art an' culture: the two main things, right?" -- Big Murray Butcher: "We still doin' it" -- Granny Moisey's baby: the art of Badger Bates -- Epilogue.
Dominant society discourses and images have long depicted the Aboriginal people of the town of Wilcannia in far Western New South Wales as having no 'culture'. In asking what this means and how this situation might have come about, the thesis seeks to respond through an ethnographic exploration of these discourses and images. The work explores problematic and polemic dominant society assumptions regarding 'culture' and 'Aboriginal culture', their synonyms and their effects. The work offers Aboriginal counter-discourses to the claim of most white locals and dominant culture that the Aboriginal people of Wilcannia have no culture. In so doing the work presents reflexive notions about 'culture' as verbalised and practiced, as well as providing an ethnography of how culture is more tacitly lived. -- Broadly, the thesis looks at what it is to be Aboriginal in Wilcannia from both white and black perspectives. The overarching concern of this thesis is a desire to unpack what it means to be black in Wilcannia. The thesis is primarily about the competing values and points of view within and between cultures, the ways in which Aboriginal and non-Aboriginal people tacitly and reflexively express and interpret difference, and the ambivalence and ambiguity that come to bear in these interactions and experiences. This thesis demonstrates how ideas and actions pertaining to 'race' and 'culture' operate in tandem through an exploration of values and practices relating to 'work', 'productivity', 'success', 'opportunity' and the domain of 'art'. These themes are used as vehicles to understanding the 'on the ground' effects and affects of cultural perceptions and difference. They serve also to demonstrate the ambiguity and ambivalence that is experienced as well as being brought to bear upon relationships which implicitly and explicitly are concerned with, and concern themselves with difference.
Mode of access: World Wide Web.
xii, 276 p. ill
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McComas, Magers Robyn. "Interactions in the space of one tree." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/25847.

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This exegesis forms part of a cycle in the author's ongoing journey into the space of one tree, Eucalyptus gummifera. Many previously unchartered zones of experience give rise to experiences which are perceived slowly, with an open mind, in order to communicate an assemblage of experiences, objects and data which have come together to represent a reading of elements of the landscape of the Sydney Basin, one place where Eucalyptus gummifera grows. Each element has a niche within a specific grid of interaction that takes place in this lived environment. The work surveys fields of physical objects and relationships, inspiring new readings and translations of the landscape of one's own discoveries. Here the world acquires perspective and significance which enables fresh understandings and the deeper accquisition of knowledge. Thus the interactions in this sequence of the author's journeys into the space of one tree reveal further elements of the spatial landscape of Eucalyptus gummifera.
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Davies, Ruby. "Contested Visions, Expansive Views : The Landscape of the Darling River in Western NSW." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1119.

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This paper grows out of my ongoing practice of photographing the Darling River in western NSW. My interest in imaging the landscape and representing the contemporary divisions within it led me to investigate previous colonial conflicts, which occurred as white explorers in the 1830’s and squatters in the 1850’s took over the Aboriginal tribal lands on the Darling. In this paper I investigate the images created by explorers, artists and photographers, which were the beginnings of a Eurocentric vision for this land. These images were created in the context of a colonial history which forms the ideological backdrop to historical events and representations of this land. This research has involved me in an investigation across three different disciplines; Australian history, Australian visual art, and environmental aspects of human interactions with the land. The postcolonial histories which inform my work are themselves re-evaluations of earlier histories. This recent history has revealed, amid the images of European ‘settlement’ and ‘progress’, views of frontier violence and Aboriginal resistance to colonisation that were excluded from earlier histories. The fan-like shape of the Darling River, which for millennia has bought water to this dry land, is the motif that focuses my investigation. I discuss the relatively recent degradation of the river, which is the focus of contemporary conflicts between graziers, Aboriginal people, environmentalists and irrigators. Because large-scale irrigation now has the capacity to divert the flows of entire rivers for the irrigation of cash crops, the insecurities of earlier generations over the ‘unpredictable’ floods and their perception of lack of control over water - has been entirely reversed. ‘Control’ of water is now held by irrigators and the river down stream from the pumps is kept at a constant low, becoming a chain of stagnant waterholes during summer. Like many rivers in industrialised countries, the Darling no longer flows to its ocean. The physical characteristics of rangeland grazing are an important background to my paper. Although the introduction of sheep and cattle has altered and degraded this landscape, unlike ploughed country to the east this land retains much of its native vegetation and an Aboriginal history embedded across its surface. This paper is an investigation of the changing representations of the Australian landscape, and central to my paper (and a result of growing up in this area) is my recognition, at an early age, of cultural difference in the context of this landscape. I became aware of contradictions in how Aboriginal people were treated by the ‘white’ community and I glimpsed the distinct cultural viewpoints held by Aboriginal people. A connection to country continues to be expressed in art produced by Aboriginal people in the Wilcannia area, including work by Badger Bates and Waddy Harris. The Wilcannia Mob, a schoolboy rap-group received national press coverage, winning a Deadly Award in 2002 for their acclaimed song ‘Down River’. While a discussion of these artworks is not part of the discussion of my paper, it is a context for my research. In broad terms this paper is an investigation of different worldviews, different views of land and landscape by graziers, Aboriginal people, environmentalists and irrigators. These views carry with them different cultural understandings and different representations of the land - different and sometimes opposing views of its past and its future. It seems in 2005 that, just as artists, historians, filmmakers, etc. are beginning to come to terms with Australian colonial history, as the El Nino seasons and the importance of ‘environmental flows’ in the Murray Darling Basin are increasingly understood, that technological changes and the global effects of population densities are creating other changes (greenhouse gasses, ozone depletion, climate changes) that once again appear to be unpredictable and beyond our control. While this environmental discussion is outside the scope of the current paper it is a context for my investigation of this landscape.
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Davies, Ruby. "Contested Visions, Expansive Views : The Landscape of the Darling River in Western NSW." University of Sydney, 2005. http://hdl.handle.net/2123/1119.

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Master of Visual Arts
This paper grows out of my ongoing practice of photographing the Darling River in western NSW. My interest in imaging the landscape and representing the contemporary divisions within it led me to investigate previous colonial conflicts, which occurred as white explorers in the 1830’s and squatters in the 1850’s took over the Aboriginal tribal lands on the Darling. In this paper I investigate the images created by explorers, artists and photographers, which were the beginnings of a Eurocentric vision for this land. These images were created in the context of a colonial history which forms the ideological backdrop to historical events and representations of this land. This research has involved me in an investigation across three different disciplines; Australian history, Australian visual art, and environmental aspects of human interactions with the land. The postcolonial histories which inform my work are themselves re-evaluations of earlier histories. This recent history has revealed, amid the images of European ‘settlement’ and ‘progress’, views of frontier violence and Aboriginal resistance to colonisation that were excluded from earlier histories. The fan-like shape of the Darling River, which for millennia has bought water to this dry land, is the motif that focuses my investigation. I discuss the relatively recent degradation of the river, which is the focus of contemporary conflicts between graziers, Aboriginal people, environmentalists and irrigators. Because large-scale irrigation now has the capacity to divert the flows of entire rivers for the irrigation of cash crops, the insecurities of earlier generations over the ‘unpredictable’ floods and their perception of lack of control over water - has been entirely reversed. ‘Control’ of water is now held by irrigators and the river down stream from the pumps is kept at a constant low, becoming a chain of stagnant waterholes during summer. Like many rivers in industrialised countries, the Darling no longer flows to its ocean. The physical characteristics of rangeland grazing are an important background to my paper. Although the introduction of sheep and cattle has altered and degraded this landscape, unlike ploughed country to the east this land retains much of its native vegetation and an Aboriginal history embedded across its surface. This paper is an investigation of the changing representations of the Australian landscape, and central to my paper (and a result of growing up in this area) is my recognition, at an early age, of cultural difference in the context of this landscape. I became aware of contradictions in how Aboriginal people were treated by the ‘white’ community and I glimpsed the distinct cultural viewpoints held by Aboriginal people. A connection to country continues to be expressed in art produced by Aboriginal people in the Wilcannia area, including work by Badger Bates and Waddy Harris. The Wilcannia Mob, a schoolboy rap-group received national press coverage, winning a Deadly Award in 2002 for their acclaimed song ‘Down River’. While a discussion of these artworks is not part of the discussion of my paper, it is a context for my research. In broad terms this paper is an investigation of different worldviews, different views of land and landscape by graziers, Aboriginal people, environmentalists and irrigators. These views carry with them different cultural understandings and different representations of the land - different and sometimes opposing views of its past and its future. It seems in 2005 that, just as artists, historians, filmmakers, etc. are beginning to come to terms with Australian colonial history, as the El Nino seasons and the importance of ‘environmental flows’ in the Murray Darling Basin are increasingly understood, that technological changes and the global effects of population densities are creating other changes (greenhouse gasses, ozone depletion, climate changes) that once again appear to be unpredictable and beyond our control. While this environmental discussion is outside the scope of the current paper it is a context for my investigation of this landscape.
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Gray, Sarah Willard. "Abstracting from the landscape a sense of place /." Access electronically, 2008. http://ro.uow.edu.au/theses/147.

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Books on the topic "Art Gallery of New South Wales"

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Edmund, Capon, and James Bruce, eds. Art Gallery of New South Wales handbook. New South Wales, Australia: Art Gallery of New South Wales, 1999.

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Barry, Pearce, and Campbell Helen, eds. Australian art in the Art Gallery of New South Wales. [Sydney, N.S.W.]: The Art Gallery, 2000.

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Williams, John Frank. John Williams photographs: Art Gallery of New South Wales. Sydney, N.S.W: The Gallery, 1989.

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Anthony, Bond, and Tunnicliffe Wayne, eds. Contemporary: Art Gallery of New South Wales contemporary collection. Sydney, Australia: Art Gallery of New South Wales, 2006.

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Art Gallery of New South Wales, ed. Art Gallery of New South Wales: Highlights from the collection. Sydney: Art Gallery of New South Wales, 2008.

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Art Gallery of New South Wales. Art Gallery of New South Wales catalogue of British paintings. [Sydney]: AGNSW, 1987.

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Art Gallery of New South Wales, ed. John Kaldor family collection: Art Gallery of New South Wales. Sydney: Art Gallery of New South Wales, 2011.

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Art Gallery of New South Wales. Australian Art Dept. Short entry catalogue of paintings, watercolours, sculpture, and miniatures, Australian Art Department, Art Gallery of New South Wales. Sydney: Trustees of the Art Gallery of New South Wales, 1989.

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Laib, Wolfgang. Wolfgang Laib: Art Gallery of New South Wales, 6 August--10 October 2005. Sydney, Australia: Art Gallery of NSW, 2005.

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Bond, Anthony. The idea of art: Building a contemporary international art collection. Sydney, NSW, Australia: NewSouth Publishing, 2015.

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Book chapters on the topic "Art Gallery of New South Wales"

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Russ, Vanessa. "The Early History of the Art Gallery of New South Wales." In A History of Aboriginal Art in the Art Gallery of New South Wales, 35–73. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-2.

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Ajioka, Chiaki. "Representation of Japanese Art at the Art Gallery of New South Wales (Sydney, Australia)." In Educating in the Arts, 103–20. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6387-9_7.

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Russ, Vanessa. "Australian Aboriginal Art Inside/Out." In A History of Aboriginal Art in the Art Gallery of New South Wales, 146–76. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-5.

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Russ, Vanessa. "Modernism and an Australian Aboriginal Art Collection." In A History of Aboriginal Art in the Art Gallery of New South Wales, 74–110. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-3.

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Russ, Vanessa. "Curatorship in the AGNSW and Australian Aboriginal Art." In A History of Aboriginal Art in the Art Gallery of New South Wales, 111–45. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-4.

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Russ, Vanessa. "Introduction." In A History of Aboriginal Art in the Art Gallery of New South Wales, 1–10. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-101.

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Russ, Vanessa. "‘Ghost Habitats’." In A History of Aboriginal Art in the Art Gallery of New South Wales, 11–34. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-1.

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Russ, Vanessa. "Conclusion." In A History of Aboriginal Art in the Art Gallery of New South Wales, 177–80. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-6.

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Paitz, Kendra, Judith Briggs, Kara Lomasney, and Adrielle Schneider. "Juan Angel Chávez's Winded Rainbow." In Advances in Media, Entertainment, and the Arts, 224–43. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1665-1.ch013.

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This chapter outlines the manner in which the work of Chicago-based artist Juan Angel Chávez was exhibited at a university art gallery and served as the platform for an educational outreach program that investigated issues of immigration, place, language, materiality, and environmental sustainability within a global culture. Working closely with both an Associate Professor of Art Education and the gallery's Senior Curator, two graduate teacher candidates in Art Education generated student-initiated learning experiences based on a model of curriculum creation developed and taught by visual arts educators in New South Wales (NSW), Australia. The curator and graduate students implemented a local arts grant that enabled groups from secondary schools and a homeschool program to tour the gallery's exhibition of Chávez's work, participate in workshops in their classrooms, and exhibit their own artwork at the gallery.
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Taçon, Paul S. C., Wayne Brennan, Graham King, Dave Pross, and Matthew Kelleher. "The contemporary cultural significance of Gallery Rock, a petroglyph complex recently found in Wollemi National Park, New South Wales, Australia." In Aesthetics, Applications, Artistry and Anarchy: Essays in Prehistoric and Contemporary Art, 71–85. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvndv846.10.

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Conference papers on the topic "Art Gallery of New South Wales"

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Tobin, Genevieve Mary. "The silver lining: preliminary research into gold-coloured varnishes for loss compensation in two 19th C silver gilded frames." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13498.

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Golden varnishes appear on frames, furniture, wall hangings, leatherwork, panel paintings, mural paintings, and polychromy, and were applied to white metal gilding to imitate gold and other semi-precious materials. Despite the number of examples in cultural heritage there are few publications that discuss the ethical considerations of treating coloured silver gilded surfaces. The chromatic reintegration of gold-coloured varnishes on white metal gilding present specific material and technical challenges. In 2021 the Art Gallery of New South Wales (AGNSW) treated two identical late 19th century silver gilded frames for portraits by Joseph Backler from the Australian collection. In addition, a third portrait required the fabrication of a reproduction frame identical to the others. Conservation of the frames presented an opportunity for carrying out experiments into coloured coatings for loss compensation on silver gilding exploring applications for select conservation paints, dyes, and synthetic resins as substitutes for shellac. The results of experiments demonstrate that with the right application Liquitex Soluvar Gloss Varnish, Laropal A81 and Paraloid B72, present gloss levels and visual film forming properties comparable to shellac coatings when applied to burnished gilding. Additional tests with various dye colours illustrate that Orasol ® dye mixtures in colours Yellow 2GLN, Yellow 2RL, and Brown 2GL are reliable colour imitations for traditional gold-coloured varnishes. Although this research is preliminary, it may inform the selection and application of appropriate retouching materials for compensating losses to burnished silver leaf and golden varnishes in gilding conservation.
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Corkhill, Anna, and Amit Srivastava. "Alan Gilbert and Sarah Lo in Reform Era China and Hong Kong: A NSW Architect in Asia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4015pq8jc.

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This paper is based on archival research done for a larger project looking at the impact of emergent transnational networks in Asia on the work of New South Wales architects. During the period of the Cultural Revolution in China (1966-1976), the neighbouring territories of Macau and Hong Kong served as centres of resistance, where an expatriate population interested in traditional Asian arts and culture would find growing support and patronage amongst the elite intellectual class. This brought influential international actors in the fields of journalism, filmmaking, art and architecture to the region, including a number of Australian architects. This paper traces the history of one such Australian émigré, Alan Gilbert, who arrived in Macau in 1963 just before the Cultural Revolution and continued to work as a professional filmmaker and photojournalist documenting the revolution. In 1967 he joined the influential design practice of Dale and Patricia Keller (DKA) in Hong Kong, where he met his future wife Sarah Lo. By the mid 1970s both Alan Gilbert and Sarah Lo had left to start their own design practice under Alan Gilbert and Associates (AGA) and Innerspace Design. The paper particularly explores their engagement with ‘reform-era’ China in the late 1970s and early 1980s when they secured one of the first and largest commissions awarded to a foreign design firm by the Chinese government to redesign a series of nine state- run hotels, two of which, the Minzu and Xiyuan Hotels in Beijing, are discussed here.
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