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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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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2

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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3

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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4

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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7

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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8

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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9

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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11

Sherring, Asti, and Rebecca Barnott-Clement. "Art Gallery of New South Wales Time-based Art Tool Kit: practical resources for the documentation and preservation of time-based artworks." AICCM Bulletin 42, no. 1 (January 2, 2021): 68–79. http://dx.doi.org/10.1080/10344233.2021.1993631.

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12

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.

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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.

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Rey, Una. "Brook Andrew, 22nd Biennale of Sydney: NIRIN, Art Gallery of New South Wales, Artspace, Campbelltown Arts Centre, Cockatoo Island, Museum of Contemporary Art, National Art School (Reopened at Carriageworks), 2020, 14 March–6 September 2020." Australian and New Zealand Journal of Art 20, no. 2 (July 2, 2020): 288–92. http://dx.doi.org/10.1080/14434318.2020.1837381.

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14

Dredge, Paula, Richard Wuhrer, and Matthew R. Phillips. "Monet's Painting under the Microscope." Microscopy and Microanalysis 9, no. 2 (March 14, 2003): 139–43. http://dx.doi.org/10.1017/s1431927603030198.

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An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 (collection of the Art Gallery of New South Wales), was examined to determine both the identity of the pigments used by the artist in this painting and his technique of mixing colors and laying paint on the canvas. The extremely complex construction of the painting was revealed by optical microscopy, scanning electron microscopy (SEM), energy dispersive X-ray analysis (EDS), and X-ray mapping (XRM) analysis of cross sections of paint flakes excised from damaged regions of Port-Goulphar, Belle-Ile. Nine different pigments were found on the painting. Many of the identified colors were modern pigments that became available only late in the 19th century as a result of scientific advances in pigment chemistry. Although similar colors were available in a natural mineral form, they lacked the vivid color of their manufactured counterparts. The use of these new synthetic metallic oxide colors by Monet accounts for the brilliance of his paintings. In addition, a separation between successive paint layers was observed in some areas of paint chip cross sections, indicating that oil-based paint was applied to paint that had dried, and consequently, Port-Goulphar, Belle-Ile was painted over a long period of time. This observation is contrary to the general perception of Monet's technique of painting freely and quickly.

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15

Fox, Paul. "The Photograph and Australia, Judy Annear. Art Gallery of New South Wales, Sydney, 2015. 308 pages, with 193 plates. Hardcover AU$75.00, ISBN 978-1-741-74116-2." History of Photography 39, no. 4 (October 2, 2015): 428–30. http://dx.doi.org/10.1080/03087298.2015.1110392.

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16

Lindsey, Kiera. "'Remember Aesi':." Public History Review 28 (June 22, 2021): 46–71. http://dx.doi.org/10.5130/phrj.v28i0.7760.

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In this article I draw upon a definition of ‘dialogical memorial’ offered by Brad West to offer an experimental artist's brief that outlines the various ways that a contemporary monument to the colonial artist, Adelaide Eliza Scott Ironside (1831-1867), could ‘talk back’ to the nineteenth-century statues of her contemporaries, and ‘converse’ with more recent acts of history making. In contrast to the familiar figure of the individual hero, which we associate with the statuary of her age, I suggest a group monument that acknowledges the intimate intergenerational female network which shaped Aesi's life and also ‘re-presents’ – a term coined by the historian Greg Dening – several native born and convict women from the Georgian, Regency and Victorian eras who influenced her life. Instead of elevating Aesi upon a plinth, I recommend grounding this group monument on Gadigal country and planting around it many of the Australian Wildflowers she painted in ways that draw attention to the millennia-old Indigenous uses of the same plants. And finally, by situating Aesi’s monument in the Outer Domain (behind the New South Wales Art Gallery in Sydney’s Botanic Gardens and to the east of the Yurong Pennisula, near Woolloomooloo Bay), in an area where she once boldly assumed centre stage before a large male audience in a flamboyant moment of her own theatrical history-making, I argue that this memorial will have the capcity to speak for itself in ways that challenge the underepresentation of colonial women in Sydney's statuary, abd, as West suggests, do much to ‘alter the stage on which Sydney's colonial history 'is narrated and performed’. [i] Greg Dening, Performances, Melbourne University Press, Melbourne, 1992, p37.

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17

Harding, Clare, Susan Liggett, and Mark Lochrie. "Digital Engagement in a Contemporary Art Gallery: Transforming Audiences." Arts 8, no. 3 (July 11, 2019): 90. http://dx.doi.org/10.3390/arts8030090.

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This paper examines a curatorial approach to digital art that acknowledges the symbiotic relationship between the digital and other more traditional art practices. It considers some of the issues that arise when digital content is delivered within a public gallery and how specialist knowledge, audience expectations and funding impact on current practices. From the perspective of the Digital Curator at MOSTYN, a contemporary gallery and visual arts centre in Llandudno, North Wales, it outlines the practical challenges and approaches taken to define what audiences want from a public art gallery. Human-centred design processes and activity systems analysis were adopted by MOSTYN with a community of practice—the gallery visitors—to explore the challenges of integrating digital technologies effectively within their curatorial programme and keep up with the pace of change needed today. MOSTYN’s aim is to consider digital holistically within their exhibition programme and within the cannon of 21st century contemporary art practice. Digital curation is at the heart of their model of engagement that offers new and existing audience insights into the significance of digital art within contemporary art practice.

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18

Gibson, Lorraine. "Art, Culture and Ambiguity in Wilcannia, New South Wales." Australian Journal of Anthropology 19, no. 3 (December 2008): 294–313. http://dx.doi.org/10.1111/j.1835-9310.2008.tb00355.x.

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19

Neethling, Lynnda. "The Johannesburg Art Gallery Library: Looking to the Future." Art Libraries Journal 20, no. 4 (1995): 16–18. http://dx.doi.org/10.1017/s0307472200009573.

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The Johannesburg Art Gallery opened in 1915. A collection of books intended for the Gallery, but housed elsewhere pending the completion of the building, became the separate Michaelis Art Library; the Gallery gradually formed its own library, for the use of the curators. In 1986 the Gallery Library was accommodated in a new wing. Selection for the Library has reflected the Gallery’s diverse collecting activities. Latterly, the Library has worked closely with the Gallery’s education department, and as a result its resources have been made available to the wider community. In 1994 the Library was given a major art slide collection by the Rand Afrikaans University; in the same year, it received funding for the computerisation of its catalogue, which will be accessible through SABINET. Work is in progress on an index of South African art.

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20

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.

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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

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Andersen, Josephine, and Nozuko Mjoli. "Beyond the walls: taking the art library to the community." Art Libraries Journal 20, no. 4 (1995): 22–24. http://dx.doi.org/10.1017/s0307472200009597.

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The South African National Gallery (SANG) Library has been making its resources available to school teachers since 1992. Now a new outreach project, which has been in a planning stage for some months, has been started with the loan of material to libraries situated at some distance from the centre of Cape Town.

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22

Boot, Philip. "Pecked ‘Cup and ring marks’ from the new south wales south coast – art or implements?" Australian Archaeology 48, no. 1 (January 1999): 45–46. http://dx.doi.org/10.1080/03122417.1999.11681617.

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23

L. Oliver, Damon, Andrew J. Ley, Hugh A. Ford, and Beth Williams. "Habitat of the Regent Honeyeater Xanthomyza phrygia and the value of the Bundarra-Barraba region for the conservation of avifauna." Pacific Conservation Biology 5, no. 3 (1999): 224. http://dx.doi.org/10.1071/pc990224.

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Five types of woodland and forest in the Bundarra-Barraba region of northern New South Wales were surveyed for Regent Honeyeaters Xanthomyza phrygia and other birds over two years. Regent Honeyeaters were found in 24 of the 93 transects, at a density of 0.09 birds/ha. Most were found in box-ironbark woodland (34% of 62 sites), with single records from box-gum woodland, box-stringybark woodland and dry plateau complex woodland. No Regent Honeyeaters were found in riparian gallery forest during censuses, but they were found breeding there at other times. All habitats contained a high density of birds, compared to other wooded regions in southern Australia, with riparian gallery forest and box-ironbark woodland being particularly rich in species and numbers. These habitats had greater flowering indices, larger trees and more mistletoes than other habitats. Sites used by Regent Honeyeaters supported significantly more birds and bird species than unoccupied sites. The region supports a total of 193 species, four of which are nationally threatened and seven which are threatened in New South Wales. The richness of the bird community in the region is partly because it retains a higher proportion of native vegetation cover (43%) than many other parts of rural Australia. Protection and rehabilitation of box-ironbark woodland and riparian gallery forest is of high priority in a regional conservation plan. However, all habitats in the Bundarra-Barraba region should be protected from clearing and degradation, because they are also used at times by Regent Honeyeaters and support a wide range of bird species. Wise management should retain many sensitive bird species that have disappeared from or declined in other regions of southeastern Australia.

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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.

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Fincher, Pip, John McLoughlin, Morgan Lee, and Gifty Andoh Appiah. "Identity, Creativity and Performance Spaces in Wales and Southwest England." Intersectional Perspectives: Identity, Culture, and Society, no. 3 (July 12, 2024): 80–105. http://dx.doi.org/10.18573/ipics.132.

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Globally, performative spaces and venues of artistic creativity are governed by sets of conventions which impact the creative process. In this article, we discuss the experiences of four different creatives, operating in four different creative spaces. A poet and football player, a theatre producer and script writer, a gallery curator, and a ballet dancer have all shared their experiences of how traditionally white and heteronormative discourses regulate their respective creative spaces, the ways they conform to or transgress these norms, and the ways their interactions with their chosen creative spaces affect their creativity. These creatives have identities which are somehow ‘marked’, somehow ‘different’ from the ‘norms’ Wales and South-West England. Whether members of the LGBTQ+ community, migrants to Wales from European and Caribbean countries, or being a different race to many around them, the creatives all have complicated interactions with the norms of their creative spaces within Wales and South-West England. These creative’s identities often clash with an entrenched lack of diversity and the broader expectations of British society. Despite, or perhaps, because of, these conflicts and tensions, each of the creatives discussed here found immense joy in the relationship between their identity/ies and their creative spaces and discovered how their own identity/ies are a central driving force for their creativity. Regardless of the differences of their mediums, each creative interviewed sought to centre their identity, to help them create art which can challenge dominant white and heteronormative discourses in wider British society.

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Peers, Chris. "A Homo-sexual ideology in the history of New South Wales art education." Pedagogy, Culture & Society 10, no. 1 (March 2002): 5–20. http://dx.doi.org/10.1080/14681360200200133.

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Ball, Di. "Postcards from the edge (of the Arabian Sea). Tales from the ballPark: this liminal life." Journal of Public Space 3, no. 1 (April 30, 2018): 109–18. http://dx.doi.org/10.5204/jps.v3i1.322.

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Art brought me to this place, but art and so much more sees my returning and living here 6 months of every year. For 6 years. This PLACE is Fort Cochin in the state of Kerala in South India. The Art that brought me here was my participation in an exhibition enitled Re-Picturing the Feminine: New Hybrid Realities in the Artworld – A Survey of Indian and Australian Contemporary Female Artists at OED Gallery Fort Cochin, running concurrently with the first contemporary art Biennale in India: the Kochi-Muziris Biennale 2012. I had decided to spend 6 weeks in Fort Cochin in order to make new work informed by the place, but I had never been to India so I went on a tour in North India beforehand. I spent 23 days travelling from Mumbai to New Delhi via Mt Abu, Udapair, Jodhpur, Jaipur, Jailsalmer, Agra, Orchha and Varanasi and arrived in the south exhausted and not a fan. I can’t eat spicy food, I don’t like crowds, and the rubbish everywhere was horrible. I may have exclaimed; “I am such a Paris girl!!”. Yet here I am, 6 years later, living a liminal life; on the edge of the Arabian Sea, between East and West, between 2 cultures, navigating my way.

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SIRENKO, BORIS. "A small collection of rare and new chitons (Mollusca: Polyplacophora) from the Tasmanian Museum and Art Gallery." Zootaxa 5325, no. 3 (August 9, 2023): 359–92. http://dx.doi.org/10.11646/zootaxa.5325.3.3.

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A collection of rare, mainly deep-sea species of chitons collected from South Australia, Tasmania and Heard Island has been processed. In the materials there was a second find of Belknapchiton opiparus, which made it possible to significantly supplement the previous descriptions of this species. For the first time, species of genus Stenosemus have been found for Australia and Macquarie Island. Two new species (Leptochiton australis n. sp. and Belknapchiton gowlettholmesae n. sp.) have been described. A high degree of endemism of the faunas of chitons of the family Leptochitonidae of Australia and New Zealand has been confirmed.

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29

Hamilton, Donald G. "Australian doctors and the visual arts Part 2. Doctors as collectors, donors, gallery supporters and writers in New South Wales." Medical Journal of Australia 144, no. 9 (April 1986): 487–88. http://dx.doi.org/10.5694/j.1326-5377.1986.tb101059.x.

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30

Roux, Géraldine Le. "We Don’t Do Dots. Aboriginal Art and Culture in Wilcannia, New South Wales de Lorraine Gibson." Journal de la société des océanistes, no. 136-137 (October 15, 2013): 257–59. http://dx.doi.org/10.4000/jso.6869.

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31

Azize, Joseph. "The Prerogative of Mercy in NSW (2007) Vol 1 Art 6." Public Space: The Journal of Law and Social Justice 1, no. 1 (July 30, 2007): 1. http://dx.doi.org/10.5130/psjlsj.v1i1.539.

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The prerogative of mercy, as it applies in New South Wales, is considered in its historical context. It emerges that in 1987 the prerogative was supplemented and, to an extent, displaced by the establishment of what might be better termed ‘an extraordinary avenue of appeal’ now to be found in Part 7 Crimes (Appeal and Review) Act 2001 (NSW). It is argued that there are occasions when the prerogative power should be exercised to the full. Some proposals are made for reform of Part 7 of the Act.

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32

Nash, Daphne. "Contingent, Contested and Changing: De-Constructing Indigenous Knowledge in a Science Curriculum Resource from the South Coast of New South Wales." Australian Journal of Indigenous Education 38, S1 (2009): 25–33. http://dx.doi.org/10.1375/s132601110000079x.

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AbstractThe nature and status of Indigenous knowledge is often debated, but the idea that Indigenous people's knowledge is local knowledge seems widely accepted: knowledge is place-based and may reference a range of places, from traditional land to other places known from social and cultural connections. Through collaboration with Koori people from the south coast of New South Wales to develop a web-based science resource, other distinctive characteristics of their knowledge emerged. This paper explores some transformations in contemporary Indigenous knowledge, while acknowledging the history of colonisation in south eastern Australia. A focus on two examples of Koori art demonstrates that Indigenous knowledge is contingent, contested and changing in culturally denned ways. These aspects are often overlooked in educational practice that essentialises Indigeneity and Indigenous people's knowledge.

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Graham, Linda J., and Markku Jahnukainen. "Wherefore art thou, inclusion? Analysing the development of inclusive education in New South Wales, Alberta and Finland." Journal of Education Policy 26, no. 2 (March 2011): 263–88. http://dx.doi.org/10.1080/02680939.2010.493230.

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Le Couteur, Michael. "The art of saying thank you: A case study on the bushfires in New South Wales, Australia." International Journal of Nonprofit and Voluntary Sector Marketing 1, no. 2 (April 1996): 160–69. http://dx.doi.org/10.1002/nvsm.6090010210.

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Taylor, Dr Mike. "Lost & Found: 154. John Francis Campbell (1821-1885)." Geological Curator 4, no. 4 (October 1985): 222. http://dx.doi.org/10.55468/gc783.

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Dr Mike Taylor (Area Museum Council for the South West, c/o City of Bristol Museum and Art Gallery) has drawn attention to an article by Frank Thompson in The Weekend Scotsman (a Saturday supplement to The Scotsman), 16 February 1985, p.l, on Campbell. John Francis Campbell was born in Edinburgh in December 1821, and brought up on Islay. He was educated privately and then at Eton before entering the University of Edinburgh. There, to quote The Weekend Scotsman, *his intentions to study law were sidetracked by his intense interest in natural science. He studied geology and, in particular, the new science of photography. He was to develop those interests to the extent that in later life...

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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.

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[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)

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Kim, Su-Mi. "The Metropolitan Museum of Art’s Korean Collection: Historical Changes in Collecting, Exhibition, and Management." Korea Association of World History and Culture 64 (September 30, 2022): 305–28. http://dx.doi.org/10.32961/jwhc.2022.09.64.305.

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This article aims to investigate the trajectory of the Korean collection in the Metropolitan Museum of Art (Met) in New York, which is distinguished as a “universal” museum. The transformative characteristics of the formation, exhibition, and management of the Korean collection from its early stage to the present have a close relationship with the Met’s achievement of its mission statement and South Korean cultural institutions’ practices. Transitionally, the establishment of the Korean gallery in 1998 and the presence of a diverse range of its collections in further exhibitions were the major components of the completion of the museum’s global universality from the Met’s perspective. The achievement of the Met’s mission reflects a remarkable shift that can open up the development of Korean collection in universal space. As a part of world culture and history, the study alludes to a suggestive way to expand the investigation of Korean art and culture in world cultural history.(Hankuk University of Foreign Studies)

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Moran, Leslie J. "Judging pictures: a case study of portraits of the Chief Justices, Supreme Court of New South Wales." International Journal of Law in Context 5, no. 3 (September 2009): 295–314. http://dx.doi.org/10.1017/s1744552309990139.

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This essay is about portraits: judicial portraits. It offers a case study of the interface between law and visual culture. Its object of enquiry is a collection of pictures (painted and photographic), depicting the sixteen Chief Justices of the Supreme Court of New South Wales, Australia, from 1824 to the present day. The original paintings hang in the Banco Court, Sydney. The photographs and digital copies of all the images are on the Court’s website. Beginning with a brief review of socio-legal scholarship on the judiciary, the essay explores existing work on the visual image of the judge. In response to the limitations of that research, the paper turns to art historical scholarship to facilitate an analysis of the aesthetic and technological factors (the continuities and changes) that shape and generate the meaning of these judicial images. It explores the relevance of context upon meaning. The paper demonstrates a number of methodological approaches and reflects upon the contribution that a study of judicial pictures may make to socio-legal scholarship.

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Edwards, Jason. "‘Public Sculpture of Britain National Recording Project’, Public Monuments and Sculpture Association, 1997–Body Doubles: Sculpture in Britain 1877–1905by David J. GetsyRodin: the Zola of Sculptureedited by Claudine MitchellBertram Mackennaledited by Deborah EdwardsMapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951by University of Glasgow and Henry Moore Institute ‘Bertram Mackennal’ by Art Gallery of New South Wales, Sydney, August 17–November 4, 2007 ‘The Return of the Gods: Neoclassical Sculpture in Britain’, Tate Britain, January 28–June 8, 2008." Visual Culture in Britain 10, no. 2 (August 24, 2009): 201–7. http://dx.doi.org/10.1080/14714780902925150.

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Johnson, Virgil C. "BOOK REVIEW: Anita Callaway.VISUAL EPHEMERA: THEATRICAL ART IN NINETEENTH CENTURY AUSTRALIA. Sydney: University of New South Wales Press, 2000." Victorian Studies 44, no. 4 (July 2002): 704–6. http://dx.doi.org/10.2979/vic.2002.44.4.704.

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Marchetti, Elena, and Debbie Bargallie. "Life as an Australian Aboriginal and Torres Strait Islander Male Prisoner: Poems of Grief, Trauma, Hope, and Resistance." Canadian Journal of Law and Society / Revue Canadienne Droit et Société 35, no. 3 (December 2020): 499–519. http://dx.doi.org/10.1017/cls.2020.25.

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AbstractFor Australia’s Aboriginal and Torres Strait Islander people, writing is predominantly about articulating their cultural belonging and identity. Published creative writing, which is a relatively new art form among Aboriginal and Torres Strait Islander prisoners, has not been used as an outlet to the same extent as other forms of art. This is, however, changing as more Aboriginal and Torres Strait Islander rappers and story-writers emerge, and as creative writing is used as a way to express Aboriginal and Torres Strait Islander empowerment and resistance against discriminatory and oppressive government policies. This article explores the use of poetry and stories written by Aboriginal and Torres Strait Islander male prisoners in a correctional facility located in southern New South Wales, Australia, to understand how justice is perceived by people who are (and have been) surrounded by hardships, discrimination, racism, and grief over the loss of their culture, families, and freedom.

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Devine, Kit. "Artistic License in Heritage Visualization: VR Sydney Cove circa 1800: SIGGRAPH Asia 2019 Featured Paper." Leonardo 53, no. 4 (July 2020): 415–18. http://dx.doi.org/10.1162/leon_a_01928.

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Heritage visualizations are works of the cultural imaginary and this paper examines the artwork Artistic License: VR Sydney Cove circa 1800, which foregrounds the interpretive nature of heritage visualization. It is a reimagining in VR of A View of Sydney Cove, New South Wales, 1804, a contemporaneous print of Sydney Cove. Existing in the liminal space between accuracy and authenticity it is both art object and heritage visualization. The dual nature of this work supports engagement with wider audiences, fostering and broadening debate at individual, institutional, academic and societal levels about the nature and role of heritage.

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Lampert, Ronald J., and D. H. Steele. "Archaeological studies at Bomaderry Creek, New South Wales. In F.D. McCarthy, Commemorative Papers (Archaeology, Anthropology, Rock Art), ed. Jim Specht." Records of the Australian Museum, Supplement 17 (May 27, 1993): 55–75. http://dx.doi.org/10.3853/j.0812-7387.17.1993.59.

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Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 2 (2017): 61–64. http://dx.doi.org/10.1525/fq.2017.71.2.61.

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Two Meetings and a Funeral is an 85-minute historical opus by the artist Naeem Mohaiemen about the rise and fall of the 1970s Third World resistance movements that once threatened the emergent Western neoliberal order. By juxtaposing archival footage with a contemporary walking tour through Algiers, Dhaka, and New York, Mohaiemen asks of the failed socialist movements in the global South: “What went wrong?” In the context of this writer's cinephilia, what drew me to watch and rewatch Naeem Mohaiemen's latest film was not only its timely subject matter but also its wondrous big-screen delivery. Mohaiemen savors the possibilities of an expansive three-screen presentation in high definition with 5.1-surround sound. Which prompts other fundamental questions: What exactly constitutes gallery art and what belongs in a cinema? Where does this expansive, gripping, and elegant piece of filmmaking truly belong?

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Rosen, Alan. "Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia." Epidemiologia e Psichiatria Sociale 16, no. 2 (June 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.

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SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Results - Earlier practices with regardto the artworks of captive patients of psychiatrists, psychotherapists, art therapists, occupational and diversional therapists, often emphasised diagnostic or interpretive purposes, or were used to gauge progress or exemplify particular syndromes. As artists and art historians began to take an interest in such artworks, they emphasised their expressive, communicative and aesthetic aspects, sometimes in relation to primitive art. These efforts to ascribe value to these works, while well-meaning, were sometimes patronising and vulnerable to perversion by totalitarian regimes, which portrayed them as degenerate art, often alongside the works of mainstream modernist artists. This has culminated in revelations that the most prominent European collection of psychiatric art still contains, and appears to have only started to acknowledge since these revelations, unattributed works by hospital patients who were exterminated in the so-called “euthanasia” program in the Nazi era. Conclusions - Terms like Psychiatric Art, Art Therapy, Art Brut and Outsider Art may be vulnerable to abuse and are a poor fit with the aspirations of artists living with severe mental illnesses, who are increasingly exercising their rights to live and work freely, without being captive, or having others controlling their lives, or mediating and interpreting their works. They sometimes do not mind living voluntarily marginal lives as artists, but they prefer to live as citizens, without being involuntarily marginalised by stigma. They also prefer to live with culturally valued roles which are recognised as legitimate in the community, where they are also more likely to heal and recover.Declaration of Interest: This paper was completed during a Visiting Fellowship, Department of Social Medicine, School of Public Health, & Department of Medical Anthropology, Faculty of Arts & Sciences, Harvard University, Cambridge, Mass, USA. A condensed version of this paper is published in “For Matthew & Others: Journeys with Schizophrenia”, Dysart, D, Fenner, F, Loxley, A, eds. Sydney, University of New South Wales Press in conjunction with Campbelltown Arts Centre & Joan Sutherland Performing Arts Centre, Penrith, 2006, to accompany with a large exhibition of the same name, with symposia & performances, atseveral public art galleries in Sydney & Melbourne, Australia. The author is also a printmaker, partly trained at Ruskin School, Oxford, Central St. Martin's School, London, and College of Fine Arts, University of New South Wales, Sydney.

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Dragovich, Deirdre, and Farshad Amiraslani. "Conservation and Co-Management of Rock Art in National Parks: An Australian Case Study." Heritage 6, no. 10 (October 23, 2023): 6901–16. http://dx.doi.org/10.3390/heritage6100360.

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Using rock art conservation as a focus, this paper outlines the levels of legislated protection afforded to designated natural and cultural areas/sites in Australia and describes the co-management approach adopted in 1998 in relation to Mutawintji National Park in western New South Wales. The park encompasses four different protection categories: a Historic Site, a Nature Reserve, a National Park, and a State Conservation Area. Known for more than a century, the Historic Site is a major area of rock art containing Aboriginal engravings, paintings and stencils. Management of the Historic Site is a key concern, given the tourist interest and associated potential for accelerated deterioration of cultural heritage. The Mutawintji Plan of Management pointed to the importance of Mutawintji for Aboriginal people to connect with the country, and the co-management model encouraged tourism development as a means of providing employment opportunities as Aboriginal guides. No special legislative requirements in relation to rock art conservation, beyond those already in existence, were applied to the co-management system. Using field knowledge involving rock art research and early guide training programs at Mutawintji and literature sources, this paper suggests possible future approaches to rock art conservation in the Mutawintji Lands.

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Szabó, Tekla. "The Gothic style frescoes beneath the western gallery of the Church of Sântămărie-Orlea." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 4 (2013): 107–26. http://dx.doi.org/10.47950/caieteara.2013.4.08.

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The present study is intended to provide a fresh analysis of the Gothic murals in the currently Protestant church of Sântămărie-Orlea. Th e church and especially its precious frescoes have raised the interest of many scholars, both Hungarian and Romanian, but the poor state of conservation of the paintings allowed room for many different interpretations. A new reading of these frescoes is proposed here, based on a series of historic copies, until recently unknown, which provide the grounds to clear up some misinterpretations. Nevertheless, a certain degree of incertitude will remain for as long as these valuable paintings, dated around 1400, are not restored. The wall paintings are placed inside semi-circular frames formed beneath the vaults supporting the western gallery. Generally we can say that they represent saints important to the royal court. South of the entrance there is St. Elizabeth of Hungary, the first woman canonized from the Árpád Dynasty, who offered a new model of piety. North to the entrance there is a hardly interpretable mural with standing saints. The middle figure is supposedly representing one of the Three Holy Hungarian Kings. The scene placed on the northern wall, with the inscription OBIT PAUPER PAULUS, seems to be an original composition most probably connected with the Pauline order, very close to the royal court, whose important achievement was the transportation of the corpse of St. Paul of Thebes (the order’s protector) in 1381 to the monastery from the Buda hills. Th e determination of the style and of the time when this mural was painted is hampered by the actual state of conservation of the frescoes. There is no doubt that the mural is part of the International Gothic style fresco circle, with elements from Italian Trecento, dated around 1400. The restoration of the murals will surely bring out new information and even show completely new valences of the Transylvanian Art.

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Schwarz, Carolyn. "We Don't Do Dots: Aboriginal Art and Culture in Wilcannia, New South Wales. LorraineGibson. Canon Pyon: Sean Kingston Publishing, 2013. 294 pp." Museum Anthropology 40, no. 2 (September 2017): 177–78. http://dx.doi.org/10.1111/muan.12155.

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Qader, Abdul, and Jai Kant Pandit. "Natural gas separation at CO2CRC's Otway National Research Facility." APPEA Journal 59, no. 2 (2019): 803. http://dx.doi.org/10.1071/aj18178.

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CO2CRC, in collaboration with the University of Melbourne and the University of New South Wales, is testing two novel CO2 capture technologies designed for both on-shore and off-shore natural gas applications in a state-of-the-art experimental capture rig at CO2CRC’s Otway National Research Facility. The goal is to develop robust and compact technology for high pressure natural gas separation over a range of adjusted high CO2 concentrations mimicking various gas field conditions. These technologies would facilitate developing new gas fields to recover methane in a cost-effective manner which is currently uneconomical with conventional technologies. In the first stage of testing, commercially available materials (adsorbents and membranes) were used for benchmarking. Results from both adsorbent and membrane technologies are encouraging with respect to recovery and purity of CO2 and methane with the prospect of commercial application.

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Davis, Jim, and Victor Emeljanow. "‘Wistful Remembrancer’: the Historiographical Problem of Macqueen-Popery." New Theatre Quarterly 17, no. 4 (November 2001): 299–309. http://dx.doi.org/10.1017/s0266464x00014937.

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The theatre shelves of secondhand bookshops testify to the sometime popularity and prolific output of the theatre publicist and would-be historian Walter Macqueen-Pope. Yet even by the time Macqueen-Pope was publishing his later volumes in the 1950s, the rise of academic theatre scholarship was questioning such anecdotally based and unverified accounts of the theatre and its past. Today, we can look at Macqueen-Pope, and at the period immediately before the First World War which was so often the focus of his attention, not so much for evidence of flawed scholarship as for his revealing attitude towards his subject and its social context. For anecdotage and nostalgia have inevitably to be taken into account in any historical approach to so ephemeral an art as the theatre, and, as the authors here conclude, while Macqueen-Pope may not tell us the whole truth about his many subjects, such a ‘wistful remembrancer’ remains significant to any investigation of a theatrical past ‘that must always be a melting pot of imperfect recognitions and unattainable desires’. Jim Davis is Associate Professor of Theatre and Head of the School of Theatre, Film and Dance at the University of New South Wales. victor Emelijanow is Professor of Drama and Head of the Department of Drama at the University of Newcastle, New South Wales. Both have written extensively on nineteenth-century British theatre and are the joint authors of Reflecting the Audience: London Theatregoing 1840–1880, which has just been published by the University of lowa Press.

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