Relevant bibliographies by topics / Art patronage Australia History

Academic literature on the topic 'Art patronage Australia History'

Author: Grafiati
Published: 10 December 2022
Last updated: 30 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Art patronage Australia History.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Art patronage Australia History"

1

Anderson, Jaynie. "Rewriting the history of art patronage." Renaissance Studies 10, no. 2 (June 1996): 129–38. http://dx.doi.org/10.1111/j.1477-4658.1996.tb00352.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Anderson, Jaynie. "Rewriting the History of Art Patronage." Renaissance Studies 10, no. 2 (June 1996): 129–38. http://dx.doi.org/10.1111/1477-4658.00200.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Macknight, Lorraine. "Politics, Patronage, and Diplomacy." Historical Reflections/Réflexions Historiques 47, no. 1 (March 1, 2021): 59–87. http://dx.doi.org/10.3167/hrrh.2021.470104.

Full text
Abstract:
When a hymnbook is placed outside its more expected hymnological environment and put in a wider contextual framework, particularly a political one with significant diplomatic aspects, a better appreciation is gained of the hymnbook and the circumstances of its compilation. Critically, the complexity and progressive transparency of hymn transmission from one country to another is also revealed. This article focuses on Prussian diplomat Christian Karl Josias von Bunsen and his Gesang-und Gebetbuchs (1833). A primary source for several translators, notably Catherine Winkworth (1827–1878), the hymnbook directly affected the movement of many hymns from Germany to England, Scotland, and Australia.
APA, Harvard, Vancouver, ISO, and other styles
4

Soussloff, Catherine M., and Edward L. Goldberg. "Patterns in Late Medici Art Patronage." Art Bulletin 71, no. 4 (December 1989): 697. http://dx.doi.org/10.2307/3051277.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Cohen, Richard I. "Art Patronage and Jewish Culture: Introduction." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (January 1, 2020): 1–2. http://dx.doi.org/10.3828/aj.2020.16.2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Hein, Laura. "Modern Art Patronage and Democratic Citizenship in Japan." Journal of Asian Studies 69, no. 3 (June 22, 2010): 821–41. http://dx.doi.org/10.1017/s002191181000149x.

Full text
Abstract:
Wakimura Yoshitarō, a prominent Japanese economics professor and art collector, helped establish or sustain at least eight art museums in postwar Japan. He did so to create important institutions of democratic empowerment rather than nationalist displays of power. The crucial context was defeat in World War II, which left many Japanese, including Wakimura, committed to taming capitalism. Wakimura was particularly interested in creating new practices of art appreciation that could mediate relations between potentially antagonistic groups of Japanese, and in building museums as fresh spaces to house these newly egalitarian relationships. He emphasized the value to society created when individuals developed their aesthetic and thus political judgment. His efforts help explain the proliferation of both public and private art museums in postwar Japan as well as the nature of postwar political culture.
APA, Harvard, Vancouver, ISO, and other styles
7

ffolliott, Sheila, and Edward L. Goldberg. "After Vasari: History, Art, and Patronage in Late Medici Florence." Sixteenth Century Journal 21, no. 1 (1990): 129. http://dx.doi.org/10.2307/2541152.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Bentley, Jerry H. "Edward L. Goldberg. Patterns in Late Medici Art Patronage." American Historical Review 90, no. 2 (April 1985): 453. http://dx.doi.org/10.2307/1852760.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Long, Jane C., and Louise Bourdua. "The Franciscans and Art Patronage in Late Medieval Italy." Sixteenth Century Journal 36, no. 3 (October 1, 2005): 849. http://dx.doi.org/10.2307/20477510.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Smith, Bernard. "On Writing Art History in Australia." Thesis Eleven 82, no. 1 (August 2005): 5–15. http://dx.doi.org/10.1177/0725513605054354.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Art patronage Australia History"

1

Denholm, Michael. "Art magazines in Australia, 1963-1990 : a study of values, influence and patronage." Thesis, Canberra, ACT : The Australian National University, 1994. http://hdl.handle.net/1885/139448.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Hyde, Helen Michelle. "Early cinquecento popolare art patronage in Genoa, 1500-1528." Thesis, Birkbeck (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284407.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Williamson, Daniel. "Modern Architecture and Capitalist Patronage in Ahmedabad, India 1947-1969." Thesis, New York University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10025620.

Full text
Abstract:

This dissertation examines the architectural patronage of a small cadre of industrialists, textile millowners, who controlled the city of Ahmedabad, India economically and politically between Indian independence in 1947 and 1968, the year communal riots shattered that city's self-image. It examines the role modern architecture played for these elites in projecting Ahmedabad as a modern, cosmopolitan city, though one steeped in a unique history and culture. On the one hand, modern architecture was used to promote the city as a node in the global network of capital and industry that developed after the Second World War. As such, most of the architects selected by these industrialists came from the ranks and institutions of the global modern movement, mirroring the industrialists' attempt to place the city's industry into global networks of capital and development. On the other hand, the millowners employed modern architecture as a way to naturalize Ahmedabad's sweeping social changes, so that they appeared as an inevitable outgrowth of Ahmedabad's and India's own history. In this, the modern architecture of Ahmedabad was suffused with references both to Ahmedabad's textile industry and India's imagined and historical past.

The first chapter examines projects that represent the industrialists' earliest overtures towards the global network of modern architects and institutions. The goal of the projects, which included an unbuilt store by Frank Lloyd Wright, a store inspired by Buckminster Fuller's geodesic domes, and Achyut Kanvinde's Gropius influenced ATIRA headquarters, was to instantiate a capitalist model of modernity in Ahmedabad through the fostering of consumer markets and the rationalization of industry. The second chapter delves further into the millowners' use of modern architecture for the instantiation of capitalist values and self-representation by comparing the city's two most famous modern projects: Louis Kahn's Indian Institute of Management and Le Corbusier's Millowners' Association Building.

The third and fourth chapters turn to the cultural and domestic sphere, exploring projects that negotiated modern, Indian identity in the public and private context. Cultural institutions by architects like Le Corbusier, Charles Correa, and Balkrishna Doshi interrogated the relationship between the elite's new vision for Ahmedabad and the city's history. Meanwhile houses by many of the same architects for industrialists showed a modern domesticity that negotiated between community, the joint family and the individual by fusing modern forms to older domestic spatial organizations.

This dissertation contributes to the growing body of research focused on the role modern architecture played in shaping postcolonial Indian identity and subjectivity. While previous research has often focused on the patronage of the socialist state, the examination of the patronage of an elite group of capitalists shows how modern architecture became the locus for debates about the direction of modern Indian society. Further, the dissertation's focus on capitalist patronage places this dissertation in a larger body of research that traces the connections between capital and modern projects, though such issues have rarely been explored in the Indian context.

APA, Harvard, Vancouver, ISO, and other styles
4

Wardleworth, Dennis. "Building the modern corporation : corporate art patronage in interwar Britain." Thesis, Southampton Solent University, 2002. http://ssudl.solent.ac.uk/628/.

Full text
Abstract:
This thesis examines art and architecture commissioned by three large-scale industrial corporations in Britain in the interwar period 1919-1939. The companies studies are the Anglo-Persian Oil Company, later to become British Petroleum (BP), Imperial Chemical Industries (ICI) and Unilever. The main focus of attention is on the headquarters office buildings constructed in London and their sculptural decoration. Attention is also paid to artwork used by Unilever on the covers of its in-house magazine 'Progress' and in its advertisements. A laboratory built by ICI near Manchester is also considered. The form and meaning of the works of art are examined using evidence of the relationships between the artists and the patrons, those within the companies who commissioned the works, as it is documented in the archives of the companies. Evidence is also taken from the published histories of the companies, the response of critics as revealed in contemporary publication, and the recent history of the appropriate genres and of the individual artists. Art history is currently undertaking a reappraisal of 20th century British art rejecting the view that the significant art was either, on the one hand, that which belonged to some canon of modernist work, or, on the other, only that which remained true to some view of what was traditionally British. This thesis makes a contribution to that re-appraisal. The approach of examining the mechanisms of patronage has not been applied extensively before to this period and place. In the process much new material about individual artists has been uncovered. In addition by suing the large-scale corporation as its framework, the study has thrown light on one of the major social changes of the period, the growth of a new professional class. This new class, whose habitat was the large bureaucracy, was developing an ideology of rationality and progress by technology which was to help shape 20th century attitudes and 20th century art.
APA, Harvard, Vancouver, ISO, and other styles
5

Luxford, Julian M. "The art and architecture of English Benedictine monasteries, 1300 - 1540 : a patronage history /." Rochester, NY [u.a.] : Boydell Press, 2005. http://www.loc.gov/catdir/toc/fy0711/2006277759.html.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Friesen, Alysha Brayer. "Etiquette and the Early Roman Christian Basilica: Questions of Authority, Patronage, and Reception." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197991.

Full text
Abstract:
Art History
M.A.
The genesis of the early Roman Christian basilica occurred at a moment of historical transition as the emperor and the empire began the process of converting to the Christian religion. Typically, this era has received scholarly treatment either as the end of a time in which the emperor held supremacy or the beginning of one dominated by bishops. The exact moment of `redefinition,' however, has rarely attracted attention because of the assertive oligarchies that bookended this transitional period, the Roman emperor and the Christian pontificate. Richard Krautheimer, who focused much of his attention on the historical figure of Constantine, promoted the idea that the basilica was Constantine's way of imbuing the Christian church with imperial authority and connotations; effectively, Constantine forever changed the shape of Christian churches. This explanation of the pivotal moment of genesis has been generally accepted and the moment of transition has not received much attention from scholars since. In my thesis I will focus primarily on this moment of transition. I will explore the political climate of the government, the authoritative hierarchy of the church, and the precedents of the very first early Roman Christian basilica, at the Lateran. The method that I will employ is the theory of etiquette, operating under the assumption that in every historical period, there is a general understanding of what is `fitting' and `appropriate.' Because of the paucity of material evidence and the unreliability of surviving primary sources, it is generally impossible to make incontestable statements about who was responsible for the early Roman Christian basilica, what they intended to convey to the Roman population, and how appropriate it would have been given the social decorum of the time. Thus, conclusions of this nature are not the primary focus of this thesis. Instead I will concentrate on reconstructing who the most appropriate agent of authority is, and how suitable the early Roman Christian basilica might have seemed.
Temple University--Theses
APA, Harvard, Vancouver, ISO, and other styles
7

Sandoval, Laura. "Constructing Identity: Image-Making and Female Patronage in Early Modern Europe." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/149134.

Full text
Abstract:
Art History
M.A.
This thesis will use a case study approach with the purpose of analyzing three female patrons from the early modern period, each serving as individual models for locating forms of identity and self-fashioning through the art they respectively commissioned. As women in unique positions of power, Isabella d' Este, the Marchioness of Mantua, Bess of Hardwick, the second wealthiest woman in Elizabethan England--second only to the queen--and Marie de' Medici, Queen of France, each constructed and maintained a visual program of self-identity through art and architecture. Through an examination of the patronage of these women from different geographical and chronological moments it becomes evident the way in which powerful women were especially capable of exploiting marital and familial circumstances. Twentieth-century Renaissance scholarship has been greatly influenced by the study of individuality and by an effort to understand a uniquely Renaissance experience and manufacturing of identity. I have selected these three particular patrons, from three distinct countries and generations of the early modern period to draw out similarities in their collective experience as women in positions of power. The notion of constructing identity through patronage will be explored in an effort to locate the common factors that further illustrate the fact that in the Renaissance both the internal, subjective experience of self and the more objective experience of collective social, political and religious forces be considered to create a cohesive explanation of the Renaissance formation of identity.
Temple University--Theses
APA, Harvard, Vancouver, ISO, and other styles
8

Spraggs-Hughes, Amanda. "The Politics of Patronage| Cultural Authority and the Collections of the Earls of Pembroke at Wilton House." Thesis, Southern Illinois University at Edwardsville, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10191789.

Full text
Abstract:

This paper examines the cultural and material history of early Modern Britain as demonstrated through the art acquisitions and art and architectural commissions of the Earls of Pembroke at Wilton House in Wiltshire.

By examining the collection of the 4th Earl, it is demonstrated that the cultural authority was firmly in the hands of the monarchy. With the Civil War and subsequent execution of Charles I in 1649, the previously held power of the monarch as central artistic authority was diminished. This is demonstrated in the collection of Philip’s grandson Thomas, 8 th Earl of Pembroke. The nature of Thomas’s collection and role in the scientific enlightenment in England suggest that cultural authority has shifted away from the monarchy to science and the academy.

The examination of the primary source materials for this project is supported by the usage of Omeka, a web based archiving and presentation tool used by archives and museums field of digital humanities.

APA, Harvard, Vancouver, ISO, and other styles
9

Eluwawalage, Damayanthie. "History of costume : the consumption, governance, potency and patronage of attire in colonial Western Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/830.

Full text
Abstract:
This dissertation represents a new' departure in the study of dress in colonial Western Australia, focusing on the rationale behind individual and collective clothing practices in the new society. As a study of significant social and cultural practices, rather than an account of fashion, this research contributes to the understanding of previously disregarded elements in colonial Western Australian ethno-economic and social histories. The study investigates the internal and external influences which impacted upon colonial inhabitants' ways of dressing, their societal attitudes and social demeanour. The research compares the influences on attire and finery in colonial Western Australian society with the British/European context. This thesis examines the influences caused by world-wide dominant events, ideas and social groups, and their effect on societal and cultural attitudes in the colony. The thesis examines clothing as a symbolic indicator of status which influenced the class distinction in colonial Western Australian society. Also the function of dress as it relates to class consciousness and identification. The research focuses on the ambiguities associated with colonial clothing and the way in which social class and status were negotiated through wearing apparel in the colony. This thesis examines colonial Western Australian fashion and attire in the context of social stratification, social conditions, power relations and cultural formation, in order to comprehend sartorial consumerism and social practise in the colony. Fashion's ultimate function of signifying power and prestige, which linked with financial capability, and its impact on society and societal practise, is significant. The research examines the affiliation between colonial clothing and the economic growth of Western Australia in the context of the development of the colonial clothing economy and the influence of affluent colonists and traders who controlled the clothing behaviour in the colony. One of the primary purposes of this study is to examine the meanings encoded in colonial dress and adornment. The function of clothing and its adornment was often used for more than its utilitarian purpose. For example, the analysis of gender in clothing reflects the sociological differences and the power relations between sexes. In that context, the dissertation discusses colonial attire as an aesthetic experience, as well as a social and cultural expression of the period by examining Veblen’s Leisure Theory and Simmel’s Trickle-down Theory. Colonial characteristics such as different societal and climatic conditions as well as the way of life brought about a society dissimilar to that in Britain but symbolic to its colonialism. This research investigates the unique social and cultural qualities which applied in the colony and which resulted in a tendency towards distinctive dress codes in early Western Australia. This study explores the consumption governance, potency and patronage of attire in colonial Western Australia within the context of social, socio-economic and fashion philosophies.
APA, Harvard, Vancouver, ISO, and other styles
10

Norris, R. Mae. "Beyond the battlefield : Venice's Condottieri families and artistic patronage : the Colleoni of Bergamo, Martinengo di Padernello of Brescia and the Savorgnan del Monte of Udine (1450-1600)." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708397.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Art patronage Australia History"

1

Arguing the arts: The funding of the arts in Australia. Ringwood, Vic., Australia: Penguin Books, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Goldberg, Edward L. AfterVasari: History, art, and patronage in late Medici Florence. Princeton, N.J: Princeton University Press, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Guido, Rebecchini, ed. The art of Mantua: Power and patronage in the Renaissance. Los Angeles: J. Paul Getty Museum, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

After Vasari: History, art, and patronage in late Medici Florence. Princeton, N.J: Princeton University Press, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Banz, Claudia. Höfisches Mäzenatentum in Brüssel: Kardinal Antoine Perrenot de Granvelle (1517-1586) und die Erzherzöge Albrecht (1559-1621) und Isabella (1566-1633). Berlin: Gebr. Mann, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Graft, Carla. Kunst in nood: Haagse kunstliefhebbers en hun initiatieven voor steun aan noodlijdende beeldend kunstenaars, 1922-1940. Delft: Eburon, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Rodríguez, José Concepción. Patronazgo artístico en Canarias durante el siglo XVIII. Las Palmas de Gran Canaria: Cabildo Insular de Gran Canaria, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Graft, Carla. Kunst in nood: Haagse kunstliefhebbers en hun initiatieven voor steun aan noodlijdende beeldend kunstenaars, 1922-1940. Delft: Eburon, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Sinclair, Andrew. The need to give: The patron and the arts. London: Sinclair-Stevenson, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Tra Modena e Roma: Il mecenatismo artistico nell'età di Cesare d'Este (1598-1628). Firenze: Edifir edizioni, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Art patronage Australia History"

1

Carter, David. "Yiwarra Kuju—One Road: Storytelling and History Making in Aboriginal Art." In Transcultural Connections: Australia and China, 219–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5028-4_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bock, Nicolas. "Patronage, Standards and Transfert Culturel: Naples between Art History and Social Science Theory." In Art and Architecture in Naples, 1266-1713, 152–75. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324389.ch8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Tello, Verónica. "How to Appear? Writing Art History in Australia After 1973." In Performance, Resistance and Refugees, 138–54. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003142782-11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Veth, Peter, Sam Harper, Kane Ditchfield, Sven Ouzman, and Balanggarra Aboriginal. "The case for continuity of human occupation and rock art production in the Kimberley, Australia." In The Routledge Companion to Global Indigenous History, 194–220. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315181929-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Tanga, Martina. "Shaping and Reshaping: Private and Institutional Patronage." In Postwar Italian Art History Today. Bloomsbury Visual Arts, 2017. http://dx.doi.org/10.5040/9781501330087.ch-011.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

"Entrepreneurial Patronage in Nineteenth-Century France." In A History of the Western Art Market, 269–72. University of California Press, 2017. http://dx.doi.org/10.1525/9780520340770-079.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Dixon, Robert, and Jeanette Hoorn. "Art and literature: a cosmopolitan culture." In The Cambridge History of Australia, 487–510. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cho9781107445758.023.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Cecchini, Laura Moure. "A House No Longer Divided: Patronage, Pluralism, and Creative Freedom in Italian Pre- and Postwar Art." In Postwar Italian Art History Today. Bloomsbury Visual Arts, 2017. http://dx.doi.org/10.5040/9781501330087.ch-009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Horden, Peregrine. "Oxford and Cambridge Colleges as Patrons of Religious Art in the Eighteenth Century." In History of Universities: Volume XXXV / 1, 283–324. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192867445.003.0014.

Full text
Abstract:
Abstract The focus of this chapter is the commissioning, in 1769, by the Fellows of All Souls College, Oxford, of an altarpiece for its chapel from Anton Raphael Mengs, widely regarded in his day as the greatest living painter in Europe. How did that extraordinary act compare with the patronage of religious art, altarpieces especially, in the College earlier, from the later seventeenth century onwards? How did it compare with patronage of this type in other colleges, in both Oxford and Cambridge? And what was its wider significance? The chapter traces the commissioning of religious art across the eighteenth century, showing the extent to which All Souls set a trend for other colleges, and ending by suggesting that the commission conformed to a new attitude to the political role of the arts in the early years of George III’s reign.
APA, Harvard, Vancouver, ISO, and other styles
10

O'Donnell, Nathan. "Introduction." In Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage, 1–16. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621662.003.0001.

Full text
Abstract:
This introduction situates Lewis’s art criticism within historical, biographical, and critical contexts. In most accounts of the history of art criticism in mid-century England, Lewis barely figures. Prevailing narratives favour the work of Roger Fry, Herbert Read, and Kenneth Clarke. Yet, in retrospect, from the vantage point of twenty-first century modernist studies, Lewis’s interrogatory style, his attention to pragmatic and economic conditions surrounding the reception of the work of art, and his occasional critical assaults upon the emerging ‘modernist’ canon, justify a far more central position for Lewis in our understanding of the history of art criticism. This short introduction places Lewis’s work in relation to twenty-first century modernist studies, with its focus on the contexts, networks, and patronage structures which underpinned and generated the work canonised as modernist – a canonising project in which Lewis participated but which he also analysed and scrutinised, positioning himself, in the process, as one of the chief internal critics of the fields of visual and literary modernism.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Art patronage Australia History"

1

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
2

Shroff, Meherzad B., and Amit Srivastava. "Hotel Australia to Oberoi Adelaide: The Transnational History of an Adelaide Hotel." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3996p40wb.

Full text
Abstract:
In the decades following the war, the spread of international luxury chain hotels was instrumental in shaping the global image of modernity. It was not simply the export of modernist architecture as a style, but rather a process which brought about an overall transformation of the industry and culture surrounding modern domesticity. For Adelaide, well before the arrival of large brand hotel chains like Hilton and Hyatt, this process was initiated by the construction of its first international style hotel in 1960 – Australia Hotel. The proposed paper traces the history of this structure and its impact not only on local design and construction industries but also on domestic culture and lifestyle after the shadow period of recovery after the war. This paper looks at three specific enduring legacies of this structure that went well beyond the modernist aesthetics employed by its original designers, the local firm of Lucas, Parker and Partners. The hotel was one of the first to employ the new technology of lift-slab construction and was recognised by the Head of Architecture at the University of Adelaide, Professor Jensen, as the outstanding building of 1960. It is argued that it was the engagement with such technological and process innovations that has allowed the building to endure through several renovation attempts. In her study of Hilton International hotels, Annabelle Wharton argues how architecture was used for America’s expansion to global economic and political power. Following on from her arguments, this paper explores the implications of the acquisition of the Australia Hotel by the Indian hotel chain Oberoi Hotels in the late 1970s when it became Oberoi Adelaide. The patronage of Indian hotelier Mohan Singh Oberoi came alongside the parallel acquisition of Hotel Windsor in Melbourne, heralding a new era of engagement with Asia. Finally, the paper also highlights the broader impact of this hotel, as a leisure venue for the burgeoning middle class, on the evolving domestic culture of Adelaide.
APA, Harvard, Vancouver, ISO, and other styles
3

Carley, James T., and Tom Denniss. "Electrical Energy from Ocean Waves—History and State of the Art in Australia." In 27th International Conference on Coastal Engineering (ICCE). Reston, VA: American Society of Civil Engineers, 2001. http://dx.doi.org/10.1061/40549(276)272.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Mađanović, Milica, Cameron Moore, and Renata Jadresin Milic. "The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4007piywz.

Full text
Abstract:
In response to the third thematic sub-stream of the 38th Annual SAHANZ Conference, this paper will discuss the role of architectural research in the architecture of Gummer and Ford, the Auckland-based practice, often described as one of the most prolific bureaus in interwar New Zealand. The paper is a fraction of a three-staged project, “Gummer and Ford,” developed by a team of researchers from the Unitec Institute of Technology in response to an event recognised as a milestone in the New Zealand architectural calendar – the 2023 centenary of the firm’s establishment. This paper explores the design principles of William Gummer, the principal designer of the firm. From 1914 to 1935, Gummer consistently published his view that the goal of the architect was to cater to humanity’s highest instincts. He was unwavering but vague on how this is achieved; through composition, unity, contrast, proportion and scale, appropriate use of materials is all needed to produce buildings of good character. But what did he really mean by this? A close reading of three books Gummer considered invaluable to architectural students – The Essentials of Composition as Applied to Art by John Vredenburgh Van Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The Mistress Art by Reginald Bloomfield – offers a direct insight into the influences behind his thinking about architecture and his architectural production. Directly traceable to Gummer, the three titles include clear, precise instructions on both the functional and artistic nature of architectural design. Interestingly, this paper employs a method not dissimilar to Gummer’s design method. These books taken together, along with Gummer’s own writing, a study of renderings and construction drawings, and close observation of the buildings, an architectural analysis of Gummer’s work becomes possible – it is what Gummer himself referred to as Architectural Research. This historically focused study will bring a new perspective to understanding the value and contribution of traditional architects, not only in New Zealand but other English-speaking countries.
APA, Harvard, Vancouver, ISO, and other styles
5

Huang, Jian, Dongling Liang, and Zhongheng Wei. "Reflection on the Training of General Medical Students in China from the Development History of General Medicine in Australia and Other Countries*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.092.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Lu, Duanfang. "A Conceptual Framework for Architectural Historiography." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4005p6e3c.

Full text
Abstract:
Architectural history used to be part of art history, but has been gradually distanced from the latter as architecture develops as an independent modern discipline. Despite debates on architectural historiography in recent decades, architecture as a unique type of historically situated aesthetic objects and design products has not been adequately addressed. To further an independence from art history, and to re-center architecture itself in historical analysis, this article highlights three essential natures of architecture which differentiate it from other types of aesthetic objects (such as painting and sculpture) and design products (such as cars and furniture), while asserting its situated materiality: architecture orders bodily activities and conditions human existence; it necessitates the integration of techne, technology, materials, and labor in construction; and it is a collective expressive medium which is shaped by and contributes to the interaction between different social forces. Based on the above propositions, this article provides an upgraded version of the Vitruvian Triad, with the existential replacing utilitatis (utility), the constructive replacing firmitatis (stability), and the interactive replacing venustatis (beauty).
APA, Harvard, Vancouver, ISO, and other styles
7

Petrović, Emina Kristina. "Two Conceptualisations of Change in Architectural History: Towards Driving Pro-sustainable Change in Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4006pqv8s.

Full text
Abstract:
At the time when it is important to act on the Climate Emergency and other pro-sustainable efforts, the key question is how to drive change. This paper examines two conceptualisations of change in architectural history in an attempt to support a better understanding of architecture-specific conceptualisations of change itself. Such understanding could offer real value in articulating how to drive pro-sustainable change in architecture. The paper identifies two conceptualisations of change which are easily found in existing writing on change in architectural history. One such conceptualisation considers architectural developments in terms of cyclical styles, or triads of early, high, and decadent stages of development of styles. Attributed to the 18th century writing of Johann Joachim Winckelmann on ancient Greek art, this conceptualisation presents one useful interpretation which links the change with natural growth. A simpler conceptualisation of two-point change is interpreted using the minor/major interpretations of change, as developed by Joan Ockman, based on the work of Gilles Deleuze and Félix Guattari. The key proposition is that the selected historical examples of conceptualisation of change reveal useful aspects of the past patterns of change in architecture. These might help understand how to drive needed change now. One critical factor in the transition which is facing us now, is that in contrast to many past transitions which were driven by technological innovation, current transition requires development of technologies capable to support the change which is scientifically proven as needed and real. Therefore, some of the historical natural ease of the past transitions in the current contexts needs active driving of change. Without an intention to propose a holistic new framework, the main value of this paper is that it identifies some of the key conceptualisations which are evident in architectural history and that could be useful in driving pro-sustainable change.
APA, Harvard, Vancouver, ISO, and other styles
8

Jin, Xin. "Making with the Past: Bricolages in Wang Shu’s Design Writings and Built Projects." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4002phgul.

Full text
Abstract:
This study explores how design research writing can engage with historical reference in a radical way. In the 2002 essay “Shijian Tingzhi de Chengshi” (“City Froze in Time”), based on Chapter 2 of his 2000 PhD thesis, Xugou Chengshi (Fictionalising City), the Chinese architect Wang Shu proposes reinterpreting the traditional Chinese architecture and city through the anthropologist Claude Lévi-Strauss’s notion of “bricolage”, which is defined as making do with available objects. Bricolage is informative for understanding Wang’s design undertakings, which involve skilful adaptations of vernacular building types and construction techniques in new urban projects. Nevertheless, its fundamental role in shaping Wang’s design writings is yet to be fully understood. In his design writings, Wang employs a specific quotation method whereby words and paragraphs from other writers’ preexisting works are reused and woven into new textual compositions. Through formal analysis of “City Froze in Time” and comparisons of compositional patterns between the essay and Wang’s built projects, mainly the Xiangshan Campus of the China Academy of Art, Phase II, Hangzhou (2007) and the Ningbo History Museum, Ningbo (2008), this piece explores three issues. First, it demonstrates how textual fragments found in the past and uttered by others undergo bricolage in Wang’s essay. Second, it foregrounds the intention behind Wang’s chosen writing strategy and investigates broader critical issues, such as authorship and the past–present nonlinear order associated with Wang’s strategy. Third, it expresses how historical materials – understanding “materials” in an inclusive sense – are treated in comparable ways in Wang’s written and built works. By examining Wang’s case, this paper highlights a radical case of contemporary architectural research writing in which an attempt is made to demolish the boundary between theory and design by extending the make-do logic of design into the field of design reflection.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Art patronage Australia History' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography