Journal articles on the topic 'Artists and museums Australia'
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Goldstein, Ilana Seltzer. "Visible art, invisible artists? the incorporation of aboriginal objects and knowledge in Australian museums." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (June 2013): 469–93. http://dx.doi.org/10.1590/s1809-43412013000100019.
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The creative power and the economic valorization of Indigenous Australian arts tend to surprise outsiders who come into contact with it. Since the 1970s Australia has seen the development of a system connecting artist cooperatives, support policies and commercial galleries. This article focuses on one particular aspect of this system: the gradual incorporation of Aboriginal objects and knowledge by the country's museums. Based on the available bibliography and my own fieldwork in 2010, I present some concrete examples and discuss the paradox of the omnipresence of Aboriginal art in Australian public space. After all this is a country that as late as the nineteenth century allowed any Aborigine close to a white residence to be shot, and which until the 1970s removed Indigenous children from their families for them to be raised by nuns or adopted by white people. Even today the same public enchanted by the indigenous paintings held in the art galleries of Sydney or Melbourne has little actual contact with people of Indigenous descent.
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Landsberg, Hannelore, and Marie Landsberg. "Wilhelm von Blandowski's inheritance in Berlin." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 172. http://dx.doi.org/10.1071/rs09172.
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This article discusses Blandowski’s collections held in various libraries and museums in Berlin, Germany. Wilhelm von Blandowski (1822-1878) was a Prussian ‘Berliner’. He was born in Upper Silesia, a province of Prussia. He worked there in the mining industry and later attended lectures in natural history at the University of Berlin. Following a period in the army, he was influenced by the March Revolution in Germany in 1848. As a result, he left the civil service and migrated to Australia. Blandowski’s first approach to the Museum of Natural History in Berlin was an offer of objects, lithography and paintings ‘forwarded from the Museum of Natural History, Melbourne Australia’ in 1857. After returning to Prussia, Blandowski tried unsuccessfully to get support for publishing Australien in 142 photographischen Abbildungen. Today the Department for Historical Research of the Museum of Natural History owns more than 350 paintings as the ‘Legacy Blandowski’. The paintings illustrate Blandowski’s time in Australia, his enormous knowledge of natural history, his eye for characteristic details of objects and his ability to instruct other artists and to use their work. The text will show these aspects of Blandowski’s life and work and will give an insight into the database of Blandowski’s paintings held at the Humboldt University, Berlin.
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Bowker, Sam. "No Looking Back." Australian Journal of Islamic Studies 4, no. 1 (July 17, 2019): 18–32. http://dx.doi.org/10.55831/ajis.v4i1.153.
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This is a critical review of changes in the two years since I wrote “The Invisibility of Islamic Art in Australia” for The Conversation in 2016. This includes the National Museum of Australia’s collaborative exhibition “So That You May Know Each Other” (2018), and the rise of the Eleven Collective through their exhibitions “We are all affected” (2017) in Sydney and “Waqt al-Tagheer – Time of Change” (2018) in Adelaide. It considers the representation of Australian contemporary artists in the documentary “You See Monsters” (2017) by Tony Jackson and Chemical Media, and the exhibition “Khalas! Enough!” (2018) at the UNSW.
These initiatives demonstrate the momentum of generational change within contemporary Australian art and literary performance cultures. These creative practitioners have articulated their work through formidable public networks. They include well-established and emerging artists, driven to engage with political and social contexts that have defined their peers by antagonism or marginalisation.
There has never been a ‘Golden Age’ for ‘Islamic’ arts in Australia. But as the Eleven Collective have argued, we are living in a time of change. This is an exceptional period for the creation and mobilisation of artworks that articulate what it means to be Muslim in Australia.
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Bigourdan, Nicolas, Kevin Edwards, and Michael McCarthy. "Steamships to Suffragettes." Museum Worlds 4, no. 1 (July 1, 2016): 138–54. http://dx.doi.org/10.3167/armw.2016.040111.
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ABSTRACTSince 1985 the shipwreck site and related artifacts from the steamship SS Xantho (1872) have been key elements in the Western Australian Museum Maritime Archaeology Department’s research, exhibition, and outreach programs. This article describes a continually evolving, often intuitive, synergy between archaeological fieldwork and analyses, as well as museum interpretations and public engagement that have characterized the Steamships to Suffragettes exhibit conducted as part of a museum in vivo situation. This project has centered on themes locating the SS Xantho within a network of temporal, social, and biographical linkages, including associations between the ship’s engine and a visionary engineer (John Penn), a controversial entrepreneur (Charles Broadhurst), a feminist (Eliza Broadhurst), and a suffragette (Kitty Broadhust), as well as to Aboriginal and “Malay” divers and artists. Achieved with few funds, the project may be a valuable case study at a time when funds allocated to museums and archaeological units are rapidly diminishing.
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bandt, ros. "designing sound in public space in australia: a comparative study based on the australian sound design project's online gallery and database." Organised Sound 10, no. 2 (August 2005): 129–40. http://dx.doi.org/10.1017/s1355771805000774.
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the purpose of this paper is to articulate some of the ways in which australian sound practitioners are already designing sound in the public domain so that current trends and practices can be examined, compared and contrasted. this paper interrogates the new hybrid art form, public sound art, and the design processes associated with it as it occurs in public space in australia. the right to quiet has been defined as a public commons (franklin 1993). public space in australia is becoming increasingly sound designed. this article investigates the variety of approaches by sound artists and practitioners who have installed in public space through a representative sample of works drawn from the australian sound design project's online gallery and article, http://www.sounddesign.unimelb.edu.au, a site dedicated to the multimedia publishing of diverse sound designs installed in public space in australia, as well as its international outreach hearing place. works include permanent public and ephemeral sculptures, time-dense computerised sound installations, museum designs, exhibits in airports, art galleries, car parks, digital and interactive media exhibitions, and real-time virtual habitats on and off the web. the degree of interactivity in the sound-designed artworks varies greatly from work to work. stylistic features and design processes are identified in each work and compared and contrasted as a basis for examining the characteristics of the genre as a whole and its impact on the soundscape now and in the future.
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Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.
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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.
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Davis, Belinda, and Rosemary Dunn. "Children’s Meaning Making: Listening to Encounters with Complex Aesthetic Experience." Education Sciences 13, no. 1 (January 10, 2023): 74. http://dx.doi.org/10.3390/educsci13010074.
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This paper describes young children’s symbolic meaning-making practices and participation in complex aesthetic experiences in a contemporary art museum context. Through an ongoing long-term research and pedagogy project, The Museum of Contemporary Art, Sydney, Australia (MCA) is working with researchers to provide regular opportunities for young children (aged birth–5 years) and their families—all members of the same early childhood education (ECE) services—to encounter art works, engage with materials, and experience the museum environment. The program provides a rich experience of multiple forms of communication, ways of knowing and ways of expressing knowings: through connecting with images, videos and told stories about artists and their practice, sensorial engagement with tactile materials, and embodied responses to artworks and materials. Children also experience the physicality of the museum space, materials for art-making and the act of mark-making to record ideas, memories, and reflections. The project supports the development of a pedagogy of listening and relationships and is grounded in children’s rights as cultural citizens to participation, visibility and belonging in cultural institutions such as the MCA.
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Burrell, Sarah. "Extra-interior." idea journal 18, no. 01 (August 31, 2021): 151–72. http://dx.doi.org/10.37113/ij.v18i01.435.
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This article responds to the challenges facing creative practitioners whose work engages with aspects of ‘public’ provoked by the ongoing COVID-19 pandemic. The temporary physical closures of established creative infrastructures such as galleries, museums and festivals have disrupted the traditional dynamics of production and reception. This presents both challenges and opportunities for artists and designers to develop new forms of creative engagement with public audiences and spaces. The confinement of people to a 5-kilometre radius during extended lockdowns in Melbourne, Australia in 2020 prompted a reflection on the opportunities of the ‘local’ as a particular context for creative practice. This restriction imposed a perimeter that brought people’s day- to-day lives into an enclosed loop and produced what could be thought of as a form of interior. In this period, ordinary domestic and local spaces — for example the home office or studio gained manifold functions for many creative practitioners, including as a space for self- initiated public presentations of their work. In several cases, windows, balconies, and doorways became thresholds for interaction with passers-by. This self-broadcasting situation provided an opportunity for practitioners to play an active role in cultivating new relations and forms of publicity from a localised setting. In this article, these shifts in practice are investigated through a critical reflection on a series of spatial interventions within a street-facing window of a studio space in Brunswick, Melbourne, an inner-city suburb where residential streets mix with spaces of industrial and creative production. The liminal space of the window became a way to speculate on the concept of thresholds between diverse conditions, including public and private, art and the everyday, urban and local, and interior and exterior. These investigations engaged with a ‘makeshift’ mode of practice, leading to the production of extra-ordinary interior conditions.
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Brown, Claudine K. "Museum, Communities, and Artists." Visual Arts Research 34, no. 2 (December 1, 2008): 5–13. http://dx.doi.org/10.2307/20715470.
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Abstract Just as museums have reconsidered their relationships with their audiences, many museums are also rethinking their relationships with artists. Artists need to develop different types of relationships with museums, if they are to understand and value the stewardship responsibilities of museums as well as the costs of doing business; and museums can and should take full advantage of the creative and intellectual capital that artists bring to the table in a variety of ways. This article explores the work of three museums that encourage artists to participate as active and vocal members of their communities, and as contributors to the day-to-day work of each of these institutions. These are museums where artists not only participate as exhibiting artists, they also function as designers, planners, educators and advocates for the work of the museum.
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Martinez, Katharine. "The Research Libraries Group: new initiatives to improve access to art and architecture information." Art Libraries Journal 23, no. 1 (1998): 30–37. http://dx.doi.org/10.1017/s0307472200010798.
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This survey of the achievements of the Research Libraries Group (RLG) and its Art and Architecture Group shows the effectiveness of a collaborative approach in developing best practices and standards, and implementing new methodologies and technologies, to benefit the international art library and research communities. RLG members in Europe, North America and Australia include many of the major art research libraries. RLG offers services such as the RLIN bibliographic database and the MARCADIA retrospective conversion service in conjunction with projects documenting sales catalogue records (SCIPIO), preserving serials (the Art Serials Preservation Project) and facilitating the interloan of material between members. More recently the partnership between the RLG and the Getty Information Institute has made available an enormous range of art documentation work carried out by the Getty: standards and authority control work such as the Art & Architecture Thesaurus, the Union List of Artists’ Names and the Thesaurus of Geographic Names. In the 1980s the RLG conducted a survey identifying information needs in the humanities, which has led to resources such as the Bibliography of the History of Art becoming widely accessible, with the Provenance Index to follow shortly. This partnership is now active in the museum field, attempting to bridge the gap between the domains of secondary and primary materials in the field of art research. The REACH project (Record Export for Art and Cultural Heritage) is experimenting with the export of existing machine-readable data from heterogeneous museum collection systems, and testing the feasibility of designing a common interface for access which will complement RLG’s other resources.
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Ocampo, Estela. "Contemporary Artists on Colonial Museums." Boletin de Arte 37 (October 30, 2016): 35–47. http://dx.doi.org/10.24310/bolarte.2016.v0i37.3292.
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Stylianou-Lambert, Theopisti, and Elena Stylianou. "Editorial: Photography, artists and museums." Photographies 7, no. 2 (July 3, 2014): 117–30. http://dx.doi.org/10.1080/17540763.2014.943053.
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Daniel, Natalie. "Burning the Interface, International Artists' CD-ROM exhibition, held at the Museum of Contemporary Art, Sydney, Australia, 27 March-14 July 1996, and curated by Mike Leggett and Linda Michael." Convergence: The International Journal of Research into New Media Technologies 3, no. 1 (March 1997): 102–10. http://dx.doi.org/10.1177/135485659700300108.
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Tipton, Gemma. "Museums Patronise, Isolate and Neutralise Artists..." Circa, no. 106 (2003): 60. http://dx.doi.org/10.2307/25564056.
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Ruhé, Harry. "Artists’ books." Art Libraries Journal 12, no. 1 (1987): 45–46. http://dx.doi.org/10.1017/s030747220000506x.
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Artists’ books have been exhibited several times in the Netherlands since the late 1970s, notably at the Van Reekummuseum at Apeldoorn. They can be purchased from Galerie A in Amsterdam, and collections can be found in several Dutch museums including the Stedelijk Museum, the Stedelijk Van Abbemuseum, and the Groninger Museum, although problems associated with storage and conservation tend to inhibit access.
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Mačianskaitė, Vilma. "Contemporary Lithuanian Artists: Career Opportunities." Art History & Criticism 13, no. 1 (December 1, 2017): 88–110. http://dx.doi.org/10.1515/mik-2017-0007.
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Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.
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Stanhope, Zara. "Australian Artists in the Contemporary Museum, by Jennifer Barrett and Jacqueline Millner." Australian and New Zealand Journal of Art 15, no. 1 (January 2, 2015): 136–39. http://dx.doi.org/10.1080/14434318.2015.1040538.
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Sheehan, James J., and Mark W. Rectanus. "Culture Incorporated. Museums, Artists, and Corporate Sponsorships." German Studies Review 26, no. 2 (May 2003): 474. http://dx.doi.org/10.2307/1433407.
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Topaz, Chad M., Bernhard Klingenberg, Daniel Turek, Brianna Heggeseth, Pamela E. Harris, Julie C. Blackwood, C. Ondine Chavoya, Steven Nelson, and Kevin M. Murphy. "Diversity of artists in major U.S. museums." PLOS ONE 14, no. 3 (March 20, 2019): e0212852. http://dx.doi.org/10.1371/journal.pone.0212852.
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McIsaac, Peter M., and Mark W. Rectanus. "Culture Incorporated: Museums, Artists and Corporate Sponsorship." German Quarterly 76, no. 3 (2003): 361. http://dx.doi.org/10.2307/3252111.
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Pigott, Louis J., and Leslie Jessop. "The governor's wombat: early history of an Australian marsupial." Archives of Natural History 34, no. 2 (October 2007): 207–18. http://dx.doi.org/10.3366/anh.2007.34.2.207.
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This paper gives an account of the European discovery of an Australian marsupial, the common wombat Vombatus ursinus, with particular reference to the first complete wombat specimen to reach Europe, which survives in The Hancock Museum, Newcastle upon Tyne. The involvement of colonial officials, navigators, explorers, naturalists and artists is discussed.
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Bawin, Julie. "L’artiste contemporain dans les musées d’ethnographie ou la « promesse » d’un commissariat engagé." RACAR : Revue d'art canadienne 43, no. 2 (December 14, 2018): 48–56. http://dx.doi.org/10.7202/1054382ar.
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For over three decades, ethnographic museums have been engaged in a process of redefining both their missions and their collections. Forced to reinvent themselves, as well as develop exhibition strategies in response to post-colonial theory, many of these museums have adopted a self-critical attitude and invited artists to intervene in their collections. What do such practices reveal ? When artists turn their attention to the collecting, archiving, and exhibition practices of colonial museums, does it follow that their approach is more engaged ? By considering the first exhibitions of this kind, while also tracing the evolution of this phenomenon since the 1980s, this paper seeks to respond to these questions. It also strives to understand the specific nature of critical curating as it is practiced in museums that are, more than any others, loci for identity politics.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Post, Colin. "Preservation practices of new media artists." Journal of Documentation 73, no. 4 (July 10, 2017): 716–32. http://dx.doi.org/10.1108/jd-09-2016-0116.
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Purpose The purpose of this paper is to investigate the preservation practices of new media artists, in particular those working outside of the scope of major collecting institutions, examining how these artists preserve new media artworks in their custody. Design/methodology/approach The paper builds case studies of seven new media artists of differing practices and artistic approaches. For each case study, semi-structured interviews with the artists were conducted in conjunction with visits to the artists’ studios. Findings The study finds that new media artists face a number of shared preservation challenges and employ a range of preservation strategies, and that these challenges and strategies differ markedly from that of art museums and cultural heritage institutions. Research limitations/implications This study considers preservation practices for new media artists generally. Further research into specific communities of artistic practice could profitably build upon this overall framework. Practical implications The findings of this research pose a number of implications for art museums and cultural heritage institutions, suggesting new ways these institutions might consider supporting the preservation of new media artworks before works enter into institutional custody. Originality/value The literature on new media art preservation emphasizes the importance of working with artists early in the life cycle of digital artworks. This study advances this by investigating preservation from the perspective of new media artists, deepening the understanding of challenges and potential preservation strategies for these artworks prior to entering or outside of institutional custody.
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Jahre, Lutz. "Collaboration between artists and librarians in a German magazine." Art Libraries Journal 23, no. 1 (1998): 22–23. http://dx.doi.org/10.1017/s0307472200010774.
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In 1997 the German art libraries magazine, AKMB-news: Informationen zu Kunst, Museum und Bibliothek, began a series of collaborations with contemporary artists, who provide original visual or conceptual contributions for some issues of the journal. The artists’ work refers mostly to the context of museums and libraries.
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Richardson, Craig. "Artists’ ‘embedded reinterpretation’ in museums and sites of heritage." Journal of Visual Art Practice 17, no. 1 (July 13, 2017): 22–40. http://dx.doi.org/10.1080/14702029.2017.1334984.
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Wolbring, Gregor, and Fatima Jamal Al-Deen. "Social Role Narrative of Disabled Artists and Both Their Work in General and in Relation to Science and Technology." Societies 11, no. 3 (August 19, 2021): 102. http://dx.doi.org/10.3390/soc11030102.
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Artists and the arts have many different roles in society. Artists also have various roles in relation to science and technology, ranging from being users of science and technology products to being educators for science and technologies, such as in museums. Artists are also involved in science and technology governance and ethics discussions. Disabled people are also artists and produce art, and disabled people in general and disabled artists are impacted by science and technology advancements. As such, disabled artists should also engage with science and technology, as well as contribute and influence science and technology governance, ethics discussions, and science and technology education with their work. We performed a scoping study of academic literature using the 70 databases of EBSCO-HOST and the database SCOPUS (includes Medline) to investigate the social role narrative of disabled artists and both their work in general and in relation to science and technology. Our findings suggest that disabled artists are mostly engaged in the context of becoming and being a disabled artist. Beyond the work itself, the identity issue of ‘being disabled’ was a focus of the coverage of being a disabled artist. The literature covered did not provide in-depth engagement with the social role of disabled artists, their work, and the barriers encountered, and best practices needed to fulfil the social roles found in the literature for non-disabled artists and the arts. Finally, the literature covered contained little content on the relationship of disabled artists and advancements of science and technology, such as in their role of using advancements of science and technologies for making art. No content at all was found that would link disabled artists and their work to the science and technology governance and ethics discussions, and no content linking disabled artists to being educators on science and technology issues, for example, in museums was found.
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Henrich, Eureka. "Museums, History and Migration in Australia." History Compass 11, no. 10 (October 2013): 783–800. http://dx.doi.org/10.1111/hic3.12090.
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Pripon, Liviu Răzvan. "Natural Object or Element of an Artwork? Case Study: Artists, Artworks and Exhibitions in Cluj, Romania." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (November 20, 2020): 159–72. http://dx.doi.org/10.24193/subbphil.2020.spiss.12.
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"Natural object or element of an artwork? Case Study: Artists, Artworks and Exhibitions in Cluj, Romania. In this article, we discuss the relationship between art and natural objects such as stuffed animals, skins, bones, dried plants or minerals and their aesthetical value from their position as artworks or elements of an artwork. In Cluj, between 2017 and 2019, artworks and exhibitions which integrate this type of practices and natural history materiality flourished. We aim to compose an inventory that could contribute to the archive of local art events, artworks, and artists in order to serve further analysis of local specificity, which could eventually find relevance in the theoretic approaches of art. In conclusion, we underline some of the theoretical approaches of the dynamics of natural object’s values and of the procedures established by organizations such as museums and galleries. Keywords: art galleries, art museums, natural history museums, natural object, BioArt"
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Kang, Donghyun, Haram Choi, and SangHun Nam. "Learning Cultural Spaces: A Collaborative Creation of a Virtual Art Museum Using Roblox." International Journal of Emerging Technologies in Learning (iJET) 17, no. 22 (November 28, 2022): 232–45. http://dx.doi.org/10.3991/ijet.v17i22.33023.
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This study proposes education on creating virtual art museums using metaverse technology to broaden the understanding of art museums. It investigates the effect of creating a virtual art museum using Roblox Studio, a metaverse platform, on the acquisition of knowledge about art museums, artists, and artworks and the ability to create metaverse content. This study selected the Moonshin Art Museum (MAM), the art museum to be created in the metaverse space, as its local cultural space. Fifteen students participated in a creation workshop to learn to create virtual spatial content using Roblox Studio and also visited an actual art museum. The students were then assigned to architecture, artwork, avatar, and content teams and collaborated with one another. To evaluate the activities, students filled out pre- and post-questionnaires containing items about the MAM, the sculptor Moonshin, and Moonshin’s artwork, as well as the ability to produce metaverse content. Findings showed that creating a virtual art museum through a metaverse platform facilitates the acquisition of spatial knowledge about art museums as well as information about artists and artworks. In addition, collaboration not only helped in the creation task but also identified and solved technical difficulties and improved creative abilities. These results suggest possibilities for using metaverse technology in delivering education regarding virtual art museums.
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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.
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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.
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Dinsmore, Sydney. "Reviewing the Inclusion of Artists’ Holograms in the Permanent Collections of Fine Art Museums." Arts 8, no. 4 (November 4, 2019): 147. http://dx.doi.org/10.3390/arts8040147.
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Opening in 1976 with the exhibition, “Through the Looking Glass”, the Museum of Holography (MOH) emphasized from the beginning the importance of artistic holography with the inclusion of several holograms by artists whose primary practice was holography, articulating for the first time a distinction between artists, scientists and technicians. While the scientific and engineering principles underlying the technology could educate a public, holograms made by artists provided the visual syntax for the creative possibilities holography could offer. The MOH continued to encourage and support artists’ work throughout its history, amassing a large collection of holograms representative of the most prolific period of artistic activity from the mid 1970s to the mid 1980s. The Massachusetts Institute of Technology Museum (MIT Museum) in Boston acquired the entire archive including artistic and technical holograms as well as all related materials when the MOH closed in 1992. This paper will seek to explore whether the medium of holography within the visual arts has led to fine art museum acquisitions in the intervening decades.
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Bernier, Hélène, and Mathieu Viau-Courville. "Curating Action: Rethinking Ethnographic Collections and the Role/Place of Performing Arts in the Museum." Museum and Society 14, no. 2 (June 9, 2017): 237–52. http://dx.doi.org/10.29311/mas.v14i2.641.
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Dance involves a set of movements that embody social memory. Such forms of intangible heritage have presented emerging challenges for curatorship. This paper draws from the experience of the Musées de la civilisation (Quebec City, Canada) to address ideas of collecting and curating in the performing arts. By presenting the travelling exhibition Rebel Bodies, an international collaborative project that highlights contemporary dance and movement as universal modes of creativity and expression, the paper reflects on the social role of the museum in sustaining creativity within the community as well as on the use of ethnographic material to collectively (through museums and artists) curate the intangible. In treating notions of natural, virtuoso, urban, multi, political, and atypical bodies, this exhibition brings together performers and creative artists as well as industries in the museum setting. Such interplays, it is argued, encourage the sustainable participation of artistic communities/industries and further highlight museums as dynamic loci for the promotion of social change.Keywords: performing arts, intangible cultural heritage, museum, dance, performance, participation, reenactment, artists
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Foshay, Susan M. "Grist to the mill: folk art in the Atlantic Region." Art Libraries Journal 22, no. 4 (1997): 8–11. http://dx.doi.org/10.1017/s0307472200010609.
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Literature on folk art of the Atlantic region, with few exceptions, would be nonexistent without the intervention of visual arts institutions and museums. The interest in folk art and folk art collecting by museums and galleries, and the institutions’ penchant for documentation, has generated a diversity of written and visual material on the subject, of both an historical and a contemporary nature, which unveils a regional portrait of artists and their work.
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Nancarrow, Jenny. "Gerard Krefft: A singular man." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 146. http://dx.doi.org/10.1071/rs09146.
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The life of Gerard Krefft, artist and second in command of the expedition to the Murray River, provides rich opportunity for reflection. This paper highlights the more memorable events of Krefft’s personal life as well as his scientific achievements and how he helped bring Australian science to the notice of the world. Krefft had remarkable zoological and ethnographic abilities and many scientific achievements are attributable to his efforts. He was critical of Blandowski and later won international recognition for his scientific work and for the Australian Museum. However, conflicts with the Museum Trustees came to a head in 1875 and Krefft was forcibly removed in tragic circumstances. His dismissal, the inquiry, the court case and personal life are examined through a combination of published sources and personal letters.
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Anderson, Stephanie B. "Museums, Decolonization and Indigenous Artists as First Cultural Responders at the new Canadian Museum for Human Rights." Museum and Society 17, no. 2 (July 17, 2019): 173–92. http://dx.doi.org/10.29311/mas.v17i2.2806.
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The Canadian Museum for Human Rights (CMHR) is part of a global movement of human-rights–driven museums that commemorate atrocity-related events through exhibitions aimed to communicate a national social consciousness. However, museums in Canada are increasingly understood to contribute to the perpetuation of settler colonial memory regimes as dominant narratives of national identity. Through the analysis of theexhibit ‘Aborigina lWomen and the Right to Safety and Justice’, this article explores how museums in represent difficult knowledge and act as sites of decolonization, while suggesting how shared authority and nuanced Indigenous art forms might play a role in both. It posits that if museums in settler colonial societies are to evolve beyond the pretext of detached host, they must not only acknowledge past atrocities and injustices against Indigenous peoples, but also consistently examine the colonial logics and inventions that permeate colonizing and decolonizing exhibitions.
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McIntyre, Sophie. "Questions of Identity and Origins in the Museological Representation of Contemporary Indigenous Art in Taiwan." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 110–29. http://dx.doi.org/10.1163/23523085-00302006.
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The significant ideological and cultural role of public museums in shaping national identity is widely acknowledged. This paper focuses on the roles of Taiwan’s public art museums in generating nationalist narratives that privilege notions of cultural distinctiveness and authenticity in the visual representation of art from Taiwan. Two exhibitions of contemporary Indigenous art provide a platform for critical analysis of the impact of identity politics on the selection, display, and promotion of Taiwanese Indigenous art. Questions of artistic agency are also explored in this paper, demonstrating how Indigenous artists in Taiwan are increasingly interrogating and contesting systems of museological representation which seek to locate or “frame” Indigenous art within an Austronesian nationalist identity narrative. These exhibitions and the artists’ works and observations offer an insight into the complex and shifting interrelationship between national identity politics and the museological representation of art in Taiwan.
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Levin, Amy. "Social Justice Education and the Role of Museums." Museum and Society 18, no. 2 (July 4, 2020): 290–92. http://dx.doi.org/10.29311/mas.v18i2.3482.
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Review of three books:Gonzales, Elena, Exhibitions for Social Justice. Abingdon, Oxon.: Routledge, 2020, hardback £120, paperback £34.99, ebook £31.49, 194 pp. Kostache, Irina D., and Clare Kunny, eds. Academics, Artists, and Museums: 21st-Century Partnerships. Abingdon, Oxon.: Routledge, 2019, hardback £120, paperback £36.99, ebook £40.49, 204 pp. Quinn, Therese, about Museums, Culture, and Justice to Explore in Your Classroom, New York: Teachers College Press, 2020, hardback $75, paperback $24.95, ebook $19.96, 95 pp. [Amazon UK £81.95, £27.50, £18.68]
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Fairchild, Charles. "LET US NOW PRAISE FAMOUS GUITARS: PERSONA AND THE MATERIAL DISPLAYS OF POPULAR MUSIC MUSEUMS." Persona Studies 5, no. 1 (July 11, 2019): 61–74. http://dx.doi.org/10.21153/psj2019vol5no1art841.
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The study of popular music museums has expanded greatly in the past decade or so. The numerous studies produced so far have largely focused on issues to do with tourism, heritage, and curatorship. Most analysis has attempted to gauge the effectiveness and degree of success of the various methods of constructing and displaying collections of sounds, objects, and ideas. One area that can be of interest in moving beyond these analyses of museum practice is to examine how larger ideologies of artistry and artists that pervade the celebrity personas so assiduously built around famous musicians are an important foundation for these museums’ displays. There are two reasons for the value of this approach. First, it should be clear that most exhibits in popular music museums are built to enhance, not contest already-existing images, historical narratives, and genre-defining attributes that surround well-known musicians. Therefore, it is not possible to understand these institutions without some sense of how they work with musician personas that necessarily precede any presentation in museum exhibitions. Second, we can see this dynamic in extraordinarily concise forms when we examine some of the ‘famous objects’ these museums display. We can often see an entire complex of received ideas about an artist encapsulated in just a few well-known objects they once possessed. From this I will suggest that the personas of famous musicians that appear in most popular music museums do so through varied amalgams of symbolic and material forms meant to stabilise or enhance already-existing ideas about canonically-validated ‘great’ artists.
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Ferres, Kay. "Cities and Museums: Introduction." Queensland Review 12, no. 1 (January 2005): 1–4. http://dx.doi.org/10.1017/s1321816600003846.
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In September 2004, the Museum of Brisbane, Museums Australia and the Centre for Public Culture and Ideas at Griffith University hosted a symposium, ‘Cities and Museums’, at the university's Southbank campus. This event initiated a conversation among museum professionals and academics from across Australia. Nick Winterbotham, from Leeds City Museum, and Morag Macpherson, from Glasgow's Open Museum, and were keynote speakers. Their papers provided perspectives on museum policy and practice in the United Kingdom and Europe, and demonstrated how museums can contribute to urban and cultural regeneration. Those papers are available on the Museum of Brisbane website (www.brisbane.qld.gov.au/MoB). The Cities and Musuems section in this issue of Queensland Review brings together papers that explore the relationship of cities and museums across global, national and local Brisbane contexts, and from diverse disciplinary perspectives. The disciplines represented in this selection of papers from the symposium include social history, urban studies, literary fiction, and heritage and cultural policy.
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Tetiana, Perga. "Outstanding Ukrainian artists in Australia: Vasil Tsybulsky." Ukraïnsʹka bìografìstika, no. 19 (October 23, 2020): 259–68. http://dx.doi.org/10.15407/ub.19.259.
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Burgess, Erica, and Paula Dredge. "Supplying artists' materials to Australia 1788-1850." Studies in Conservation 43, sup1 (January 1, 1998): 199–204. http://dx.doi.org/10.1179/sic.1998.43.supplement-1.199.
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Mon, Nor Suliana Mak, Siti Zuraida Maaruf, and Akmal Ahamed Kamal. "The Development of Artique - Independent Artists and Online Art Criticism." European Journal of Social & Behavioural Sciences 30, no. 2 (April 30, 2021): 3358–68. http://dx.doi.org/10.15405/ejsbs.293.
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Learning art online breaks the geographical barriers and frontiers between art students, artists, galleries, and museums. Studio critique can now be performed beyond the brick walls of a physical room through the virtual platform. This research studies on the impact of art criticism in an online gallery for independent artists which was developed through the design and development method (DDR) while Visual Culture Model was employed for Phase One in the Needs Analysis. The positive feedback obtained from five independent artists who participated in the research revealed that it is common for artists to use social networking sites as avenues for art criticism. The use of social networking sites is common among artists and regarded as valuable in their field. The respondents are supportive in the development of an online group for art criticism that could fortify their creativity and ultimately their artworks. Hence, the findings of the interview suggest that a social networking site like ARTIQUE would be a progressive platform for artists’ professional development.
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Ara Gregorio, Aimar. "Más allá del museo: Estudio de un corpus artístico de audiodescripción para personas con discapacidad visual." mAGAzin Revista intercultural e interdisciplinar, no. 27 (2019): 7–15. http://dx.doi.org/10.12795/magazin.2019.i27.01.
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This article provides a study of an artistic corpus of audio description for the blind and visually impaired that has been produced in two different countries (Spain and the U.S.) and by two different entities (museums and artists), which hold their own standards and ideas on audio description. Based on the hypothesis that there is a shared basic notion on what is audio description for the blind and visually impaired and what is its purpose, both in Spanish and American culture, as well as among museums and artists, this study adopts a translatological approach and takes the works of Catalina Jiménez Hurtado and Silvia Soler Gallego (2015) and Christiane Limbach (2013) as its main references in order to analyse the linguistic characteristics of this corpus from a threefold perspective: lexical, semantic and axiological, to determine the extent to which the audio descriptions that are the subject of this study show greater differences and/or similarities
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Olga Fabryka-Protska. "MUSEUM-SKANSENS OF LEMKO'S CULTURE IN THE CONTEXT OF THE APPROVAL AND CONSERVATION OF UKRAINIAN IDENTITY." World Science 3, no. 8(48) (August 31, 2019): 50–53. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6647.
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The article deals with the specificity of Scansen museums as a form of research into the cultural heritage of Lemkos. They are the centers of preservation of Ukrainian subetnos culture today. It is proved that museums retain a wealth of forms of ancient Slavic traditions and are a source of inspiration for contemporary artists of different industries. Studying and preserving monuments of Ukrainian culture as a vivid manifestation of identification is essential for the revival, preservation and consolidation of national consciousness for future generations.
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Hylton, Richard. "Eugene Palmer and Barbara Walker." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 100–113. http://dx.doi.org/10.1215/10757163-7916904.
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In Britain, black artists are arguably receiving the most sustained level of attention in a generation, from several historical exhibitions and international conferences to academic-based research initiatives and acquisitions by prestigious national museums. While offering artists a certain level of exposure, such initiatives have tended to privilege institutional agendas rather than the very artistic practices they purport to endorse. The paucity of genuine exhibition opportunities and significant publishing are factors that continue to bedevil a wider selection of black British artists. This article focuses on two specific exhibitions and artists: Eugene Palmer’s Didn’t It Rain (2018) and Barbara Walker’s Sub Urban: New Drawings (2015), both organized at the University for the Creative Arts, Farnham, UK. The author stresses the contrasting relationship to photography that each artist pursued in the making of their respective bodies of work and argues for a more engaged assessment of practice. The works of these artists deserve to be recognized for their fascinating and singular contributions to contemporary art practices.
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Aldes, Liora, and Tally Katz-Gerro. "Contextualizing the Artistic Repertoire in Museums." Museum Worlds 10, no. 1 (July 1, 2022): 93–111. http://dx.doi.org/10.3167/armw.2022.100108.
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To remain financially sustainable while promoting cultural activity and operating within artistic, symbolic, and cultural norms, museums must consider a multitude of commercial and organizational elements. This article examines the impact of economic, organizational, and structural characteristics of art museums on the repertoire of art they exhibit. Using a mixed-methods approach, we draw on data pertaining to 11 art museums in Israel that are supported by the Ministry of Culture, analyzing administrative data collected yearly from the museums from 2000 to 2014. Next, we analyze 20 interviews with museum directors, curators, and artists to further explore the findings that emerge from the analysis of administrative data. Findings indicate three factors that influence a museum’s artistic repertoire: revenue structure, museum location (center or periphery), and the museum director’s preferences. We discuss these factors and explain the significant role that nonartistic factors play in shaping cultural outcomes.
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Taylor, Nora A. "Vietnamese Anti-art and Anti-Vietnamese Artists: Experimental Performance Culture in Hà Nội’s Alternative Exhibition Spaces." Journal of Vietnamese Studies 2, no. 2 (2007): 108–28. http://dx.doi.org/10.1525/vs.2007.2.2.108.
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Since 1995, artists in Vietnam have been staging performance art events in alternative art spaces around Hàà Nôôi and Hôô Chíí Minh City, often defying government restrictions on public gatherings. That they take place outside of the ordinary venues for art, such as galleries and museums, gives these performances an illicit flavor that both attracts and deflects attention. This paper will argue that these art forms originate in a local culture of ritualized displays of emotion and are freeing artists from the constraints of the mainstream art world.
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Andersen, Josephine. "The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery." Art Libraries Journal 20, no. 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.
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Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SANG) Library collection are made accessible in the widest possible sense and that museum library information programmes should be directed externally, as well as internally to the museum staff.
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Wheeler, Barbara, and Linda Young. "Antarctica in museums: the Mawson collections in Australia." Polar Record 36, no. 198 (July 2000): 193–202. http://dx.doi.org/10.1017/s0032247400016454.
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AbstractThe relics of polar exploration are treasured in the museums of a multitude of nations. In Australia, the focus of most such collections is Sir Douglas Mawson and his expeditions to Antarctica in 1911–14 and 1929–31. The nature of these collections divides into the two large categories of scientific specimens and expedition relics. The latter are spread among Australian and other museums in a distribution that speaks of fascination with the exotic and heroic aspects of the Australasian Antarctic Expedition and the geopolitical ramifications of the British, Australian and New Zealand Antarctic Research Expedition. The specimens, by contrast, have not been treated well, and although thoroughly documented, may be close to losing their integrity as scientific resources. Both types of material merit the renewed attention of their museum-keepers as resources on the history of Antarctica.