Academic literature on the topic 'Arts – Australia – Exhibitions'
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Journal articles on the topic "Arts – Australia – Exhibitions"
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Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection." Arts 8, no. 4 (September 27, 2019): 126. http://dx.doi.org/10.3390/arts8040126.
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Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
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Fisher, Laura, and Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas." Media International Australia 158, no. 1 (January 11, 2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.
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In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine art status – something that, while no longer questioned in Australia, continues to be precarious overseas. By considering how both political and aesthetic concerns were addressed by Indigenous curators Hetti Perkins and Brenda L. Croft, this discussion sheds light on the ways in which emergent political meanings associated with Indigeneity have driven new kinds of institutional practice and international cultural brokerage.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Taylor, Gretel, and Deborah Warr. "Touchy Art: A phenomenological approach to artistic practice in stigmatised neighbourhoods." Conjunctions. Transdisciplinary Journal of Cultural Participation 5, no. 1 (May 24, 2018): 1–16. http://dx.doi.org/10.7146/tjcp.v5i1.105290.
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This paper outlines an artistic method combining a socially engaged and site-responsive arts practice with sociological discursive reflection that aimed to challenge the stigmatising stereotypes associated with many low-income neighbourhoods in Australia. We characterise our approach as ‘touchy’ to draw attention to issues that informed our approach: the sensitivity of the topic of stigma for residents; the need for a phenomenological method that sensitised participants to see/perceive beyond stereotypes; and aims of creating experiential and tactile artworks that could engage local and wider audiences in the issues. The paper discusses our rationale for the method and explicates components of the approach – excursions, workshop activities and exhibitions – and draws on artefacts, artworks and interview material to visualise and give voice to participants’ experiences of the project. Artistic and social outcomes were suggestive of the potential of this approach to develop alternative, experiential portrayals that might challenge the persistently negative stereotyping of low-income neighbourhoods.
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Ladas, Nancy. "Ethical and Legal Considerations for Collection Development, Exhibition and Research at Museums Victoria." Heritage 2, no. 1 (March 13, 2019): 858–67. http://dx.doi.org/10.3390/heritage2010057.
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With over 17 million collection items, Museums Victoria is the largest museum in Australia. Museums Victoria recognises the public benefit derived from lending and borrowing between collecting institutions and actively participates in the international loans network in order to complement and enhance the potential for learning and enjoyment for all audiences. Museums Victoria staff undertook an extensive review of policies and procedures in order to apply for approval for protection under the Australian Government’s Protection of Cultural Objects on Loan Scheme (PCOL Scheme), established to administer the Commonwealth Protection of Cultural Objects on Loan Act 2013 (PCOL Act). The PCOL Scheme provides (with some limits) legal protection—immunity from seizure—for Australian and foreign cultural items on loan from overseas lenders for temporary public exhibition in Australia. The Ministry for the Arts also released the Australian Best Practice Guide to Collecting Cultural Material in 2015. The Guide is not a mandatory code. It recommends principles and standards to apply when acquiring collection items and in part for inward and outward loans. In 2016–2017 Museums Victoria staff used the Act and its Regulation along with the Guide to substantially update and formalise previous formal and informal policies and practices, in order to demonstrate its commitment to due diligence endeavours to verify the accuracy of information before acquiring, deaccessioning, borrowing, or lending items. This paper outlines the steps we took and what we have learned since receiving approval as a registered borrower under the PCOL Scheme.
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Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism." Arts 8, no. 4 (December 6, 2019): 161. http://dx.doi.org/10.3390/arts8040161.
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Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.
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Norman, MD. "Ameloctopus litoralis, gen. et sp. nov. (Cephalopoda : Octopodidae), a new shallow-water octopus from tropical Australian waters." Invertebrate Systematics 6, no. 3 (1992): 567. http://dx.doi.org/10.1071/it9920567.
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A new genus of octopus is described from northern Australian waters. Ameloctopus litoralis, gen. et sp. nov., is a shallow-water octopus characterised by the absence of an ink sac, vestigial funnel organ, terminal organ without a diverticulum, marked elongation of the arms and arm autotomy. It is found across northern Australia from southern Queensland to north-west Western Australia, primarily on coastal mudflats and intertidal reefs. This species occupies lairs in shallow and intertidal coastal habitats, feeding by extending arms from the safety of the lair or by foraging at night during low tides, over open sand, mud and rubble. A. litoralis lays large eggs, indicating that hatchlings are benthic and dispersal limited. Loss of the ink sac in a shallow-water octopod and the development of arm autotomy are discussed. Relationships with other octopod taxa exhibiting similar traits are examined.
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Duggan, Jo-Anne, and Enza Gandolfo. "Other Spaces: migration, objects and archives." Modern Italy 16, no. 3 (August 2011): 315–28. http://dx.doi.org/10.1080/13532944.2010.507931.
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Other Spaces is a collaborative creative arts exhibition project that explores visual and material expressions of cultural identity with a particular focus on museum collections. This project aims to provide a rich examination – visual, emotional and intellectual – of the multiple cultural narratives that contribute to the social fabric of Australia through a unique marriage of contemporary photomedia and creative writing practice. This project explores the ways that migrants and refugees have found to express their cultural identity through the material objects they have brought with them to Australia. Many of these objects are not only of great personal value but often of cultural, historical and religious significance. Some are very ordinary everyday objects but they can be highly evocative and symbolic of the relationship between culture and identity, and between the places of origin and an individual's present home in Australia. This article, through a combination of photography, creative text and scholarly discussion, will focus specifically on Italo-Australian migrants and on some of the material objects that they have donated to museum collections, and use these objects to explore notions of cultural belonging and identity.
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Endersby, Jim. "The evolving museum." Public Understanding of Science 6, no. 2 (April 1997): 185–206. http://dx.doi.org/10.1088/0963-6625/6/2/005.
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This paper examines a recent exhibition on evolution at the Australian Museum, in Sydney, and contrasts it with the museum's earlier exhibitions on the same theme, looking at the images of science each presents. The differences between the most recent display and its predecessors can be broadly grouped under three themes: the use of narrative and chronology to organize the display; the use of realistic dioramas and reconstructions; and the use of glass cases to keep the visitors and the science apart. Partly through deliberate decisions and partly through other pressures—including space, time and financial considerations—the newest exhibition has resolved some of the problems exemplified by the earlier ones. Nevertheless, other difficulties remain and the conclusion sketches some possible directions which museum designers might explore in the future.
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Bunda, Tracey, Robyn Heckenberg, Kim Snepvangers, Louise Gwenneth Phillips, Alexandra Lasczik, and Alison L. Black. "Storymaking Belonging." Art/Research International: A Transdisciplinary Journal 4, no. 1 (February 27, 2019): 153–79. http://dx.doi.org/10.18432/ari29429.
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Sometimes data invites more of us. To be physically held and touched, through hands creating and crafting with matter, cultivating a closer connection to the fibres, threads, textures and sinews of data. Through touching and shaping the materiality of data, other beings, places and times are aroused. Here, we share the story of data that invited more of us and how this has spurred the creation of an exhibition titled Stories of Belonging with Indigenous and non-Indigenous artist/scholars for an arts festival in Queensland, Australia. This work by the collective, SISTAS Holding Space, deeply interrogates our ontological positionality as researchers, in particular what this means in the Australian context – a colonised nation populated through waves of migration. The scars of colonization, migration and shame are held and heard through Black and White Australian women creating and interrogating belonging alongside each other – listening and holding space for each other. We air the pains of ontological destruction, silencing, disconnection and emptiness. Through experimental making research methodology, we argue the primacy of storying and making, and for provoking resonant and entangled understandings of belonging and displacement.
Dissertations / Theses on the topic "Arts – Australia – Exhibitions"
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Farmer, Margaret Art College of Fine Arts UNSW. "Terra Alterius: land of another." Awarded by:University of New South Wales. School of Art, 2007. http://handle.unsw.edu.au/1959.4/29574.
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What would Australia be like if it had been recognised as terra alterius, ???land of another???, by the British, rather than claimed and treated as terra nullius, ???land of no-one???? This question was posed by the exhibition Terra Alterius: Land of Another, which comprised works by Gordon Bennett, Barbara Campbell-Allen, Julie Dowling, Shaun Gladwell + Michael Schiavello, Jonathan Jones, Joanne Searle, Esme Timbery, Freddie Timms, Lynette Wallworth, Guan Wei and Lena Yarinkura, created or nominated in response to the theme. This thesis describes the concept of terra alterius and the exhibition Terra Alterius: Land of Another. It considers the utility of the concept terra alterius, whether the exhibition achieved its ambition to explore the political and social terrain of a reconciled Australia, and, briefly, whether the concept of terra alterius might be useful to other ???terra nullius??? countries. It argues that the curatorial strategies ??? the ???What if???? re-imagination of Australia???s past, multiplicity of vision and active creation, grounding of the exhibition in affect (in response to Aboriginal painting), and working within Indigenous protocols ??? were effective, and that the exhibition was a useful means of exploring the relationships between Indigenous and non-Indigenous Australians. Comparisons with the exhibition Turn the Soil curated by Kevin Murray and the ???retrospective utopia??? W.H. Oliver argues has been created for New Zealand by the Waitangi Tribunal provide insight into the nature of the reconciled Australia presented in the exhibition and what might be achieved by a counterfactual exhibition. From these comparisons, it is argued, first, that the exhibition points to a disjuncture between Australia???s ongoing official, psychological and legal terra nullius and the approaches and relationships present in Australian society (characterised as a performance of Bloch???s utopian function); and secondly, that a counterfactual exhibition, because it is not bound to the factual, causal or narrative qualities traditionally attributed to history, is able to explore the future in a way that contains rather than denies the past. Although the concept of terra alterius is seen as having played a crucial role in the realisation of the exhibition, it is questioned whether the concept???s utility extends beyond Australia.
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Souliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.
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Cette thèse explore l’influence artistique et culturelle de la Grande-Bretagne en Australie, ou les caractéristiques britanniques de l’identité australienne, depuis les années suivant la fin de la Première Guerre Mondiale jusqu’à 1941. La culture australienne de cette période a souvent été décrite comme isolée, voire même « en quarantaine », caractérisée par son acceptation tardive du modernisme. Bien qu’à cette époque la Grande-Bretagne accorde davantage d’indépendance et d’autonomie à ses dominions, l’Australie cherche à maintenir des liens culturels et impériaux en s’identifiant exclusivement à la Grande-Bretagne. Ainsi, pendant cette période, la majorité des Australiens considèrent toujours l’Angleterre comme mère patrie et Londres attire de nombreux artistes australiens expatriés. Pour reprendre les termes de Daniel Thomas, historien de l’art australien, l’Australie développe une identité culturelle dite « bi-hémisphérique Anglo-australienne », imprégnée de nationalisme, de conservatisme et de valeurs patriarcales. Cette thèse examine les échanges artistiques entre l’Australie et la Grande-Bretagne pendant les années 1920 et 1930 et met en lumière les complexités de l’identification culturelle. Elle considère tout particulièrement le fait que l’historiographie nationaliste de l’art australien a passé sous silence le rôle joué par les femmes dans la construction de l’identité nationale et dans la définition d’un art australien. A travers l’analyse des collections nationales d’art britannique et les mécanismes de circulation de l’art moderne britannique en Australie, cette thèse met en avant la dualité de l’identité culturelle australienne et la marginalisation des femmes, non seulement en tant qu’artistes mais aussi en tant que défenseuses culturelles. En mettant l’accent sur l’expérience d’expatriés australiens en Angleterre et comment ceux-ci cherchent à s’intégrer à la scène artistique britannique, cette thèse rend compte de l’importance de l’expatriation en tant que concept contribuant aux historiographies de l’art en Grande-Bretagne et en Australie. Enfin, cette thèse conceptualise le travail de deux Australiennes expatriées, Edith May Fry et Clarice Zander, qui, en tant qu’organisatrices d’expositions, ont considérablement contribué à la dissémination du modernisme en Australie et à la définition de l’identité culturelle australienne pendant l’entre-deux-guerres. L’enjeu de cette thèse est de démontrer les mécanismes qui ont permis à l’Australie de représenter sa propre identité à travers l’art tout en continuant à s’identifier à la Grande-BretagneThis thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
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Ryan, Louise Frances Art History & Art Education College of Fine Arts UNSW. "Forging diplomacy: a socio-cultural investigation of the Carnegie Corporation of New York and the "Art of Australia 1788-1941" exhibition." 2007. http://handle.unsw.edu.au/1959.4/43085.
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The study is an historical investigation exploring the impact of the Carnegie Corporation's philanthropic cultural and educational activities in North America and Australia during the 1940s. The author examines the Carnegie's formation of public values and perceptions using cultural and aesthetic material in order to transmit American ideological ideals with the goal of influencing Australian, Canadian and USA cultural norms. The principal case examined in the paper is the "Art of Australia 1788-1941" exhibition, which toured the USA and Canada during 1941-42. Scrutiny of the exhibition uncovers the role it played in alliance building and the promotion of a range of cultural and political agendas. The investigation deploys a theoretical framework derived from the writings of Tony Bennett. The framework takes the form of a matrix that uses concepts of institutionalized agencies/power and individual agencies/knowledge detailed in a nine-cell matrix composed of propositional statements under the intersecting categories of culture, technologies, ethics, zones, objects, and visualization. The "Art of Australia" Exhibition is a paradigmatic case of the instrumental, cultural application of exhibitions in the interest of the state, using government and non-government, public and private organizations as intermediaries. The analysis reveals the existence of diverse agendas and power/knowledge relationships between governments, corporations and the exhibition. This account highlights the museum as a significant arena for establishing and legitimating social norms and practices whilst steering cultural values. Such actions sponsored by government and entrepreneurial philanthropy are analyzed and interpreted as an early instance of building civic values and promoting the public belief in shared national identity. In this sense the investigation explores the educational mission of the museum and it's supporting agencies in the broadest public context.
Books on the topic "Arts – Australia – Exhibitions"
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Thompson, Judith. Crafts of South Australia: The first hundred years. Adelaide: Art Gallery of South Australia, 1986.
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Art Gallery of South Australia, ed. Inspired design: European and North American decorative arts from the Art Gallery of South Australia. Adelaide: Art Gallery of South Australia, 2011.
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Australia, National Gallery of, ed. Material culture: Aspects of contemporary Australian craft and design. Canberra, ACT: National Gallery of Australia, 2002.
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Reason, Robert. Bravura: 21st century Australian craft : incorporating the Maude-Vizard Wholohan Art Prize Purchase Awards. Adelaide: Art Gallery of South Australia, 2009.
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Murphy, Catherine. See saw: Exploring the balance in rural Australia between Aborigines and Anglo-Europeans using Community Cultural Development (CCD) practice and process. Edited by Sleep Bronwyn Coleman and McInerney Kunyi June Anne. Ceduna, S. Aust: C. Murphy, 1998.
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E, Osborne Milton, and Powerhouse Museum, eds. Arts of Southeast Asia: From the Powerhouse Museum collection. Sydney: Powerhouse Pub., 2001.
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Art Gallery of South Australia, ed. Morris & Co. Adelaide: Art Gallery of South Australia, 2002.
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Menz, Christopher. Morris & Co. Adelaide: Art Gallery of South Australia, 2002.
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Heleanor, Feltham, and Powerhouse Museum, eds. Beyond the Silk Road: Arts of Central Asia from the Power House Museum collection. Haymarket, Australia: Powerhouse Pub., 1999.
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1954-, Dufour Gary, ed. State art collection: Art Gallery of Western Australia. [Perth], W.A: The Gallery, 1997.
Find full textBook chapters on the topic "Arts – Australia – Exhibitions"
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Roberts, Rhoda. "The Modernity of the Songlines." In Transforming Ethnomusicology Volume II, 126–32. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0008.
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Aboriginal Australia is facing a time like no other. This chapter reflects on our ever-adapting culture, as we are lamenting the passing of our cultural custodians, each of whom is a library of profound knowledge. It articulates how a global groundswell of creative work, controlled and created from an Aboriginal and/or first peoples perspective, works to retain language and revitalize ritual forms. Our creative practices have enabled Indigenous arts industry workers across all genres a relevant voice, better employment prospects, community outcomes, and, most important, the control of how we are perceived. Viewers of museum exhibitions now have more awareness of the sophisticated and complex societal structures we have developed and lived for thousands of years. But what of the continuing cultural obligations and clan/nation responsibility, the cultural inheritance of the oldest living race? While the author believes it is vital for the next generations of first peoples to build bridges, develop indigenous capacity, generate employment, and ensure the health and well-being of their communities, she asks how we are ensuring our youth are experiencing the old ways of traditional, intergenerational knowledge transmission, and how relevant we consider it in the twenty-first century.
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Carroll, Alison. "People and Partnership: An Australian Model for International Arts Exchanges — The Asialink Arts Program, 1990–2010." In Contemporary Asian Art and Exhibitions: Connectivities and World-making. ANU Press, 2014. http://dx.doi.org/10.22459/caae.11.2014.11.
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Paitz, Kendra, Judith Briggs, Kara Lomasney, and Adrielle Schneider. "Juan Angel Chávez's Winded Rainbow." In Advances in Media, Entertainment, and the Arts, 224–43. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1665-1.ch013.
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This chapter outlines the manner in which the work of Chicago-based artist Juan Angel Chávez was exhibited at a university art gallery and served as the platform for an educational outreach program that investigated issues of immigration, place, language, materiality, and environmental sustainability within a global culture. Working closely with both an Associate Professor of Art Education and the gallery's Senior Curator, two graduate teacher candidates in Art Education generated student-initiated learning experiences based on a model of curriculum creation developed and taught by visual arts educators in New South Wales (NSW), Australia. The curator and graduate students implemented a local arts grant that enabled groups from secondary schools and a homeschool program to tour the gallery's exhibition of Chávez's work, participate in workshops in their classrooms, and exhibit their own artwork at the gallery.
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Lo, Jacqueline. "Australia’s Other Asia in the Asian Century." In Contemporary Asian Art and Exhibitions: Connectivities and World-making. ANU Press, 2014. http://dx.doi.org/10.22459/caae.11.2014.12.
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Gorchakova, Valentina. "Event Portfolios and Cultural Exhibitions in Canberra and Melbourne." In Event Portfolio Management. Goodfellow Publishers, 2019. http://dx.doi.org/10.23912/978-1-911396-91-8-4204.
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The sustainable development of an event portfolio requires a synergy between the different types of events included in it. The pool of events that are commonly used by city event planners and destination marketers usually revolve around major sport events, cultural festivals and celebrations, and world trade expositions. Some cities, however, also attract and stage international touring exhibitions that bring together a collection of rare art works, significant cultural objects, or memorabilia to tour a limited number of destinations. In this chapter, major events such as international touring exhibitions will be explored as key components of portfolios of events in Canberra and Melbourne. The chapter discusses the different ways event and tourism planners in Canberra and Melbourne have been approaching major touring exhibitions, and the specific roles these events can play in delivering a balanced and successful portfolio. It will be demonstrated that the decision making around events and event portfolio composition needs to be considered within a wider context, in the light of the city’s geography and demographics, as well as political, social and cultural factors. An exploratory qualitative research was conducted in Canberra and Melbourne, Australia. The primary data was collected from 12 semi-structured interviews with managers and executives in tourism and major events planning in both cities, as well as managers and curators of the cultural institutions that had hosted major touring exhibitions. The secondary data included a range of documents pertinent to the cities’ tourism and major events policy and strategy, existing research about touring exhibitions, and websites and articles in the mass media. In the chapter, examples of past major exhibitions are given.
Conference papers on the topic "Arts – Australia – Exhibitions"
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Chun Wai, Wilson Yeung, and Estefanía Salas Llopis. "THE SPACE BETWEEN US." In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.
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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.