Relevant bibliographies by topics / Australian Exhibitions

Academic literature on the topic 'Australian Exhibitions'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Australian Exhibitions.'

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

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

Journal articles on the topic "Australian Exhibitions"

1

Rey, Una. "Australian Art Exhibitions: Opening Our Eyes." Australian and New Zealand Journal of Art 19, no. 2 (July 3, 2019): 260–62. http://dx.doi.org/10.1080/14434318.2019.1675572.

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

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
3

Edwards, Rob. "Colonialism and the Role of the Local Show: A Case Study of the Gympie District Show, 1877–1940." Queensland Review 16, no. 2 (July 2009): 29–41. http://dx.doi.org/10.1017/s1321816600005092.

Full text
Abstract:
Agricultural shows are important events in rural and regional Australia. For over a century, they have often been the main annual festival on any given town's calendar. This importance makes the lack of scholarly attention to rural and regional shows puzzling. Recently, Australian exhibitions and agricultural shows have come in for some very welcome scholarly attention, although very little has been written about rural and regional events. Scholars such as Kate Darian-Smith and Sara Wills, Joanne Scott and Ross Laurie, Judith McKay, and Kay Anderson have all written on exhibitions and shows – although, of this group, only Darian-Smith and Wills have written on rural shows, the rest focusing more on inter-colonial and metropolitan Australian shows. Even Richard Waterhouse's groundbreaking study of rural Australian cultural history, The Vision Splendid, provides little detail on agricultural shows and their role in rural cultural life, although the show's importance is recognised.
APA, Harvard, Vancouver, ISO, and other styles
4

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
5

Perry, Barbara. "The Pictorial Collection of the National Library of Australia." Art Libraries Journal 13, no. 1 (1988): 23–25. http://dx.doi.org/10.1017/s0307472200005526.

Full text
Abstract:
The National Library of Australia at Canberra includes a Pictorial Collection comprising paintings, drawings, prints and photographs which illustrate the history of Australia. The Collection is being actively developed, the ultimate goal being a comprehensive visual record of all aspects of Australian life. The Collection is open to the public, and is served by a photographic unit; a selection of pictures are always on display, and items are lent to exhibitions elsewhere. A publications programme is to culminate in the production of an illustrated catalogue. Data on selected items in the Collection is being entered into the Australian Bibliographic Network database.
APA, Harvard, Vancouver, ISO, and other styles
6

Young, Diana. "Review Essay: On Materiality—A Review of Two Australian Exhibitions." Museum Anthropology 29, no. 2 (September 2006): 133–39. http://dx.doi.org/10.1525/mua.2006.29.2.133.

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

Shaw, Margaret. "AARTI: Australian Art Index." Art Libraries Journal 11, no. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.

Full text
Abstract:
The Australian Art Index, AARTI, is one of a group of data bases within the Ausinet network which will, between them, cover contemporary Australian art and architecture on a national basis. National coverage is possible because of the small size of the Australian population, the existence of people prepared to take on the task with managements to back them and the availability of a network with the flexibility to take data in a wide range of formats. AARTI contains records of four types: monographs, journal articles, exhibitions and artists’ profiles. By April 1985 it contained some 9,500 records available online with a microfiche alternative for non-Ausinet members.
APA, Harvard, Vancouver, ISO, and other styles
8

Hassam, Andrew. "Indian Jute in Australian Collections: Forgetting and Recollecting Transnational Networks." Public History Review 18 (December 31, 2011): 108–28. http://dx.doi.org/10.5130/phrj.v18i0.2268.

Full text
Abstract:
Indian jute sacking played an essential role in Australian life for over 150 years, yet its contribution to Australian development and its Indian origins have been barely recognised in Australian public collections. What has Australian history gained by this erasing of jute from public memory? Wool, sugar and hop sacks are displayed in public collections as evidence of an Australian national story, but their national dimension depends on the cultural invisibility of jute and jute’s connections to the stories of other communities in other places. Developing an awareness of the contribution of Indian jute to the development of Australia requires an awareness not simply that jute comes from India but that the construction of national identity by collecting institutions relies on forgetting those transnational connections evident in their own collections. Where jute sacks have been preserved, it is because they are invested with memories of a collective way of life, yet in attempting to speak on behalf of the nation, the public museum denies more multidimensional models of cultural identity that are less linear and less place-based. If Indian jute is to be acknowledged as part of ‘the Australian story’, the concept of an Australian story must change and exhibitions need to explore, rather than ignore, transnational networks.
APA, Harvard, Vancouver, ISO, and other styles
9

Hoffenberg, Peter H. "Nineteenth-Century Australian Scientists and the Unholy Australian Trinity: Overcoming Distance, Exile and Wandering at Exhibitions." British Scholar 2, no. 2 (March 2010): 227–53. http://dx.doi.org/10.3366/brs.2010.0204.

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

Hoffenberg, Peter H. "Nineteenth-Century Australian Scientists and the Unholy Australian Trinity: Overcoming Distance, Exile and Wandering at Exhibitions." Britain and the World 2, no. 2 (March 2010): 227–53. http://dx.doi.org/10.3366/brw.2010.0204.

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

Dissertations / Theses on the topic "Australian Exhibitions"

1

McCormack, Bernadette. "Blockbustering Australian style: Evolution of the blockbuster exhibition in Australian museums." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/200164/1/Bernadette_McCormack_Thesis.pdf.

Full text
Abstract:
This research critically evaluates the development of the blockbuster exhibition within an Australian museum context. Drawing on semi-structured interviews, reflective practice, and critical historiography, this research argues that current iterations of the blockbuster genre have given rise to a new ecology of 'attractor' exhibitions that are fundamental to visitor engagement strategies in the 21st century Australian museum. These findings are then operationalised in a practical field guide for the implementation of blockbuster exhibitions, providing new knowledge for the Australian museum practitioner to employ in contemporary industry practice.
APA, Harvard, Vancouver, ISO, and other styles
2

Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." University of Sydney, 2005. http://hdl.handle.net/2123/1098.

Full text
Abstract:
Master of Visual Arts
The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
APA, Harvard, Vancouver, ISO, and other styles
3

McKenzie, Anna, and n/a. "An Investment in Being Human EXPLORING YEAR 9 STUDENT EXHIBITIONS AN ACT CASE STUDY." University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20081216.140527.

Full text
Abstract:
ACT Year 9 Exhibitions Program aligns curriculum, pedagogy and assessment in the design and implementation of rich learning tasks, which are focussed on transdisciplinary, problem-based, community-centred issues. It provides an authentic assessment model through a panel assessment process of demonstrated student achievement. This case study research examines the uptake of an Exhibitions approach in three ACT high schools. It discovers, through their own telling, what inspires commitment by participants to the program and the ways that they measure success. The study draws on a rich data set of narrative inquiry and semi-structured interviews with teachers and students from the case study schools. Analysis of the 'lived experiences' of the participants indicates that how individuals profit by the program is determined by five critical factors which are realized differently for them. Further, for the Year 9 Student Exhibitions Program to succeed in meeting its goals of providing for teacher renewal and improved student learning outcomes, and of promoting high school reform, certain conditions must prevail. These conditions converge around the support afforded teachers to build their capacity for curriculum and pedagogical change, and the opportunities for engagement and agency of both teachers and students in the design of the Exhibition task and its implementation. This study investigates the realities of implementing change in schools and its findings augment what theorists would predict for school change. It indicates that the extent to which Exhibitions can drive a wedge into the 'business-as-usual' approach of the ACT's more traditional high schools, and provide an alternative view of what it means to educate for the 21st century, depends ultimately upon the human and structural conditions created in the school, and the authenticity of the approach to uptake. This study contains important recommendations for government and education systems alike as they pursue school change.
APA, Harvard, Vancouver, ISO, and other styles
4

Orr, Kirsten School of Architecture UNSW. "A force for Federation: international exhibitions and the formation of Australian ethos (1851-1901)." Awarded by:University of New South Wales. School of Architecture, 2006. http://handle.unsw.edu.au/1959.4/23987.

Full text
Abstract:
In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.
APA, Harvard, Vancouver, ISO, and other styles
5

Murphy, Rachael. "Exhibiting Indigenous Australian collections in the UK." Thesis, University of East Anglia, 2017. https://ueaeprints.uea.ac.uk/67831/.

Full text
Abstract:
This thesis asks: what are the uses and meanings of Indigenous Australian collections in the UK today? This question is approached through a comprehensive analysis of one exhibition, Indigenous Australia: enduring civilisation, which took place at the British Museum (BM), London, from 23 April to 2 August, 2015. Each chapter considers a different stage of the exhibition’s development and reception. It begins in Chapter 2. Genealogy with a study of how the exhibition emerged from the longer history of collecting and displaying Indigenous Australian material at the BM. It then interrogates the aims and experiences of the people who made Indigenous Australia in Chapter 3. Production. Chapter 4. Text analyses the finished display and, Chapter 5. Consumption, evaluates how the exhibition was received by its audiences. Each chapter considers not only how the exhibition was experienced by the people involved, but also how their aims and understandings relate to broader debates about the role of colonial era collections in contemporary Western societies.
APA, Harvard, Vancouver, ISO, and other styles
6

O'Carroll, Anthony Terrrence Art College of Fine Arts UNSW. "'The history of matter painting in Australia'." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/40467.

Full text
Abstract:
The Master of Fine Art document examines the inception of Matter Painting as it occurred in Europe and it's following in Australia. This document recalls the history and process of this late assimilation through examining the development of abstraction in Australia and the local receptiveness of influence from abroad. Within a climate of increased immigration and international awareness, Matter Painting was encountered by an initiated few. This history firstly begins with practitioners that were not in locale but rather overseas who were in close proximity to the centre of such avant-garde. It is not until the artist and critic Elwyn Lynn returns from his seminal overseas travels in 1959 and his first showing of "Matter" painting's in 1960 that Matter Painting in Australia gathered momentum. Discussed within this document is the history of this movement, the impact that it had on local practitioners and the relevance that it has played within my practice.
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
8

Berryman, James (Jim) Thomas. "From field to fieldwork : the exhibition catalogue and art history in Australia." Phd thesis, Canberra, ACT : The Australian National University, 2005. http://hdl.handle.net/1885/9528.

Full text
Abstract:
This thesis examines the transformation of the exhibition catalogue in Australia, from modest exhibition documentation to autonomous publication. This discussion is largely confined to exhibition catalogues produced by Australia's public galleries between approximately1965-2002. The thesis considers why the exhibition catalogue experienced such a dramatic change in such a relatively short period. The thesis reveals how catalogues are shaped by the internal tensions and external pressures experienced by art institutions as their roles and responsibilities change over time. During the period in question, catalogues have kept track of developments in art history by experimenting with changing curatorial fashions and critical approaches. Viewed as a time series, the exhibition catalogue reveals subtle and significant clues about art in its changing institutional setting. The thesis explores the professionalisation of the public gallery network, the nexus between academic art history and the museum, and pressures affecting the management of exhibitions in Australia. Each of these factors has influenced the development of the exhibition catalogue. It is shown how catalogues possess a multiplicity of values, which are often contradictory, and how these values determine the catalogue's practical, commemorative and informative functions. To better understand the relationship between the art museum and the contexts and discourses within which art is produced and disseminated for critical appraisal, this thesis will draw upon a body of theoretical literature broadly known as the sociology of art. The work of Pierre Bourdieu provides a general theoretical framework. Methodologically, the thesis is qualitative. The massive proliferation of exhibition catalogues in Australia since the mid-1970s has meant that the samples examined are broadly representative. In this respect, the thesis has followed the examples of earlier, though less comprehensive, studies from abroad.
APA, Harvard, Vancouver, ISO, and other styles
9

Nykiel, Annette. "meeting place An exhibition – and – locating the Country: an Australian bricoleuse’s inquiry An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2100.

Full text
Abstract:
This practice-led PhD research investigated alternate forms of articulation to relate stories of place-making, as narrative or object, and added threads to the complex meshwork and herstory of the Country. The research was conducted in ‘The Country’, of the north-eastern Goldfields and Yalgorup Lakes in Western Australia. These two non-urban sites provided unique experiences of the bush, local people’s stories and understandings of time. The research investigated the implications of non-urban spaces as studios in relation to the concepts of place, time and narrative. This research was, in part, experiential and drew on an absorbed embodied awareness of notions of the Country (a place). This was embedded in an ethical onto-epistemology, through the process of piecing together bricolages of seemingly unrelated fragments of methods, conceptual frameworks and materials in simple and complex ways. In making and thinking, gleaned, recycled and repurposed bits and pieces were gathered and utilised during nomadic wayfaring. The research drew on ideas pertaining to wayfaring and yarning, ‘mapping’ and experiencing the Country through the multi-faceted lenses of the bricoleuse, the geoscientist, the maker and the artsworker. Experiencing the materiality of the Country was a spatial, kinaesthetic and tactile engagement over long periods of time in the midst of the social, physical, material and biotic elements of specific ‘places’. Narratives and artworks emerged from piecing together pre-used fragments into textiles, then curated to form assemblages in built environments, and at the non-urban sites. Collective gatherings of people making, and sharing were facilitated as part of my practice. Yarning about and creatively mapping, these situated experiences in place, aimed to encourage connections and collaborative understanding between the city and the Country. This research contributes to the value and importance of using non-urban spaces both as sustainable sources of material for artwork and as studios. A bricoleuse’s approach to field-based/practice-led research contributes a relational, conceptual and methodological approach to creative arts, and to collaborative and interdisciplinary research frameworks.
APA, Harvard, Vancouver, ISO, and other styles
10

Maule, Linda J. "An exploratory study of exhibitionism amongst adult men in Perth: a qualitative perspective as a guide for treatment." Thesis, Curtin University, 2000. http://hdl.handle.net/20.500.11937/1690.

Full text
Abstract:
The aim of this research is to talk to a sample of exhibitionists who are currently under the supervision of the Ministry of Justice (MOJ) in Perth, Western Australia in order to ascertain whether current treatment approaches used within the MOJ are the most effective and appropriate for this group of sex offenders. It was considered that the most effective research method would be a qualitative approach in order to gain insight into the offender's understanding of their offending behaviour and to attempt to identify their areas of treatment need. Through personal observations in working with exhibitionists and supported by the literature, an interview schedule was developed to combine a detailed social history with questions on communication, childhood issues, father issues and stress. Twenty voluntary participants were interviewed, having been accessed through the correctional community and prison environments. The objectives were (1) To identify any categories of exhibitionists and therefore better utilise treatment resources, (2) To identify the role of stress and communication deficits in offending behaviour of exhibitionists, (3) To determine whether exhibitionists would be more effectively treated within their own discrete population or with other types of sex offenders and (4) To identify a more appropriate treatment model. Another area of interest which was not specifically focussed on was whether findings would emerge which could predict which exhibitionists would progress to more serious sexual offending.The study found 3 categories of exhibitionist (1) Adolescent Onset Career Exhibitionists, (2) Adult Onset Career Exhibitionists and (3) Situational Response Exhibitionists. Whilst the first 2 categories contained participants whose offending was entrenched once commenced, either in early adolescence or adulthood, the latter group appeared to offend as a specific response to a life crisis. Further, findings indicated that there were 3 levels of communication deficits ranging from poor communication (65% of participants) to an inability to express negatively perceived emotions such as sadness or fear. All but one participant experienced high levels of stress and had difficulty coping with their symptoms. Again, all but one participant expressed unsatisfactory relationships with their fathers ranging from abandonment to emotional distance and 50% of the participants experienced physical, sexual and/or emotional abuse.A model of treatment was recommended which allowed for increased flexibility, allowing resources to be focussed on those offenders with the highest need. Further recommendations included increased liaison with the courts and Community Corrections in order to facilitate a more integrated approach to the client. It was also considered that exhibitionists should continue working within groups which contained other types of sex offenders.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Australian Exhibitions"

1

Kate, Darian-Smith, and Monash University ePress, eds. Seize the day: Exhibitions, Australia and the world. Clayton, Vic: Monash University ePress, 2008.

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

Ludwig, Museum, ed. Remembering forward: Australian aboriginal painting since 1960. Cologne: Museum Ludwig, 2010.

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

Museum, South Australian, ed. Australasian nature photography: ANZANG seventh collection : South Australian Museum. Collingwood, Vic: CSIRO, 2010.

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

Faigan, Julian. Uncommon Australians: Towards an Australian portrait gallery. Sydney, N.S.W., Australia: Art Exhibitions Australia, 1992.

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

O'Callaghan, Judith. Treasures from Australian churches. Edited by National Gallery of Victoria. Melbourne: National Gallery of Victoria, 1985.

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

Natasha, Bullock, Glass-Kantor Alexie, Art Gallery of South Australia, and Adelaide Festival of Arts (27th : 2012), eds. Parallel collisions: 2012 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide Festival. Adelaide, S. Aust: Art Gallery of South Australia, 2012.

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

National Sculpture Prize & exhibition 2005. [Canberra]: National Gallery of Australia, 2005.

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

Seeto, Aaron. Primavera 06: Exhibition by young Australian artists. Sydney: Museum of Contemporary Art, 2006.

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

Denise Green: An artist's odyssey. South Yarra, Vic: Macmillan Art Pub., 2012.

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

Dixon, Terry. Colonial character: Nineteenth century Australian furniture. Ballarat, Vic: Ballarat Fine Art Gallery, 1995.

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

Book chapters on the topic "Australian Exhibitions"

1

Lawrenson, Anna, and Chiara O’Reilly. "Scholarship and the exportation of Australian exhibitions." In The Rise of the Must-See Exhibition, 166–90. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315597119-8.

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

Cooke, Steven. "Exhibitions, healing and sharing the stories of Australian veterans." In Archaeology, Heritage, and Wellbeing, 88–102. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003182184-8.

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

Boyd, Candice P. "The Engaging Youth in Regional Australia (EYRA) Study." In Exhibiting Creative Geographies, 15–29. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6752-8_2.

Full text
Abstract:
AbstractIn this chapter, Boyd summarises the Engaging Youth in Regional Australia (EYRA) Study whose findings formed the basis of the touring art exhibition called ‘Finding Home’. Rooted in placed-based understandings of youth belonging and well-being, the study sought to challenge some of the long-standing assumptions about young people’s internal migration decisions in regional Australia. Specifically, the study’s findings support an enhanced understanding of regional youth engagement that takes into account the affective and material dimensions of young people’s relationships with regional places.
APA, Harvard, Vancouver, ISO, and other styles
4

Stevens, Kirsten. "Growth and Change: Curator-Led Festivals, Fragmenting Audiences, and Shifting Film Exhibition Cultures." In Australian Film Festivals, 47–77. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_3.

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

Boyd, Candice P. "Creating the ‘Finding Home’ Exhibition." In Exhibiting Creative Geographies, 31–64. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6752-8_3.

Full text
Abstract:
AbstractAfter considering the nature and role of creative co-production in research contexts, Boyd describes the processes involved in producing artworks for the ‘Finding Home’ exhibition based on research findings from the Engaging Youth in Regional Australia (EYRA) Study. Commencing with work produced by some of the study’s participants, Boyd moves on to discuss the commissioning of a set of textile works and a contemporary Aboriginal artwork for the exhibition. The chapter is interwoven with a description of Boyd’s own artworks as an artist-geographer, produced in response but also in sympathy with the rest of the exhibition as it emerged. The chapter concludes with some first-hand reflections on curating a research exhibition.
APA, Harvard, Vancouver, ISO, and other styles
6

Lydon, Jane. "Happy Families: Unesco’s Human Rights Exhibition in Australia, 1951." In Photography, Humanitarianism, Empire, 117–31. London; New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing, Pl, [2016] | Series: Photography, history: Routledge, 2020. http://dx.doi.org/10.4324/9781003103813-7.

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

Bandyopadhyay, Deb Narayan. "Displaying the Transnational Imaginary: Calcutta International Exhibition (1883) and the Victorian Court." In Transnational Spaces of India and Australia, 17–33. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-81325-3_2.

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

Haag, Oliver. "Post-colonial Narratives of Australian Indigeneity in Austria: The Essl Exhibition on Contemporary Indigenous Australian Art." In German-Australian Encounters and Cultural Transfers, 161–77. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6599-6_11.

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

Aveyard, Karina. "The Social Geography of ‘Going Out’: Teenagers and Community Cinema in Rural Australia." In Rural Cinema Exhibition and Audiences in a Global Context, 171–83. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66344-9_10.

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

Hoffenberg, Peter H. "‘A Science of Our Own’: Nineteenth Century Exhibitions, Australians and the History of Science." In Science and Empire, 110–39. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230320826_6.

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

Conference papers on the topic "Australian Exhibitions"

1

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.

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

Day, Kristen, and Erin Campbell. "Four Melbourne Architects (1979): The Creation of Contemporary Perceptions for Australian Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3994pszy5.

Full text
Abstract:
In 1979, Peter Corrigan conceived the idea for the ‘Four Melbourne Architects’ exhibition to be held at South Yarra’s Powell Street Gallery. Corrigan led the charge to draw a line between a new generation of architectural practitioners with a fresh design agenda and the conservative practices represented by the Royal Australian Institute of Architects (RAIA). This exhibition, along with the establishment of the Half Time Club and the launch of Transition Magazine, provided platforms for a lively and vigorous profession. The ‘Four Melbourne Architects’—Greg Burgess, Peter Crone, Norman Day and Edmond and Corrigan—were diverse in their approach to architectural design yet shared common concerns of the post-Whitlam generation. The research for this paper examines the documentation between the four architects as they prepared their exhibition, recording the projects exhibited, along with critical reviews of the exhibition. Interviews have been undertaken with the surviving architects involved and people who attended the exhibition. Four Melbourne Architects was the first of many exhibitions during that period, which became one of many vehicles for public engagement with early postmodernism and those creating it, where collaboration, inclusion, and connectivity informed designers. That process activated a search for a contemporary Australian identity leading to the development of the ‘Melbourne School’.
APA, Harvard, Vancouver, ISO, and other styles
3

Kokkoni, Panayiotis Peter, and Alizera Salmachi. "Analysis of South Australian Onshore Oil & Gas Well Decommissioning and Potential Impact on Regulatory Compliance, Environmental and Corporate Risk — Unified Risk Code." In SPE/IATMI Asia Pacific Oil & Gas Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205762-ms.

Full text
Abstract:
The Cooper/Eromanga Basin is in central Australia and has been the focal point for oil and gas exploration and development in South Australia since the first commercial hydrocarbon discovery in 1963. In the years and decades following, thousands of subsequent wells have been drilled. The CE Basin spans across four states and territories covering an area ~35,000km2. The concentration of South Australian wells is situated in the Northeast of the state and sparsely concentrated in a 300km × 500km area (Figure 1) with the wells in this area being the focus of this research study. Well decommissioning commonly referred to as Plug and Abandonment (P&A) aims to restore the natural integrity of geological formations that existed prior to drilling. It is a mandatory requirement for all wells and must account for the effects of any foreseeable chemical and geological processes from an eternal standpoint. The minimum requirement for abandonment of the South Australian wells is governed by Objective 6 Cooper Basin State Environmental Objectives (SEO): Drilling, Completions and Well Operations, November 2015 guidelines, which provides the compliance criteria for appropriate barrier installation and verification. Well complexity is determined by the difficulty in achieving this minimum compliance requirement based on available data of well conditions, simplified in the form of a risk code.
APA, Harvard, Vancouver, ISO, and other styles
4

Smith, P., and W. Biggs. "Securing interoperable and integrated command and control of unmanned systems – building on the successes of Unmanned Warrior." In 14th International Naval Engineering Conference and Exhibition. IMarEST, 2018. http://dx.doi.org/10.24868/issn.2515-818x.2018.066.

Full text
Abstract:
The objective of more complete integration of unmanned vehicles into maritime command and control systems has been set out in previous papers, as has the progress made through the MAPLE (Maritime Autonomous Platform Exploitation) and the demonstrations undertaken at Unmanned Warrior in 2016. This paper details the significant progress that has subsequently been achieved in the fourth phase of MAPLE, in the run up to a further set of demonstrations in Australia in late 2018. Using a comprehensive synthetic environment and a process of iterative development, the ACER (Autonomy Control Exploitation and Realisation) demonstrator is being updated to include new functionality that closes gaps in the MAPLE visionary Persistent Architecture (PA). Specifically this will introduce enhanced Situational Awareness for the operator during Mission Execution, providing details of UxV asset and payload status. Additional functionality will also provide Payload control. Summarising these developments and outlining their significance, the paper will give illustrations of potential applications. Ahead of the Australian Wizard of Aus demonstrations, under the multinational technology co-operation programme (TTCP) and part of Autonomous Warrior, the MAPLE team will further support the STANAG 4586 interface and will undertake derisking work in preparation for the integration of TTCP vehicles provided by Australia, New Zealand and the US. The paper outlines the relevance of this development and how it will be utilised in the Australian demonstration. Finally, the paper will look forward to the developments planned in both future phase of MAPLE and under QinetiQ’s participation with the multinational EU Ocean 2020 programme.
APA, Harvard, Vancouver, ISO, and other styles
5

Paay, Jeni, Nathalie Karzel, Pedro Gonzales, and Po-Yu Chiu. "Online Codesign Activities to Co-create a ‘Loneliness’ Exhibition." In OzCHI '20: 32nd Australian Conference on Human-Computer-Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3441000.3441011.

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

Barzi, Mohammad, and Ewen Siu Ming Sze. "Optimising the Jansz-Io Trunkline Next Project Using Integrated Production Modelling." In SPE Asia Pacific Oil & Gas Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/210655-ms.

Full text
Abstract:
Abstract The Chevron-operated Gorgon asset is the largest single resource project in Australia, with a portfolio of offshore gas fields to supply gas via two trunklines (Gorgon and Jansz-Io) to a three-train, 15.6 MTPA LNG plant and a 300 TJ/D domestic gas plant on Barrow Island. Gorgon will be a legacy project, with decades of production anticipated from the development of backfill fields gas resources. To realise the value of the asset, it is critical to select the right projects and execute them at the right time. Greater Gorgon Integrated Production Modelling (IPM) has been developed by Chevron Australia's gas supply team on behalf of the Gorgon Joint Venture (Australian Subsidiaries of Chevron, ExxonMobil, Shell, Osaka Gas, Tokyo Gas and JERA) to specifically enable optimisation of both the subsurface and surface value chain. It integrates reservoirs, wells, and subsea production networks to enable rigorous assessment of various portfolio-level development and planning scenarios. The focus of this paper is on the Jansz-Io trunkline, which is initially supplied by the massive depletion drive Jansz-Io field, and the key decision of how to maintain production post development of the Gorgon Stage 2 (GS2) project. To inform this key decision, extensive evaluation was conducted using coupled INTERSECT (IX) IPM model to assess Jansz-Io Compression (J-IC) concepts (floating platform vs subsea compression). The IX-IPM model includes either detailed IX dynamic simulation or simplified material balance (MBAL) reservoirs, and a detailed production system that captures the full pressure hydraulics and their complex interactions. Using this IX-IPM model, a systematic staircase approach was applied, starting with a minimum facility concept, before sequentially adding more functionalities (power, capacity, phasing and backfill fields tie-in) and quantifying their incremental benefits. This enabled comprehensive understanding of the compression model's pressure hydraulic performance and various value trade-offs at each step. A fit-for-purpose, fixed power compression model was implemented to commence the staircase assessment. Once subsea compression was selected, and as the assessment matured, vendor compressor performance curves were adopted for more rigorous modelling. Overall, the Greater Gorgon coupled IX-IPM model has proved to be invaluable in the assessment of the J-IC concept select and supported the Final Investment Decision (FID) on J-IC in 2021. The coupled IX-IPM model is continually refined with greater engineering resolution and additional production history to support the wider Gorgon asset decisions.
APA, Harvard, Vancouver, ISO, and other styles
7

Bai, Huidong, Gun Lee, and Mark Billinghurst. "Free-hand Gesture Interfaces for an Augmented Exhibition Podium." In OzCHI '15: The Annual Meeting of the Australian Special Interest Group for Computer Human Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2838739.2838799.

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

Gardiner, Fiona. "Yes, You Can Be an Architect and a Woman!’ Women in Architecture: Queensland 1982-1989." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4001phps8.

Full text
Abstract:
From the 1970s social and political changes in Australia and the burgeoning feminist movement were challenging established power relationships and hierarchies. This paper explores how in the 1980s groups of women architects actively took positions that were outside the established professional mainstream. A 1982 seminar at the University of Queensland galvanised women in Brisbane to form the Association of Women Architects, Town Planners and Landscape Architects. Formally founded the association was multi-disciplinary and not affiliated with the established bodies. Its aims included promoting women and working to reform the practice of these professions. While predominately made up of architects, the group never became part of the Royal Australian Institutes of Architects, it did inject itself into its activities, spectacularly sponsoring the Indian architect Revathi Kamath to speak at the 1984 RAIA. For five years the group was active organising talks, speakers, a newsletter and participating in Architecture Week. In 1984 an exhibition ‘Profile: Women in Architecture’ featured the work of 40 past and present women architects and students, including a profile of Queensland’s then oldest practitioner Beatrice Hutton. Sydney architect Eve Laron, the convenor of Constructive Women in Sydney opened the exhibition. There was an active interchange between Women in Architecture in Melbourne, Constructive Women, and the Queensland group, with architects such as Ann Keddie, Suzanne Dance and Barbara van den Broek speaking in Brisbane. While the focus of the group centred around women’s issues such as traditional prejudice, conflicting commitments and retraining, its architectural interests were not those of conventional practice. It explored and promoted the design of cities and buildings that were sensitive to users including women and children, design using natural materials and sustainability. While the group only existed for a short period, it advanced positions and perspectives that were outside the mainstream of architectural discourse and practice. Nearly 40 years on a new generation of women is leading the debate into the structural inequities in the architectural profession which are very similar to those tackled by women architects in the 1980s.
APA, Harvard, Vancouver, ISO, and other styles
9

Muller*, Dietmar, Nicolas Flament, Kara Matthews, Simon Williams, and Michael Gurnis. "How Australian Plate Interaction With Subducting Slabs and the South Pacific Superswell Drove Multi-Phase Uplift and Paleogeography in Eastern Australia." In International Conference and Exhibition, Melbourne, Australia 13-16 September 2015. Society of Exploration Geophysicists and American Association of Petroleum Geologists, 2015. http://dx.doi.org/10.1190/ice2015-2201691.

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

McMillan, Donald William, and Victor Samuel Palanyk. "CBM: Fracture Stimulation--An Australian Experience." In SPE Annual Technical Conference and Exhibition. Society of Petroleum Engineers, 2007. http://dx.doi.org/10.2118/110137-ms.

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

Reports on the topic "Australian Exhibitions"

1

Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

Full text
Abstract:
Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
APA, Harvard, Vancouver, ISO, and other styles
2

Commonwealth Bank of Australia - Premises - Wembley - British Empire Exhibition - 1924. Reserve Bank of Australia, March 2022. http://dx.doi.org/10.47688/rba_archives_pn-000564.

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

Coombs, HC opening exhibition of contemporary Australian paintings at Art Gallery - September 1955. Reserve Bank of Australia, September 2022. http://dx.doi.org/10.47688/rba_archives_pn-002886.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Australian Exhibitions' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography