Journal articles on the topic 'Australian Exhibitions'
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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.
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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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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.
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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.
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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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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.
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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.
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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.
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Shaw, Margaret. "AARTI: Australian Art Index." Art Libraries Journal 11, no. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.
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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.
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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.
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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.
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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.
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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.
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Church, Toni. "Body and Language: Enlivening Exhibitions of Colonial Women in Australian Museums." Lilith: A Feminist History Journal 26 (October 26, 2020): 37–56. http://dx.doi.org/10.22459/lfhj.26.02.
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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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Davis, Susan. "Wildflowering culture: Kathleen McArthur and creating a popular wildflower consciousness." Australasian Journal of Popular Culture 9, no. 1 (March 1, 2020): 67–82. http://dx.doi.org/10.1386/ajpc_00016_1.
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Changing people’s hearts and minds requires courage, conviction and creativity. To change attitudes and reach the public consciousness, a diverse range of communicative and cultural tools need to be employed. Australian artist and conservationist Kathleen McArthur rose to the challenge using all the forms that were available to her. Working with others such as renowned poet Judith Wright, she sought to change the way Australians regarded our native plants and landscapes. Kathleen understood that to protect the precious environments that remained would require reaching out to ordinary Australians. Therefore, she utilized a suite of arts and communication forms, ranging from postcard campaigns to weekly newspaper columns, public talks, slide presentations, paintings, exhibitions and published books. Inspired by natural forms and utilizing cultural forms, McArthur was able to promote a form of ‘nature culture’ and public consciousness to protect and promote the nature that she loved.
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Lorek-Jezińska, Edyta. "Affective Realities and Conceptual Contradictions of Patricia Piccinini’s Art: Ecofeminist and Disability Studies Perspectives." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 363–79. http://dx.doi.org/10.18778/2083-2931.12.22.
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The recent exhibition of Patricia Piccinini’s art called That’s Us (Toruń, CSW) largely represents the Australian artist’s visions and fascinations known from earlier exhibitions. Questioning and erasing the borders between species, the affective realities of Piccinini’s art are bound to the concepts of care, empathy and fragility, which refigure what is human and non-human and the relations between them by expanding the notion of mothering and fostering to include interspecies relations. Beginning with a discussion of the uncanny, abjection and monstrosity, this article aims to examine the complicated implications of interpreting Piccinini’s art within the conceptual framework of ecofeminism, as well as in the context of disability aesthetics. In her explorations of different and alternative corporealities, Piccinini, among many other things, asks questions about ideologies of normativity and able-bodiedness, suggesting the possibility of going beyond them.
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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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Megan Hicks. "Tracing the Wounded: A Reflection on Six First World War Exhibitions in Australian Museums." Health and History 17, no. 2 (2015): 88. http://dx.doi.org/10.5401/healthhist.17.2.0088.
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Hicks, Megan. "Tracing the Wounded: A Reflection on Six First World War Exhibitions in Australian Museums." Health and History 17, no. 2 (2015): 88–97. http://dx.doi.org/10.1353/hah.2015.0009.
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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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Tingay, Steven. "Indigenous Australian artists and astrophysicists come together to communicate science and culture via art." Journal of Science Communication 17, no. 04 (December 17, 2018): C02. http://dx.doi.org/10.22323/2.17040302.
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During the International Year of Astronomy in 2009, we initiated a collaboration between astrophysicists in Western Australia working toward building the largest telescope on Earth, the Square Kilometre Array (SKA), and Indigenous artists living in the region where the SKA is to be built. We came together to explore deep traditions in Indigenous culture, including perspectives of the night sky, and the modern astrophysical understanding of the Universe. Over the course of the year, we travelled as a group and camped at the SKA site, we sat under the stars and shared stories about the constellations, and we talked about the telescopes we wanted to build and how they could sit on the Indigenous traditional country. We found lots of interesting points of connection in our discussions and both artists and astronomers found inspiration. The artists then produced <150 original works of art, curated as an exhibition called “Ilgarijiri — Things belonging to the Sky” in the language of the Wadjarri Yamatji people. This was exhibited in Geraldton, Perth, Canberra, South Africa, Brussels, the U.S.A., and Germany over the course of the next few years. In 2015, the concept went further, connecting with Indigenous artists from South Africa, resulting in the “Shared Sky” exhibition, which now tours the ten SKA member countries. The exhibitions communicate astrophysics and traditional Indigenous stories, as well as carry to the world Indigenous culture and art forms. The process behind the collaboration is an example of the Reconciliation process in Australia, successful through thoughtful and respectful engagements, built around common human experiences and points of contact (the night sky). This Commentary briefly describes the collaboration, its outcomes, and future work.
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Archer, Anita, and David M. Challis. "‘The Lucky Country’: How the COVID-19 Pandemic Revitalised Australia’s Lethargic Art Market." Arts 11, no. 2 (April 5, 2022): 49. http://dx.doi.org/10.3390/arts11020049.
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Since its publication in 1964, Australians have used the title of Donald Horne’s book, The Lucky Country, as a term of self-reflective endearment to express the social and economic benefits afforded to the population by the country’s wealth of geographical and environmental advantages. These same advantages, combined with strict border closures, have proven invaluable in protecting Australia from the ravages of the global COVID-19 pandemic, in comparison to many other countries. However, elements of Australia’s arts sector have not been so fortunate. The financial damage of pandemic-driven closures of exhibitions, art events, museums, and art businesses has been compounded by complex government stimulus packages that have excluded many contracted arts workers. Contrarily, a booming fine art auction market and commercial gallery sector driven by stay-at-home local collectors demonstrated remarkable resilience considering the extraordinary circumstances. Nonetheless, this resilience must be contextualised against a decade of underperformance in the Australian art market, fed by the negative impact of national taxation policies and a dearth of Federal government support for the visual arts sector. This paper examines the complex and contradictory landscape of the art market in Australia during the global pandemic, including the extension of pre-pandemic trends towards digitalisation and internationalisation. Drawing on qualitative and quantitative analysis, the paper concludes that Australia is indeed a ‘lucky country’, and that whilst lockdowns have driven stay-at-home collectors to kick-start the local art market, an overdue digital pivot also offers future opportunities in the aftermath of the pandemic for national and international growth.
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Bennett, Theodore. "Tortured genius: The legality of injurious performance art." Alternative Law Journal 42, no. 1 (March 2017): 24–28. http://dx.doi.org/10.1177/1037969x17694791.
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In the 20th century, a distinct subset of performance art emerged in which the artist is deliberately physically injured as part of their performance. While such performances are now a settled type of artistic expression their legal status is unclear. This article examines the legality of such performances under the Australian criminal law. Focusing on common law principles, it compares injurious performance art to the legally recognised category of ‘dangerous exhibitions’ and ultimately argues that such performances will only be lawful if it can be clearly demonstrated that they have public utility.
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Grincheva, Natalia. "The Form and Content of ‘Digital Spatiality’: Mapping the Soft Power of DreamWorks Animation in Asia." Asiascape: Digital Asia 6, no. 1-2 (April 29, 2019): 58–83. http://dx.doi.org/10.1163/22142312-12340102.
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Abstract The article explores a series of blockbuster exhibitions of DreamWorks Animation developed by the Australian Centre of the Moving Image (ACMI) in collaboration with one of the largest Hollywood producers. Curated by ACMI, this blockbuster exhibition was designed to provide a behind-the-scenes look into collaborative processes involved in DreamWorks animations. This exhibition travelled across the Asia-Pacific in 2015-2017 and was hosted by a number of museums, such as the ArtScience Museum in Singapore, the Te Papa Museum in New Zealand, the Seoul Museum of Art in South Korea, and the National Taiwan Science and Education Centre in Taiwan. It displayed over 400 unique objects from the studio’s archive ‘of rare and never before displayed material’, such as drawings, models, maps, photographs, posters, and other artworks. The article explores the highly favourable reception to the DreamWorks Animation blockbuster in different cities in Asia. It employs a geo-visualization of Asian engagement with the blockbuster exhibit to reveal and explain local and global mechanisms of ‘attraction’ power, generated by DreamWorks in different Asian countries. Contributing to the special issue, this article engages with two aspects of it: the form, cultural digital mapping; and the content, the nature of media pop culture exemplified through the traveling blockbuster.
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Briggs, A. "An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War." English Historical Review 119, no. 480 (February 1, 2004): 250–51. http://dx.doi.org/10.1093/ehr/119.480.250.
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Braun, Lindsay Frederick. "An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War." History: Reviews of New Books 30, no. 1 (January 2001): 17. http://dx.doi.org/10.1080/03612759.2001.10525934.
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Fulton, Richard. "A Science of Our Own: Exhibitions and the Rise of Australian Public Science by Peter H. Hoffenberg." Victorian Review 45, no. 2 (2019): 328–30. http://dx.doi.org/10.1353/vcr.2019.0063.
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Brien, Donna Lee. "Celebration or Manufacturing Nostalgia? Constructing Histories of World Expo '88." Queensland Review 16, no. 2 (July 2009): 73–87. http://dx.doi.org/10.1017/s1321816600005122.
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Brisbane's World Expo '88 changed people's lives, and the memories of Expo '88 are revered more than 20 years on from the event itself. We are very much looking forward to celebrating the anniversary of this very special event with the people of Brisbane, and recreating the unique atmosphere and sense of wonder that Expo '88 created in Brisbane. (Malcolm Snow, South Bank Corporation CEO, in Hoey 2008a)World Expo ‘88, also widely known as ‘Expo '88’ and locally simply as ‘Expo’, was held in Brisbane from April to October 1988, as a key event of the national Bicentennial celebrations commemorating the 200 years of European settlement of Australia. Other major components of the Bicentennial year – such as the symbolic re-enactment of the voyage of the First Fleet that culminated in the Parade of Tall Ships sailing into Sydney Harbour on Australia Day – together with other significant national events such as the 1956 and 2000 Olympic Games, have generated historically focused interest, which has been manifested and disseminated in the usual way in articles, books and museum exhibitions. Brisbane's World Expo '88, however, appears to be one of the few Australian so-called ‘signature’ events that has also generated its own long-lived series of commemorative memorials and festivals.
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McKay, Judith. "Ellis Rowan: Flower-hunting in the Tropics." Queensland Review 10, no. 2 (November 2003): 89–97. http://dx.doi.org/10.1017/s1321816600003354.
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Ellis Rowan was Australia's most celebrated flower painter of the late nineteenth and early twentieth centuries. An emancipated woman far ahead of her time, she turned what her fellow Australian artists deemed a ‘genteel’ female pastime of flower painting into an adventurous and profitable career which took her all over the world. In a career spanning fifty years and ending with her death in 1922, she produced the phenomenal number of more than 3000 paintings, and succeeded in placing many of these in public collections. Rowan exhibited her work as far afield as London and New York and achieved acclaim at intercolonial and international exhibitions of art and industry (with the award of ten gold, fifteen silver and four bronze medals). Also a skilled writer and publicist, she recounted her travels in the popular press and in a book entitled A Flower-Hunter in Queensland and New Zealand, published in 1898. This paper focuses on the artist's work in Queensland, a favourite hunting ground, and on her association with the tropics which was an essential part of her mystique.
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Barnes, Joel. "Hoffenberg,Peter H. A Science of our own: Exhibitions and the rise of Australian public science." Centaurus 64, no. 2 (August 2022): 555–57. http://dx.doi.org/10.1484/j.cnt.5.130449.
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Spear, Jeffrey L. "An Empire on Display: English, Indian and Australian Exhibitions from the Crystal Palace to the Great War (review)." Victorian Studies 45, no. 2 (2003): 343–44. http://dx.doi.org/10.1353/vic.2003.0101.
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Choi, Sung. "An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War (review)." Journal of World History 14, no. 3 (2003): 415–18. http://dx.doi.org/10.1353/jwh.2003.0032.
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Hilton-Smith, Simon, M. Elizabeth Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nalani Wilson-Hokowhitu, Fei Chen, Yi Zheng, and Xiaorui Guan. "Exhibition Reviews." Museum Worlds 10, no. 1 (July 1, 2022): 257–89. http://dx.doi.org/10.3167/armw.2022.100121.
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[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)
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Whittington, Vanessa. "Decolonising the museum?" Culture Unbound 13, no. 2 (February 8, 2022): 245–69. http://dx.doi.org/10.3384/cu.3296.
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As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation.
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Smith, Geraldine, and Anna Halafoff. "Multifaith Third Spaces: Digital Activism, Netpeace, and the Australian Religious Response to Climate Change." Religions 11, no. 3 (February 26, 2020): 105. http://dx.doi.org/10.3390/rel11030105.
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Multifaith spaces typically imply sites where people of diverse faith traditions gather to participate in shared activities or practices, such as multifaith prayer rooms, multifaith art exhibitions, or multifaith festivals. Yet, there is a lack of literature that discusses online multifaith spaces. This paper focuses on the website of an Australian multifaith organisation, the Australian Religious Response to Climate Change (ARRCC), which we argue is a third space of digital activism. We begin by outlining the main aims of the multifaith movement and how it responds to global risks. We then review religion and geography literature on space, politics and poetics, and on material religion and embodiment. Next, we discuss third spaces and digital activism, and then present a thematic and aesthetic analysis on the ARRCC website drawing on these theories. We conclude with a summary of our main findings, arguing that mastery of the online realm through digital third spaces and activism, combined with a willingness to partake in “real-world”, embodied activism, can assist multifaith networks and social networks more generally to develop Netpeace and counter the risks of climate change collaboratively.
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Arya, Rina. "The Influence of Roy de Maistre on Francis Bacon." Religion and the Arts 21, no. 5 (2017): 607–22. http://dx.doi.org/10.1163/15685292-02105001.
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Very little is said about the Australian artist Roy de Maistre in scholarship on Francis Bacon, apart from the fact that he provided guidance about painting processes and other technical issues. There are a number of reasons for this and this article seeks to look at the relationship between de Maistre and Bacon. Although their period of overlap was short-lived, lasting less than a decade, de Maistre was an important figure in Bacon’s early career and significant in his transition from design to painting. Since De Maistre aided Bacon both in his development as a painter and also in his career by introducing him to useful contacts and involving him in exhibitions, perhaps the focus should now be placed on points of stylistic and thematic influence.
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Petersen, John. "Though This be Madness: Heritage Methods for Working in Culturally Diverse Communities." Public History Review 17 (December 22, 2010): 34–51. http://dx.doi.org/10.5130/phrj.v17i0.1802.
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In 1998, the NSW Migration Heritage Centre was conceived by the NSW Government as a virtual heritage centre to help ageing former migrants tell their stories. Migration museums and other organisations interested in heritage are grappling with how to identify, record, preserve and interpret the heritage legacy of migration and settlement in their communities. The distinctions between museum and environmental heritage practices have diminished during the past decade in Australia. The Centre’s methodologies are based on historic method and thematic and typology studies, better known for their application to heritage place identification and archaeological artefact studies than for their more recent use by some Australian museum curators for the survey and documentation of collections and community participation in heritage. The ‘virtual museum’ has enabled the Centre to break away from the centralised museum concept, with the associated trappings of venue management, to pioneer a decentralised and dispersed museum model that works almost entirely in collaborative community history research partnerships to document culturally significant collections, and associated migration memories, held by communities and private individuals. The work is centralised on the Centre’s website as a virtual collection of objects, places and associated memories. They are presented in online exhibitions for student research and as a destination for the mass audiences of the worldwide web.
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Smiraglia, Christina. "Artworks at work: the impacts of workplace art." Journal of Workplace Learning 26, no. 5 (July 8, 2014): 284–95. http://dx.doi.org/10.1108/jwl-11-2013-0097.
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Purpose – This paper aims to explore the impact that employees and board members of an organization believe the art in their workplace has on their experience at work and identify the exhibition’s features salient to their experience of the art. Design/methodology/approach – Semi-structured interviews were conducted with 19 affiliates of an Australian organization with an institutional art collection. The interview data were transcribed and analyzed using thematic analysis by two researchers, with a final inter-rater reliability of 0.96. Findings – The results showed that respondents believe there are five main ways they are impacted by the art in their workplace: the art promotes social interactions, elicits emotional responses, facilitates personal connection-making, generally enhances the workplace environment and fosters learning. Participants indicated the salient features of the collection are its changing nature, creativity, diversity, quality and connection to the organization’s mission. Practical implications – The findings suggest that there may be a number of positive impacts on employees and other affiliates when art is present in the workplace, including interpersonal learning and mission-related content learning. The findings suggest that art connected to the organization’s mission, rotating exhibitions and diverse collections are valued by workplace viewers. Originality/value – The study highlights the importance of the aesthetic environment in the workplace and is one of the first to examine artworks in the work setting.
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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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Hibbard, Andrea. "An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War by Peter H. Hoffenberg." Victorian Review 28, no. 2 (2002): 104–7. http://dx.doi.org/10.1353/vcr.2002.0013.
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Hendery, Rachel, and Jason Gibson. "Crowdsourcing Downunder." KULA: Knowledge Creation, Dissemination, and Preservation Studies 3 (February 27, 2019): 22. http://dx.doi.org/10.5334/kula.52.
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In this paper we report on the experience of two research projects that intended to experiment with crowdsourcing models for opening up their scholarly materials to the wider public. Both the Howitt & Fison project, and Mapping Print; Charting Enlightenment were designed to take into consideration particularities of the Australian academic environment: in the former case, sensitivities around materials relating to First Peoples; in both cases, geographical distance from potentially interested communities, and the difficulties of formal recognition and categorisation of time spent on activities that lie at the intersection of research and outreach. They had similar challenges in terms of needing to process a large amount of data before analysis and progress towards the projects’ main research goals could begin. They also had similar goals in terms of eventual use of the project data, for example, making historical texts available online, and producing maps, networks, timelines and digital exhibitions of images and texts. In the end, one project has found crowdsourcing invaluable for building connections with interested publics the other discovered that crowdsourcing was not necessary to produce the results the project needed, and has moved away from this to focus its efforts instead on the linking of existing data and automation of structuring and categorisation. This paper discusses how the projects came to take these different directions, and how the above-mentioned Australian contexts contributed to their evolution.
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Sepasgozar, Samad M. E., Steven Davis, Martin Loosemore, and Leonhard Bernold. "An investigation of modern building equipment technology adoption in the Australian construction industry." Engineering, Construction and Architectural Management 25, no. 8 (September 17, 2018): 1075–91. http://dx.doi.org/10.1108/ecam-03-2017-0052.
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Purpose Research into the construction industry’s adoption of modern equipment technologies, such as remote-controlled trucks, excavators and drones, has been neglected in comparison to the significant body of research into the adoption of information technology in construction. Construction research has also neglected to adequately consider the important role of vendors in the innovation diffusion process, focussing mostly on the role of the customer. Set within the context of Australia’s construction industry, the purpose of this paper is to address these gaps in knowledge by exploring the role of customers and vendors in the diffusion of modern equipment technologies into the construction industry. Design/methodology/approach Using contemporary models of innovation diffusion which move beyond the simple dualistic problem of whether innovation is supply-pushed or demand-pulled, 19 semi-structured interviews were undertaken with customers and vendors involved in two major modern equipment technology trade exhibitions in Australia. This was followed by the collection of documentary data in the form of photos, directory books, marketing material, catalogues, websites and booth and exhibition layouts to validate the proposed model and provide insights into vendor marketing strategies. These data were analysed using both content analysis and principal component analysis (PCA). Findings According to the PCA and content analysis, vendor’s engagement in the adoption of modern equipment technologies falls into three stages that correspond to three stages in the customer’s adoption process. In the first stage, customers identify possible solutions and recognise new technologies following a previous recognition of a need. Vendors provide facilities for attracting potential customers and letting customers know that their technology exists and can help solve the customer’s problem. The second stage involves customers gaining knowledge about the details of the new technology, and vendors focusing on detailed knowledge transfer through written materials and demonstrations of the functionality of the new technology. In the third stage, customers have specific questions that they want answered to assist them in comparing different vendors and solutions. By this stage, vendors have built a close relationship with the customer and in contrast to earlier stages engage in two-way communication to help the customer’s decision process by addressing specific technical and support-related questions. Originality/value The originality and value of this research is in addressing the lack of research in modern equipment technology adoption for building construction and the lack of data on the role of vendors in the process by developing a new empirical framework which describes the stages in the process and the ways that customers and vendors interact at each stage. The results indicate that conceptually, as the construction industry becomes more industrialised, current models of innovation adoption will need to develop to reflect this growing technological complexity and recognise that vendors and customers engage differently in the adoption process, according to the type of technology they wish to adopt.
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Lenette, Caroline, Tanja Johnston, Jandy Paramanathan, and Sonia Poorun. "Facilitated arts engagement with women veterans for health and well-being." Journal of Applied Arts & Health 12, no. 2 (July 1, 2021): 193–207. http://dx.doi.org/10.1386/jaah_00061_1.
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To demonstrate the health and well-being benefits of facilitated arts engagement with women veterans, we draw on a key practice-based example from the Australian National Veterans Arts Museum (ANVAM), an organization with expertise in collaborative art-making with veterans. We outline ANVAM’s framework and the processes art therapists use to create facilitated art exhibitions. We discuss how veterans’ involvement with art-making has therapeutic benefits, can contribute new knowledge on health and well-being, and convey nuances of gender-specific experiences. We briefly outline the trend in evidence from academic literature on arts-health research with veterans and the sparse creative research with women veterans to highlight the potential of art-based methods in veteran health and well-being research, given growing numbers and the expanding roles of women in defence. Arts-health research using diverse methods has yielded promising results in this field. As such, interdisciplinary, co-designed, and strength-based art-based research with women veterans can add to knowledge co-creation on this topic.
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Berlo, Janet Catherine. "Australian Art Exhibition Catalog:Dreamings; The Art of Aboriginal Australia." Museum Anthropology 14, no. 2 (May 1990): 31. http://dx.doi.org/10.1525/mua.1990.14.2.31.
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Raharjo, Timbul. "INDONESIAN CRAFT IN THE WORLD TRADE." Ars: Jurnal Seni Rupa dan Desain 21, no. 3 (September 1, 2018): 177–82. http://dx.doi.org/10.24821/ars.v21i3.2899.
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Some international craft exhibitions focus on home accessories, gifts, and furniture. The exhibition aim as craft product branding at the national and international market, for example 2016 JIFFINA exhibition. Indonesian craft commodity maintains market share in several export destination countries because Indonesian products offer special characteristics and moreover, Indonesian exporters are enthusiastic in promoting the products in international exhibitions. In Asia level, Canton Fair held in Guangzhou International Convention & Exhibition Center China is one of the biggest programs where a big number of buyers look for products they want to purchase. In Asia, exhibition series peak in Guangzhou in March and in Shanghai in October. These exhibitions are visited by importers from Europe, America, Africa, The Middle East, Australia, etc. They come to buy Asian furniture. Some exhibitions in several countries are intentionally organized within a short time in sequence to grab buyers coming to South East Asian area. It is when the commission products from Indonesian producers, in form of retails or projects. Indonesian stakeholders respond this opportunity by organizing two big exhibitions, namely Indonesia International Furniture Expo (IFEX) in Jakarta and Jogja International Furniture and Craft Fair (JIFFINA) in Yogyakarta
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Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.
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Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.
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Hansen, Guy. "There is no ‘I’ in Team: Reflections on Team-Based Content Development at the National Museum of Australia." Public History Review 17 (December 22, 2010): 16–33. http://dx.doi.org/10.5130/phrj.v17i0.1835.
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In recent years one of the most important trends in the development of history exhibitions in major museums has been the use of interdisciplinary project teams for content development. This approach, often referred to as the team based model of content development, has, in many institutions, replaced older models of exhibition production built around the expertise of the curator. The implementation of team based models has had a profound impact on the way exhibitions are produced. When done well it has helped deliver exhibitions combining a strong focus on audience needs with in-depth scholarship and collections research. In some contexts, however, the tyranny of the team has given rise to a form of museological trench warfare in which different stakeholders struggle for creative control of an exhibition. In this article I will explore some aspects of the team based approach with reference to the development of the opening suite of exhibitions for the National Museum of Australia (NMA) in 2001. My observations are drawn from my experience as the lead curator of the Nation Gallery, one of the NMA’s opening exhibitions.
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Dellios, Alexandra. "Bonegilla Heritage Park: Contesting and Co-ordinating a Public History Site." Public History Review 19 (October 22, 2012): 21–42. http://dx.doi.org/10.5130/phrj.v19i0.2357.
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Since the 1980s, efforts to publically commemorate the former migrant training and reception centre of Bonegilla, while intermittent, have increased. I am referring to: reunions and anniversaries, state and national heritage listings, the erection of museum displays, temporary and touring exhibitions, the on-site Heritage Park, and forms of popular culture. For the national audience, as well as several ethnic communities, Bonegilla now plays a role in the collective imagination of the post-war period and the migrant journey. Furthermore, the nature of Bonegilla’s public representation has evolved since the late 1980s. Bonegilla has become much more than a place of personal migrant memory, and its previous negative connotations in the public arena have been erased. This public evolution is linked to much wider processes in our national history. This article thus explores the contestation and co-ordination of collective memories—that is, multiple narratives of Bonegilla’s past, which, while in constant dialogue with each other, are framed and sanctioned by the limits of Australian multiculturalism and heritage discourses. While the earliest efforts to commemorate Bonegilla might be typified as ‘participatory’ and vernacular, they might now be described in reference to ‘retrospective commemoration’, in which Bonegilla’s public history is framed by state-sanctioned narratives and other attendant discursive frameworks.
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Nguyen, Anh. "Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017." Migration, Mobility, & Displacement 4, no. 1 (June 7, 2019): 133–39. http://dx.doi.org/10.18357/mmd41201918976.
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Anh Nguyen was co-curator, with Nadia Rhook, of the “Vietnamese Here Contemporary Art and Refections” exhibition about Vietnamese migrants in Melbourne, Australia, May 4–26, 2017. Phuong Ngo’s work, the basis of this photo essay, was part of the exhibition, which featured visual art, performance art, and readings refecting on Vietnamese heritage, history, and memory in the diaspora. The exhibition was sponsored by the Australian Research Council’s Kathleen Fitzpatrick Laureate Fellowship, of which Anh Nguyen is a researcher.
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Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.
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Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.
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Aveyard, Karina. "Australian Films at the Cinema: Rethinking the Role of Distribution and Exhibition." Media International Australia 138, no. 1 (February 2011): 36–45. http://dx.doi.org/10.1177/1329878x1113800106.
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Australian films are criticised regularly for their failure to engage local audiences and for their lack of commercial success. Academic and industry analysis of these shortcomings has tended to focus on problems in production and financing, but has given inadequate attention to the role of distribution and exhibition. This article examines how the commercial and cultural situation of Australian films is fundamentally shaped by the manner in which they are circulated and screened. It highlights the complex interrelations between the production, distribution and exhibition sectors, and addresses the implications of these issues for contemporary film policy and practice in Australia.
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Spear, Felicity. "Extending Vision: Sky-situated Knowledge and the Artist’s Eye." Culture and Cosmos 16, no. 1 and 2 (October 2012): 451–63. http://dx.doi.org/10.46472/cc.01216.0277.
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Increasingly, we are looking beyond our planet to speculate about our place in the Universe. In the context of ideas about the sky and cosmic space, art works have the potential to provoke curiosity and to play an educative and imaginative role in visualising connections with science, history and a space beyond the full range of our senses. While both artists and scientists reconstruct the material world on the basis of understanding, artists are able to exploit subjectivity and are not accountable to demonstrate proof. In this way, art seeks a poetic dimension or insight which speaks of things outside art in new or different ways. This paper discusses my recent research and the exhibitions I curated in order to coincide with the 2009 International Year of Astronomy. Included in these were an astrophotographer and a number of Australian artists, both Western and Indigenous, whose work has been influenced by the speculative and experimental processes involved with observation, image-capture and mapping, and the technological developments which shape human consciousness. They draw also on the history of human efforts to picture whatever lies beyond Earth’s atmosphere. This space, mostly beyond the naked eye, is revealed now through a machine-produced visibility which extends our vision. Together, these works show us how various systems of knowledge have sought to make sense of the cosmos and our place within it.