Relevant bibliographies by topics / Australian Museum

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Australian Museum'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Australian Museum"

1

Batten, Bronwyn. "A Shared History? Presenting Australia's Post-Contact Indigenous Past." Journal of Interpretation Research 10, no. 1 (April 2005): 31–48. http://dx.doi.org/10.1177/109258720501000103.

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The colonial origins of museums have often influenced the ways in which they depict the past. In Australia, portrayals of the Indigenous past have focussed exclusively on “traditional life” or the prehistoric period of history, to the detriment of post-contact history. This paper examines ways in which museums around Australia are beginning to counter this trend. Museum exhibits that relate to Australia's shared, post-contact past are analyzed in the context of recent developments in museology. This analysis is combined with feedback generated from interviews with heritage professionals. The results suggest that in order to move towards inclusive interpretation of Australian history, multiple voices and perspectives of the past must be incorporated into interpretive programs. This paper argues that there are a variety of ways in which heritage interpreters can attempt to incorporate pluralist perspectives of the past into museum exhibits.
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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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Wheeler, Barbara, and Linda Young. "Antarctica in museums: the Mawson collections in Australia." Polar Record 36, no. 198 (July 2000): 193–202. http://dx.doi.org/10.1017/s0032247400016454.

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AbstractThe relics of polar exploration are treasured in the museums of a multitude of nations. In Australia, the focus of most such collections is Sir Douglas Mawson and his expeditions to Antarctica in 1911–14 and 1929–31. The nature of these collections divides into the two large categories of scientific specimens and expedition relics. The latter are spread among Australian and other museums in a distribution that speaks of fascination with the exotic and heroic aspects of the Australasian Antarctic Expedition and the geopolitical ramifications of the British, Australian and New Zealand Antarctic Research Expedition. The specimens, by contrast, have not been treated well, and although thoroughly documented, may be close to losing their integrity as scientific resources. Both types of material merit the renewed attention of their museum-keepers as resources on the history of Antarctica.
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SAN MARTÍN, GUILLERMO, PAT HUTCHINGS, and MARÍA TERESA AGUADO. "Syllinae (Polychaeta, Syllidae) from Australia. Part. 2. Genera Inermosyllis, Megasyllis n. gen., Opisthosyllis, and Trypanosyllis." Zootaxa 1840, no. 1 (August 1, 2008): 1. http://dx.doi.org/10.11646/zootaxa.1840.1.1.

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Large collections of Australian Syllidae (Polychaeta) from the Australian Museum (Sydney) have been examined and identified, together with material from the Hamburgische Zoologische Museum der Universität (Hamburg, Germany), as well as some specimens from other museums. All known Australian species of the subfamily Syllinae belonging to Inermosyllis San Martín, 2003 (1 species), Megasyllis n. gen. (3 species), Opisthosyllis Langerhans, 1879 (5 species), and Trypanosyllis Claparède, 1864 (2 species), are described and figured. The Scanning Electron Microscope was used to illustrate relevant taxonomic characters and reproduction methods in these genera. Inermosyllis pseudohaploides is described as a new species. Megasyllis is described as a new genus, including M. corruscans (Haswell, 1885) and M. heterosetosa (Hartmann-Schöder, 1991) from Australia, and M. inflata (Marenzeller, 1879) from Japan and Australia; thespecies M. multiannulata (Aguado, San Martín & Nishi, in press) from Japan is also referred to this genus. The genus Inermosyllis is reported for the first time from Australia, as well as the species Opisthosyllis longicirrata Monro, 1939 and Trypanosyllis aeolis Langerhans, 1879.
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Turnbull, Paul. "Australian Museums, Aboriginal Skeletal Remains, and the Imagining of Human Evolutionary History, c. 1860-1914." Museum and Society 13, no. 1 (January 1, 2015): 72–87. http://dx.doi.org/10.29311/mas.v13i1.318.

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Much has been written about how progress to nationhood in British colonial settler societies was imagined to depend on safeguarding the biological integrity of an evolutionarily advanced citizenry. There is also a growing body of scholarship on how the collecting and exhibition of indigenous ethnological material and bodily remains by colonial museums underscored the evolutionary distance between indigenes and settlers. This article explores in contextual detail several Australian museums between 1860 and 1914, in particular the Australian Museum in Sydney, the Queensland Museum in Brisbane, and the Victorian Museum in Melbourne, in which the collecting, interpretation and exhibition of the Aboriginal Australian bodily dead by staff and associated scientists served to imagine human evolutionary history.
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Morphy, Howard, Jason M. Gibson, and Alison K. Brown. "Special Section." Museum Worlds 10, no. 1 (July 1, 2022): 218–29. http://dx.doi.org/10.3167/armw.2022.100119.

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Anthropology, Art, and Ethnographic Collections: A Conversation with Howard MorphyJason M. Gibson (JG): In your book Museums, Infinity and the Culture of Protocols: Ethnographic Collections and Source Communities (Morphy 2020), you begin with an anecdote of visiting the Pitt Rivers Museum as a young child. Did museums play a part in sparking an interest in humanity, and its diversity, or were you fascinated by the Other?Book Review: Museums, Societies and the Creation of Value, Howard Morphy and Robyn McKenzie, eds. (London: Routledge, 2022)What does value mean within and beyond museum contexts? What are the processes through which value is manifested? How might a deeper understanding of these processes contribute to the practice of museum anthropology? These questions are explored in Museums, Societies and the Creation of Value, which looks at collaborative work in museums using ethnographic collections as a focus. Most of the chapters involve collections from Australia and the Pacific—reflecting the origins of many of them in two conferences associated with the project “The Relational Museum and Its Objects,” funded by the Australian Research Council and the Australian National University and led by Howard Morphy. Bringing together early career researchers, as well as museum-based scholars who have many years of thinking through and learning with community-based research partners, makes evident how the processual shifts in museum anthropology toward a more collaboratively grounded practice have become normalized, but crucially also highlights the value of “slow museology,” as the editors note in their introduction (3), acknowledging Raymond Silverman’s (2015) term. While the editors caution that the core values of ethnographic collections and museums are not universal, the inclusion of chapters from beyond the Australia/Pacific region highlights that the foundational underpinning values and aspirations for cross-cultural work—“the desire for understanding” and “the desire to be understood” (22) are shaping much of the innovative museum-based work currently being carried out worldwide. Examples include Gwyneira Isaac’s chapter on 3D technologies of reproduction and their value for Tlingit of Alaska, and Henrietta Lidchi and Nicole Hartwell’s examination of how materiality and memory intersect in collections associated with nineteenth-century British military campaigns.
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ALLSOPP, PETER G., and PETER J. HUDSON. "Novapus bifidus Carne, 1957, a primary homonym and synonym of Novapus bifidus Lea, 1910 (Coleoptera: Scarabaeidae: Dynastinae)." Zootaxa 4560, no. 3 (February 26, 2019): 576. http://dx.doi.org/10.11646/zootaxa.4560.3.9.

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In his landmark revision of the Australian Dynastinae (Coleoptera: Scarabaeidae) Phil Carne (1957) described Novapus bifidus Carne, 1957 from males and females collected at Cape York and Thursday Island. The type series is in the Australian National Insect Collection, Canberra, Australia (ANIC); the Natural History Museum, London, United Kingdom; the South Australian Museum, Adelaide, Australia (SAM); and the Museum of Victoria, Melbourne, Australia. He noted “In the collections of the South Australian Museum there are specimens designated as types of bifidus Lea. No description of this species has been published, and it is now described under the same specific name”. One of his paratypes is a female in SAM identified as “Lea’s unpublished ♀ type” and two other paratypes are males in SAM. Cassis & Weir (1992) noted that one of the SAM specimens has the registration number I4268, although they knew of only two paratypes (one male, one female) in that collection. The name has been attributed to Carne by most subsequent authors (Endrődi 1974, 1985; Carne & Allsopp 1987; Cassis & Weir 1992; Dechambre 2005; Atlas of Living Australia 2018.). Krajcik (2005, 2012) listed it in his scarab checklists but as “bifidus? Carne 1957”.
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Singh, Supriya, Meredith Blake, and Jonathan O'Donnell. "Digitizing Pacific Cultural Collections: The Australian Experience." International Journal of Cultural Property 20, no. 1 (February 2013): 77–107. http://dx.doi.org/10.1017/s0940739112000483.

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AbstractIn the absence of specific policies that address the digitization of Pacific cultural collections, it is important to document the practices of Australian museum professionals and cultural experts who deal with close to one-fifth of Pacific cultural objects held in museums. Interviews with 17 museum professionals and cultural experts in Australia help advance reflective practice relating to digitizing Pacific collections. Drawing on principles enshrined in international, regional, and Australian policies and protocols relating to the management of indigenous collections, they favor responsible digitization based on consultation with source and diasporic communities. In order to consult across a region with multiple languages and cultures when time and resources are limited, they begin with areas they know best and when possible, work with curators of Pacific backgrounds. Some practicalities of publishing and protecting digitized images online revolve around validating information about the artifact and going beyond copyright to respect traditional knowledge.
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SAN MARTÍN, GUILLERMO, PAT HUTCHINGS, and MARÍA TERESA AGUADO. "Syllinae (Polychaeta: Syllidae) from Australia. Part 3. Genera Alcyonosyllis, Genus A, Parahaplosyllis, and Trypanosyllis (Trypanobia)." Zootaxa 2493, no. 1 (June 3, 2010): 35. http://dx.doi.org/10.11646/zootaxa.2493.1.3.

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Large collections of Australian Syllidae (Polychaeta) from the Australian Museum (Sydney) have been examined and identified, together with material from the Hamburgische Zoologische Museum der Universität (Hamburg, Germany), as well as some specimens from other museums. All known Australian species of the subfamily Syllinae belonging to the genera Alcyonosyllis Glasby & Watson, 2001 (1 species), Genus A (1 species), Parahaplosyllis Hartmann-Schröder, 1990 (1 species), and Trypanosyllis (Trypanobia) Imajima & Hartman, 1964 (2 species), are fully described and figured, except Alcyonosyllis phili Glasby & Watson, 2001 that recently was described based on Australian material.
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Teare, Sheldon, and Danielle Measday. "Pyrite Rehousing – Recent Case Studies at Two Australian Museums." Biodiversity Information Science and Standards 2 (June 13, 2018): e26343. http://dx.doi.org/10.3897/biss.2.26343.

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Two major collecting institutions in Australia, the Australian Museum (Sydney) and Museums Victoria (Melbourne), are currently undertaking large-scale anoxic rehousing projects in their collections to control conservation issues caused by pyrite oxidation. This paper will highlight the successes and challenges of the rehousing projects at both institutions, which have collaborated on developing strategies to mitigate loss to their collections. In 2017, Museums Victoria Conservation undertook a survey with an Oxybaby M+ Gas Analyser to assess the oxygen levels in all their existing anoxic microclimates before launching a program to replace failed microclimates and expand the number of specimens housed in anoxic storage. This project included a literature review of current conservation materials and techniques associated with anoxic storage, and informed the selection of the RP System oxygen scavenger and Escal Neo barrier film from Mitsubishi Gas Chemical Company as the best-practice products to use for this application. Conservation at the Australian Museum in Sydney was notified of wide-scale pyrite decay in the Palaeontology and Mineral collections. It was noted that many of the old high-barrier film enclosures, done more than ten years ago, were showing signs of failing. None of the Palaeontology specimens had ever been placed in microclimates. After consultation with Museums Victoria and Collection staff, a similar pathway used by Museums Victoria was adopted. Because of the scale of the rehousing project, standardized custom boxes were made, making the construction of hundreds of boxes easier. It is hoped that new products, like the tube-style Escal film, will extend the life of this rehousing project. Enclosures are being tested at the Australian Museum with a digital oxygen meter. Pyrite rehousing projects highlight the loss of Collection materials and data brought about by the inherent properties of some specimens. The steps undertaken to mitigate or reduce the levels of corrosion are linked to the preservation of both the specimens and the data kept with them (paper labels). These projects benefited from the collaboration of Natural Sciences conservators in Australia with Geosciences collections staff. Natural Science is a relatively recent specialization for the Australian conservation profession and it is important to build resources and capacity for conservators to care for these collections. This applied knowledge has already been passed on to other regions in Australia.
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Dissertations / Theses on the topic "Australian Museum"

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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.

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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.
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Nguyen, Tuan. "Queering Australian Museums: Management, Collections, Exhibitions, and Connections." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18169.

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Queering Australian Museums addresses the problem of how queer or LGBTIQ communities can be further included in Australian museums on their own terms. It looks at four areas of museums—management, collections, exhibitions, and connections with audiences and communities—to consider barriers and enablers of queer inclusion in these often heteronormative institutions. Case studies of queer-inclusive efforts in public Australian museums are interpreted from institutional and community perspectives drawn from 25 interviews. The interviews are put into critical conversation with archival material and literature from museum studies and the emerging field of queer museology. The study evaluates the visibility of the history, cultures, and identities of queer communities in Australian museums. It establishes that many public representations of queerness have been driven by the efforts of LGBTIQ communities, particularly through community-based heritage organisations. It also gathers and reflects upon examples of critical queer inclusion that have occurred in public museums. Using these exemplars, it argues that queer communities should be empowered to make decisions about their own heritage with the support of museums and their unique attributes; that individual and organisational leadership, involving queer individuals and allies, should be brought to bear on this task; and that effectively navigating the tensions between museums and queer communities requires mutual understanding and accommodation. Through the process of queering the museum, it is suggested, each party might be transformed, leading to LGBTIQ diversity being valued as an integral part of society. The thesis addresses the gap in Australian museum studies literature on queer or LGBTIQ inclusion compared with Euro-American settings. It further contributes original case studies to the international field of queer museology, and to museum studies literature on including and empowering diverse communities. Both recognising the agency of queer communities and also engaging with the language and conventions of museums, it constructs a distinct account of how to navigate the historical tensions between the two. It thereby aims to enrich museum offerings for all audiences on the terms of those erstwhile excluded.
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Clark, Alison. "Conversations in Country : Tiwi and Yirandali Indigenous Australian collections in the British Museum." Thesis, King's College London (University of London), 2013. http://kclpure.kcl.ac.uk/portal/en/theses/conversations-in-country(a3d31cdd-0b2e-4519-8185-947008032ab7).html.

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This thesis reassesses the Tiwi collections made by Jessie Sinclair Litchfield, and the Yirandali collections compiled by Mary Montgomerie Bennett, which are held at the British Museum, in order to understand their place in the history of indigenous settler relations in Australia. Both collections are entangled in the history of Aboriginal and settler relations, and understanding these relations will enable museums to give voice to the multiple dialogues the collections contain. In this way we can renew the significance of these collections for both museums and indigenous communities. Thus my thesis asks how the Litchfield and Bennett collections can be presented within a museum exhibition in the light of the changing face of Aboriginal and settler relations in Australia particularly with reference to the ‘History Wars’, the Native Title Act, the Northern Territory National Emergency Response and the Apology.
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Thompson, Christian. "Creative responses to Australian material culture in the Pitt Rivers Museum collection : parallels between 'We Bury Our Own' and 'Mining the Museum'." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:0a206e9d-c6f1-46c1-9a48-d301fcb50c44.

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This theoretical dissertation is a comparative assessment of two exhibitions responding to a museum archive: the work of African-American artist Fred Wilson (b. 1954), Mining the Museum, at the Maryland Historical Society, Baltimore, 1993, and my own exhibition We Bury Our Own at the Pitt Rivers Museum, University of Oxford, 2012. I explore the emergence of the museum as a context and medium for artists as institutional critique. The following research outlines a range of artistic practices and engages a process of ekphrasis to give detailed comprehensive accounts of both exhibitions, demonstrating how studio-based research is able to reveal hidden or previously unseen histories obscured by the imperial gaze. I discuss the differences between my own and Wilson's approaches in order to expose how the work might shift in significance or meaning when it is placed inside and outside the museum context. This thesis introduces the idea of spiritual repatriation, outlines how museum collections are able to contribute to artistic practice and how artists can contribute to the ongoing exhibition, critique and appreciation of museum collections. This thesis also elaborates on the Pitt Rivers Museum Collection and its subsequent influence on recent work, and redefines the title We Bury Our Own as a metaphor applied to a wider picture.
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Webber, Susan, and n/a. "House museums as sites of memory." University of Canberra. Built & Cultural Environment, 2005. http://erl.canberra.edu.au./public/adt-AUC20080925.100449.

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Houses and the objects within them stand as tangible symbols of human memory. Some memories are created unconsciously in day-to-day living; others are consciously attached to objects that are cherished as symbols of other places, relatives and friends. Memories may seem to be lost until they are rediscovered in moment of involuntary recall, triggered by an object, a smell or taste. The purpose of this research project is to investigate the memory experiences of visitors to a house museum; what they do with those experiences and how important they are to them. Forty adult visitors to Calthorpes' House in the ACT were interviewed using the focused interview technique with a framework of questions that allowed for a conversational style and additional questions. The interviews were recorded and later transcribed. The results showed that all visitors reported experiencing memories during their visit to Calthorpes' House. Many people found those experiences enjoyable and wanted to share them with others. These findings are important because they can inform the set-up, interpretation and publicity of house museums in ways which will attract new visitors and help to engage with visitors' interests when they visit house museums.
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Lally, Janice. "The Australian aboriginal collection in the Museum für Völkerkunde, Berlin and the making of cultural identity /." Connect to thesis, 2002. http://eprints.unimelb.edu.au/archive/00000309.

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Jones, Philip G. "'A box of native things' : ethnographic collectors and the South Australian Museum, 1830's-1930's /." Title page, contents and introduction only, 1996. http://web4.library.adelaide.edu.au/theses/09PH/09phj778.pdf.

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Styles, Catherine Anne, and castyles@ozemail com au. "An other place: the Australian War Memorial in a Freirean framework." The Australian National University. Centre for Women's Studies, 2001. http://thesis.anu.edu.au./public/adt-ANU20010904.111335.

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My thesis is that museum exhibitions developed according to Freirean praxis would constitute a better learning opportunity for visitors, facilitate the process of evaluation, and enact the favoured museum principles of dialogic communication and community-building. ¶This project constitutes a cross-fertilisation of adult education, cultural studies and museum practice. In the last few decades, museum professional practice has become increasingly well informed by cultural critique. Many museum institutions have been moved to commit to building communities, but the question of how to do so via exhibition spaces is yet to be squarely addressed by the museum field. In this thesis I produce a detailed evaluation of a museum's informal learning program; and demonstrate the potential value of adult education theory and practice for enacting museums' commitment to dialogic communication and community-building. ¶To investigate the value of adult education praxis for museums, I consider the Australian War Memorial's signifying practice - the site and its exhibitions - as a program for informal learning. I conduct my analysis according to Ira Shor's (Freirean) method for engaging students in an extraordinary re-experience of an ordinary object. Shor's program calls for students to investigate the object through three stages of description, diagnosis and reconstruction. Respectively, I testify to my initial experience of the Memorial's program as a visitor, analyse its signification in national, international and historical contexts, and imagine an alternative means of signifying Australia's war memory. The resulting account constitutes a record of my learning process and a critical and constructive evaluation of the Memorial as a site for informal learning. It provides a single vision of what the Memorial is, what it means and how it could be reconstructed. But more importantly, my account demonstrates a program for simultaneously learning from the museum and learning about its signifying practice. This dual educational and evaluative method would mutually advantage a museum and its visiting public. In a museum that hosted a dialogic program, the exhibitions would invite evaluative responses that staff are otherwise at pains to generate. Concurrently, visitors would benefit because they would be engaging in a more critical and constructive learning process. In addition, the museum would be enacting the principle of dialogic communication that underpins the project of community-building.
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Douglas, Craig Cameron, and n/a. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.111309.

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This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.
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Douglas, Craig Cameron. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365856.

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This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
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Books on the topic "Australian Museum"

1

Museum, Australian. Records of the Australian Museum. Sydney: Australian Museum, 1993.

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Museum, Australian, ed. Records of the Australian Museum. [Sydney]: Australian Museum, 1997.

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

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Victoria, Museum. Bunjilaka: The Aboriginal Centre at Melbourne Museum. Melbourne: Museum Victoria, 2000.

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Nicolas, Peterson, Allen Lindy, and Hamby Louise 1951-, eds. The makers and making of indigenous australian museum collections. Carlton, Vic: Melbourne University Press, 2008.

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Museum, South Australian. As large as life ... Adelaide [Australia]: The Museum, 1990.

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Archives, Australian Museum. A guide to the Australian Museum Archives. Sydney: Australian Museum, 1988.

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Museum, Australian. Australian Museum's Aboriginal collections: Far Western New South Wales catalogue. Sydney: The Museum, 2001.

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Museum, Australian. Science and scientists in the Australian Museum. Sydney, NSW: The Museum, 1996.

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Australia, National Museum of. Wrapped in a possum skin cloak: The Tooloyn Koortakay collection in the National Museum of Australia. Canberra: National Museum of Australia, 2005.

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Book chapters on the topic "Australian Museum"

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O'Sullivan, Sandy. "The Museum of the Imagination." In The Routledge Handbook of Australian Indigenous Peoples and Futures, 336–45. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003271802-26.

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Speck, Catherine, and Vanessa Russ. "On Working as an Aboriginal Museum Director and Curator of the Berndt Museum." In Crosscurrents in Australian First Nations and Non-Indigenous Art, 27–44. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003284765-3.

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Hutchings, Pat. "Foundations of Australian science, Sydney's natural history legacy, and the place of the Australian Museum." In The Natural History of Sydney, 74–89. P.O. Box 20, Mosman NSW 2088, Australia: Royal Zoological Society of New South Wales, 2010. http://dx.doi.org/10.7882/fs.2010.009.

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Ahmed, Zehra, and Jenny Newell. "Taking action on climate change and sustainability at the Australian Museum." In Museums and the Climate Crisis, 173–84. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003347606-13.

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Philp, Jude. "Hedley Takes a Holiday: Collections from Kanak People in the Australian Museum." In Unpacking the Collection, 269–88. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-8222-3_12.

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Hanks, Laura Hourston. "Western Australia Museum Boola Bardip, Perth, Australia." In New Museum Design, 73–90. Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2021. http://dx.doi.org/10.4324/9780429435591-4.

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Rodrigues, Jennifer. "National Museum of Australia." In Encyclopedia of Global Archaeology, 1–5. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-51726-1_3519-1.

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Simpson, Daniel. "The Museum." In The Royal Navy in Indigenous Australia, 1795–1855, 251–72. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60097-6_10.

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Horning, D. S. "The amphibians and reptiles in the Macleay Museum University of Sydney." In Herpetology in Australia, 227–28. P.O. Box 20, Mosman NSW 2088, Australia: Royal Zoological Society of New South Wales, 1993. http://dx.doi.org/10.7882/rzsnsw.1993.034.

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Ustaoğlu, Murat. "Muslim Minorities in Australia." In The Palgrave Encyclopedia of Islamic Finance and Economics, 1–9. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-93703-4_343-1.

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Conference papers on the topic "Australian Museum"

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Chalmers, Andrew N., Christopher Cuttle, and Roger Van Ryn. "An experimental illuminator for museum conservation lighting." In 2006 Australian Conference on Optical Fibre Technology (ACOFT). IEEE, 2006. http://dx.doi.org/10.1109/acoft.2006.4519275.

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Adams, S. W. "Managing Floating Heritage: Historic Ships At the Australian National Maritime Museum." In Historic Ships 2007. RINA, 2007. http://dx.doi.org/10.3940/rina.hist.2007.10.

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McSkimming, E. R. "The Australian Museum: analysis of weathering effects on Sydney (Yellow Block) Sandston." In REHAB 2014 - International Conference on Preservation, Maintenance and Rehabilitation of Historical Buildings and Structures. Green Lines Institute for Sustainable Development, 2014. http://dx.doi.org/10.14575/gl/rehab2014/096.

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Zahner, Katharina, Heather Kember, and Bettina Braun. "Mind the Peak: When Museum is Temporarily Understood as Musical in Australian English." In Interspeech 2017. ISCA: ISCA, 2017. http://dx.doi.org/10.21437/interspeech.2017-839.

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Shaw, L. J. "From Couta Boat to Daring Class Destroyer – The Historic Fleet of the Australian National Maritime Museum." In Historic Ships 2012. RINA, 2012. http://dx.doi.org/10.3940/rina.hist.2012.04.

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Richards, Deborah. "Agent-based museum and tour guides." In The 8th Australasian Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2336727.2336742.

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Basballe, Ditte Amund, and Kim Halskov. "Projections on museum exhibits." In the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1952222.1952240.

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Ramakrishnan, Sita. "Accreditation of Monash University Software Engineering (MUSE) Program." In InSITE 2007: Informing Science + IT Education Conference. Informing Science Institute, 2007. http://dx.doi.org/10.28945/3060.

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Engineering programs in Australian Universities are accredited by Engineers Australia (EA) based on certain strict guidelines. This paper discusses the undergraduate SE curriculum and accreditation effort undertaken over the last ten years at Monash University in order to achieve a successful outcome. The paper describes how the SE curriculum has evolved over this period at Monash and maintained its product quality by benchmarking against various international efforts such as the CMU-SEI effort in early 1990s, ACM/IEEE efforts on Software Engineering Body of Knowledge (SWEBOK, versions 2001-2004) and the curriculum guidelines for each major area of computing in Computing Curricula (CC2001) such as a Software Engineering volume (SE2004). Currently at Monash, student-centric evaluations are used to determine the teach-ing/learning outcome and in-form the world through the web to support the University’s quality assurance and improvement strategies. We discuss our effort in providing an aligned, evidence-based approach to quality assurance for continued accreditation of MUSE.
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Dindler, Christian, Ole Sejer Iversen, Rachel Smith, and Rune Veerasawmy. "Participatory design at the museum." In the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1952222.1952239.

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Akbarzadeh, Shahram. "Islam in Australia." In Symposium on The State of Muslim Minorities in Contemporary Democracies. International Institute of Islamic Thought, 2021. http://dx.doi.org/10.47816/02.001.symposium3.akbarzadeh.

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Reports on the topic "Australian Museum"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.

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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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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.

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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.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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