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Relevant bibliographies by topics / Australian National Gallery

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Academic literature on the topic 'Australian National Gallery'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Australian National Gallery"

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Bruce, Joan. "Using RLIN in the Australian National Gallery Library." Art Libraries Journal 14, no. 3 (1989): 17–20. http://dx.doi.org/10.1017/s0307472200006350.

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The Australian National Gallery Library has used RLIN since January 1985. It is used primarily as an online bibliographic database, to trace publications on particular artists and as a means of verifying references supplied by library users. It is also used, but less frequently, to verify bibliographic details of items to be acquired for the Library; other more occasional use is made of RLIN as a source of catalogue records, to identify locations of items the loan of which is to be sought from overseas, to verify name headings, and as a source of information used in stock selection. Of the special files, Scipio has proved most useful as a source of information on sales catalogues. RLIN does not present insuperable problems to the remote user, although an offline print facility and extended access hours would both be helpful.

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Hoffman, Sheila K., Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim. "Exhibition Reviews." Museum Worlds 9, no. 1 (July 1, 2021): 175–207. http://dx.doi.org/10.3167/armw.2021.090114.

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Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan JiangTempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarinWonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra KearneyBrett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-BarnesThe “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim

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Volker, Joye, and Jennifer Coombes. "The art of life online: creating artists’ biographies on the web." Art Libraries Journal 34, no. 1 (2009): 12–16. http://dx.doi.org/10.1017/s0307472200015704.

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The World Wide Web has created significant changes in how cultural institutions, including galleries, communicate their role as custodians of cultural content and research. In this paper we discuss a number of initiatives involving the Research Library and curatorial sections at the National Gallery of Australia to bring information about Australian visual arts to an online audience.

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Webber, Monique. "Torchlight, Winckelmann and Early Australian Collections." Journal of Curatorial Studies 9, no. 1 (April 1, 2020): 114–34. http://dx.doi.org/10.1386/jcs_00013_1.

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Mid-nineteenth-century Melbourne wanted to be more than a British outpost in southern Australia. Before its second decade, in 1854, the city founded an impressive museum-library-gallery complex. As European museums developed cast collections, Redmond Barry – Melbourne’s chief patron – filled Melbourne’s halls with a considerable selection. With time, these casts were discarded. The now lost collection seldom receives more than a passing remark in scholarship. However, these early displays in (what would become) the National Gallery of Victoria reimagined European Winckelmann-inspired curatorial models. The resulting experience made viewing into a performative action of nascent civic identity. Considered within current practice, Melbourne’s casts expose the implications of curatorial ideology.

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Blessing, Peta Jane, and Simon Underschultz. "Expanding our reach: Special Collections and Archives of the NGA Research Library." Art Libraries Journal 44, no. 3 (June 12, 2019): 139–46. http://dx.doi.org/10.1017/alj.2019.19.

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The National Gallery of Australia Research Library and Archives (NGARL&A) offers unique collections and provides vital services within the contemporary Australian art world, but there has been a seismic shift in their users and use. This paper will explore the impact this change has had on our roles as art archivists and provide insight into new ways these collections are being used.

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Denton, Derek. "Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 1 (2007): 97. http://dx.doi.org/10.1071/hr07005.

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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.

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Denton, Derek. "Erratum to: Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 2 (2007): 305. http://dx.doi.org/10.1071/hr07005_er.

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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.

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Zerwes, Erika. "A trajetória esquecida da fotógrafa Margaret Michaelis: entrevista com Helen Ennis * The forgotten history of photographer Margaret Michaelis: interview with Helen Ennis." História e Cultura 5, no. 3 (December 14, 2016): 402. http://dx.doi.org/10.18223/hiscult.v5i3.1792.

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Esta entrevista com a australiana Helen Ennis, curadora e professora de história da arte na Australian National University, busca jogar luz sobre a vida e obra da fotógrafa Margaret Michaelis (1902-1985). Ennis foi a autora da única biografia existente até o momento sobre Michaelis, além de ter sido a responsável pela incorporação do arquivo da fotógrafa na National Gallery of Australia, e pela exposição “Margaret Michaelis: Love, loss and photography”, realizada naquela instituição em 2005. Ennis recuperou, depois de quase quarenta anos esquecida, a rica obra fotográfica e história de vida de Michaelis, austríaca de nascimento, que estudou fotografia em Berlim nos anos de 1920, mas que, por sua origem judaica e sua militância anarquista, fugiu primeiro para a Espanha, onde fotografou a Guerra Civil Espanhola pelo lado republicano, depois para Londres, e, finalmente, para a Austrália. Lá ela viveu sob vigilância política no pós Segunda Guerra, e no anonimato profissional e artístico até sua morte, em 1985.

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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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Beer, Chris. "The national capital city, portraiture, and recognition in the Australian mythscape: The development of Canberra's National Portrait Gallery." National Identities 11, no. 2 (June 2009): 149–63. http://dx.doi.org/10.1080/14608940902891278.

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Dissertations / Theses on the topic "Australian National Gallery"

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Ward, Debbie, and n/a. "Textile conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.174356.

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Urquhart, Ian McLeod, and n/a. "An internship in painting conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.162330.

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My employment in the Paintings Section of the Conservation Department of the Australian National Gallery began in June 1983, however my internship did not begin until March 1984 under the supervision of Allan Byrne. At that time, the paintings section was divided, rather arbitrarily, into: paintings pre-1940, headed by Ilse King and; paintings post-1940, headed by Allan Byrne. Because of the departure of the then senior curator of conservation Dr Nathan Stolow, Allan Byrne became acting senior curator. When Allan Byrne took up the position of lecturer in paintings conservation at C.C.A.E., Ilse King then became acting senior curator and my supervisor; the division within the painting section was then disbanded. Jac Macnaughtan departed temporarily from the department to undertake study and to work at the Tate Gallery and at the Courtauld Institute in London leaving me with the paintings section. I was fortunate enough to have at first one assistant Simon Hartas, then two assistants, Mark Henderson and Les Cormack to help with the task of backing, framing and restretching paintings. There was no formal training programme for an intern - work was undertaken as it came into the department and as it was allotted. For the sake of simplicity and ease of handling the dissertation is divided into 3 parts: Part 1 includes the Functions and Facilities of the conservation department. Part 2 includes an outline of painting conservation practice within the gallery and details of conservation work undertaken. Part 3 comprises a project on some of the properties of hardboard. As the gallery has in its collection a considerable number of paintings on hardboard, to augment my knowledge and perhaps give some insight into the nature of hardboard, this project was undertaken in conjunction with the internship.

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Cains, Carol, and n/a. "Internship in textile conservation at the Australian National Gallery, 1981-1984." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20060623.130749.

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Kringas, Simon. "Design of the High Court of Australia." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18605.

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The High Court of Australia is a seminal work of architecture, recognised nationally after twenty-five years by the Royal Australian Institute of Architects 'Enduring Architecture' award, and internationally, as one of only ten Australian buildings registered on the Union of International Architects 'Architectural Heritage of the 20th Century'. Since its construction in 1980, the design of the High Court has been consistently ascribed to the architect Colin Madigan – a director of the firm Edwards Madigan Torzillo and Briggs. It is said to embody a 'unity of concept' with Madigan's National Gallery, and to accord with 'universal' principles, geometric 'design laws' and the 'craft-based attitude' of 'Madigan's architecture'. Such sustained references have effectively established a dominant and institutionally sanctioned narrative. A body of other acclaimed work produced by the firm is similarly construed as Madigan's oeuvre. In fact, the design of the High Court resulted from a national competition held between 1972 and 1973. Documented evidence credits its 'Design Team' and identifies architect Christopher Kringas as the 'Director in Charge'. The stated 'Design Concept' does not mention universal principles or geometric laws, nor does the High Court's architectonic design accord with such descriptors. Kringas's design role is further evident in the firm's most significant work. This thesis traces and critically reviews the prevailing narrative of the design of the High Court. Behind-the-scenes correspondence, original archives and oral histories expose machinations around its authorship and build a counter-narrative that re-contextualises the High Court according to Brutalist ideology, nation building agendas, individual agency and design experimentation, crystallised by an architectural competition. An alternate reading of the High Court design is developed, pointing to a radicalisation and shift of the Brutalist agenda, and salient innovations previously unexamined.

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Fasoli, Lyn, and n/a. "Young children in the art gallery : excursions as induction to a community of practice." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060710.095714.

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Learning in 'communities of practice' is a new way of describing and investigating how people learn and has not been applied extensively in research in early childhood or in art galleries. This thesis is a critical case study undertaken with preschool children as they prepared for, participated in and followed up a series of excursions to the National Gallery of Australia. The study explores and analyses children's induction into the practices of the art gallery and their negotiation of the meanings around these practices in the gallery and in their preschool. Children's engagement in practices is analysed using a sociocultural framework for learning called 'communities of practice' (Wenger, 1998) in combination with a multilevel analysis of the artefacts of practice derived from the philosophical writings of Wartofsky (1979). Multiple data sources included photographs of children, their drawings, tape recordings of their incidental talk and group discussions, and results of play activities as children participated in the practices of the art gallery and the preschool. Data was also collected through semi-structured interviews with gallery and preschool staff. In a study involving such young children, the use and juxtaposition of these multiple sources of data was important because it allowed for the inclusion and privileging of the material and non-verbal resources as well as verbal resources that children used as they engaged in practices. Outcomes of this research have been used to illuminate and problematise early childhood as a site for the intersection of multiple communities of practice. Learning to make sense of experience is portrayed as more than language-based 'scaffolding' and the representation of experience through child-centred play activity. The study provides a detailed descriptive account of children's learning and sees it as a fundamentally unpredictable and emergent process. It shows that relations of power are always a part of learning and can be seen through an analysis of the resources available to children, those they took up and were constrained by in the local situation and those they brought from other communities of practice. In this process, the children, as well as their teachers, were active negotiators. They participated in complying with community-constituted views of knowledge as well as shaping, resisting and contesting what counted as knowledge. This study makes a contribution to understanding children's learning in early childhood as fundamentally social, unpredictable, productive and transformative rather than individually constructed, stable, predetermined and representational of experience.

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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
Doctor of Philosophy (PhD)

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James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.

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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.
"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.

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Doyle, Wawrzynczak Anni. "Transcending the National Capital Paradigm: The Evolution of Bitumen River Gallery/Canberra Contemporary Art Space." Phd thesis, 2016. http://hdl.handle.net/1885/118221.

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This dissertation investigates the fertile tensions in Canberra’s dual status as national capital space and local polis, that dramatically affected the development of a unique contemporary arts practice in the late 1970s. The primary thrust of this thesis is the triumph of local arts practice and community over the powerful nation- building cultural imperatives of a national capital. A complex narrative, informed by rich archival material and interviews, exposes local arts practice as a generative force in Canberra’s cultural development. Here, an examination of the citywide development of local arts and culture from the 1920s to 2001, leads to a case study of the launch and development of Bitumen River Gallery/Canberra Contemporary Art Space from 1978 to 2001. Women are shown to have exerted a profound influence in this important space, in contrast to the trend of the male-dominated art scene in the rest of late twentieth-century Australia. In sum, this dissertation traces the trajectory of arts practice in Canberra as a response to critical social and cultural needs within the national capital space, to a humanising local practice that transcended the capital’s national and international cultural imperatives.

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Péron, Marie. "Culture Warriors: Education and Awareness at the Inaugural National Indigenous Art Triennial, organized by National Gallery of Australia, 2007-2009." Thesis, 2010. http://spectrum.library.concordia.ca/7076/1/Peron_MA_F2010.pdf.

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This thesis discusses the inaugural National Indigenous Art Triennial: Culture Warriors organized and hosted by the National Gallery of Australia and provides a critical analysis of the National Indigenous Art Triennial: Educational Resource that accompanied the exhibition. The aim of this discussion and analysis is to identify elements from the educational program at the National Gallery of Australia (NGA) that effectively increase knowledge and appreciation of Indigenous art at the Gallery. The premise behind my analysis consists of the possibility and feasibility of using similar educational programs in a Canadian context. Using an exploratory approach, this thesis brings attention to elements that could potentially be of benefit to the National Gallery of Canada (NGC) in the development of future educational programs associated with Indigenous Art exhibitions. It is well-known that, in the past, the NGC has been criticized for its exhibition, collecting, and dissemination practices with regards to Indigenous art. Having undergone considerable changes since the 1990’s, the NGC is beginning to look like a different institution especially with the establishment of an Indigenous Art Department in August 2007. One particular area criticized in the past about the NGC has been public access to and information about Indigenous art at the Gallery. As stated by Alfred Young Man, Department Head of Indian Fine Arts, at the First Nations University of Canada, in 2008; “There needs to be a better way for people who are looking for Aboriginal art at the National Gallery to find it, and learn about it.” Today, the NGC’s mandate seeks to “increase the knowledge, awareness and appreciation of Indigenous art in Canada and internationally.” With its Indigenous Art Department currently in a relative stage of infancy, it is a logical time to be looking at the educational tools being developed and implemented at similar institutions, such as the NGA, for ideas as to how the NGC can fulfill its present-day mandate.

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Books on the topic "Australian National Gallery"

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Australia, National Gallery of. Australian art in the National Gallery of Australia. Edited by Gray Anne 1947-. [Canberra]: National Gallery of Australia, 2002.

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1957-, Bonyhady Tim, ed. Australian colonial paintings in the Australian National Gallery. Melbourne: Oxford University Press, 1986.

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editor, Radford Ron 1949, ed. Collection highlights: National Gallery of Australia, Canberra. Canberra: National Gallery of Australia, 2014.

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1949-, Radford Ron, and National Gallery of Australia, eds. Collection highlights: National Gallery of Australia, Canberra. Canberra: National Gallery of Australia, 2008.

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Gallery, Australian National. Australian art: In the collection of the Australian National Gallery. Canberra, ACT: Australian National Gallery, 1988.

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Australia, National Gallery of. Australian artists books. [Parkes, A.C.T.]: National Gallery of Australia, 2008.

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Ennis, Helen. Australian photographs: A souvenir book of Australian photography in the Australian National Gallery. Canberra: Australian National Gallery, 1988.

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Murray, Les A. The full dress. Canberra: National Gallery of Australia, 2002.

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1948-, Butler Roger, ed. Australian prints: A souvenir book of prints in the Australian National Gallery. Canberra: Australian National Gallery, 1985.

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Alex, Selenitsch, ed. Australian artists books. [Parkes, A.C.T.]: National Gallery of Australia, 2008.

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Book chapters on the topic "Australian National Gallery"

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McGregor, Katharine. "Heads from the North: Transcultural Memorialization of the 1965 Indonesian Killings at the National Gallery of Australia." In The Indonesian Genocide of 1965, 235–52. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71455-4_12.

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"Widening the Circle of Art: The Voyage to Europe and the Melbourne National Gallery Travelling Scholarship." In Identity, Community and Australian Artists, 1890–1914. Bloomsbury Visual Arts, 2019. http://dx.doi.org/10.5040/9781501332876.ch-002.

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Taylor, Luke. "Introduction." In Seeing the Inside, 1–14. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198273905.003.0001.

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Abstract The Kunwinjku artists of western Arnhem Land in north Australia engage with a world that takes an increasing interest in their paintings. Tourists now flock to nearby Kakadu National Park to see rock paintings, which may well be contemporaneous with those of Lascaux (Jones 1985). Some visitors may venture further and purchase bark paintings at community arts centres. In every major Australian city there are commercial art galleries that market the major works (Plate 1.1), while many more paintings are sold through tourist outlets. Exhibitions of the works have been held throughout Australia and overseas, and Kunwinjku artists have been flown from Arnhem Land to attend the openings. Artists who began their painting career as a teenager learning to paint on a rock wall or bark shelter have seen the market grow in their lifetime and, at the age of 70, may find themselves attempting to explain their motivations to a Los Angeles gallery audience.

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McCarthy, Josh. "Online Networking." In Multiculturalism in Technology-Based Education, 189–210. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2101-5.ch012.

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This chapter explores the use of Facebook in helping immerse international students into Australian university culture at a first year level by furthering the development of academic and social relationships between peers. The study was initiated in response to a national survey that found 65% of international students experience periods of loneliness and isolation when studying in Australia; moreover, one of the key triggers for this loneliness is an inability to develop academic relationships with peers, particularly local students, during the early stages of their university careers. 100 first year design students (including 23 international students) took part in the semester-long study, as part of the course “Imaging Our World” at the University of Adelaide. Every two weeks, students were required to submit images to an online gallery in Facebook and to provide critiques on peers’ submissions. The gallery topics were broad in nature, and open to the students’ own interpretations, allowing for a concurrently wide range of images in each. The galleries gave students the opportunity to connect with their peers in a virtual environment, and develop academic relationships freed from the constraints of the classroom and their own inhibitions. Discussions between students often evolved from formal, academic critiques to informal social interactions as embryonic online connections were formed. The study was considered to have been a success, due to Facebook’s engaging and interactive qualities, the students’ existing interest and experience with the software, and their eagerness to connect with their peers.

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Doyle Wawrzyńczak, Anni. "Bitumen River Gallery – evolution and early years." In How Local Art Made Australia’s National Capital, 105–61. ANU Press, 2020. http://dx.doi.org/10.22459/hlamanc.2020.04.

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"BITUMEN RIVER GALLERY – EVOLUTION AND EARLY YEARS." In How Local Art Made Australia's National Capital, 105–62. ANU Press, 2020. http://dx.doi.org/10.2307/j.ctv1bvnd5m.10.

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"Institutional Inertia and the National Gallery of Victoria in Australia." In Foreign Currency Volatility and the Market for French Modernist Art, 145–76. BRILL, 2021. http://dx.doi.org/10.1163/9789004468719_007.

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Taçon, Paul S. C., Wayne Brennan, Graham King, Dave Pross, and Matthew Kelleher. "The contemporary cultural significance of Gallery Rock, a petroglyph complex recently found in Wollemi National Park, New South Wales, Australia." In Aesthetics, Applications, Artistry and Anarchy: Essays in Prehistoric and Contemporary Art, 71–85. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvndv846.10.

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Conference papers on the topic "Australian National Gallery"

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Christie, Robyn. "The Great Debate: Campaigns and Conflicts in London in the 1980s." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5016p9v9h.

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In 1984 HM King Charles III, then HRH The Prince of Wales, gave the infamous speech to the RIBA in which he was critical of a proposed new extension to the National Gallery in Trafalgar Square. The fervour unleashed in the press signified a unique moment when architecture, conservation, planning and development became a much – and still – talked about part of the public discourse in Britain. Conservation theory had dictated since its early guidelines of practice that new additions to historic works should be clearly distinguished from their original host or the existing environment. Historicism, imitating the existing architecture within an urban setting was taboo, a notion that went back to Ruskin and the anti-scrape lobby of Morris. Unravelling the events of the 1980s, however, reveals that the desire to copy past forms as a means of retaining the past maintained an ongoing and strong legacy. It had become a method of seeking refuge from the failures of modernism and the divergence between traditional and modern forms, language and techniques. Openly acknowledged that modernism was anti- historic and anti-urban, classicism and medieval towns and forms offered the example of outdoor rooms and a predominance of solids over voids. For the then Prince and his many followers, including vast members of the public, the use of a traditional architectural style as infill in a classically inspired building setting was “good” design practice. At this point, ironically, the retreat to historicism also comprised not only mimicking traditional details but also their playful reinterpretation through an esoteric postmodernism. But the topic of new into old had become confused: the critical issue was one of urban design and not the language of infill architecture. Three case studies within the historic core of the City of London, the basis of criticism in Charles’ speeches of 1984 and 1987, will be explored through the popular press in order to understand their lessons and relevance to the complexity of current contemporary conflicts in historic urban areas.

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Reports on the topic "Australian National Gallery"

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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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