Relevant bibliographies by topics / Exhibitions Australia

Academic literature on the topic 'Exhibitions Australia'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Exhibitions Australia"

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Hansen, Guy. "There is no ‘I’ in Team: Reflections on Team-Based Content Development at the National Museum of Australia." Public History Review 17 (December 22, 2010): 16–33. http://dx.doi.org/10.5130/phrj.v17i0.1835.

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In recent years one of the most important trends in the development of history exhibitions in major museums has been the use of interdisciplinary project teams for content development. This approach, often referred to as the team based model of content development, has, in many institutions, replaced older models of exhibition production built around the expertise of the curator. The implementation of team based models has had a profound impact on the way exhibitions are produced. When done well it has helped deliver exhibitions combining a strong focus on audience needs with in-depth scholarship and collections research. In some contexts, however, the tyranny of the team has given rise to a form of museological trench warfare in which different stakeholders struggle for creative control of an exhibition. In this article I will explore some aspects of the team based approach with reference to the development of the opening suite of exhibitions for the National Museum of Australia (NMA) in 2001. My observations are drawn from my experience as the lead curator of the Nation Gallery, one of the NMA’s opening exhibitions.
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Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection." Arts 8, no. 4 (September 27, 2019): 126. http://dx.doi.org/10.3390/arts8040126.

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Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
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Raharjo, Timbul. "INDONESIAN CRAFT IN THE WORLD TRADE." Ars: Jurnal Seni Rupa dan Desain 21, no. 3 (September 1, 2018): 177–82. http://dx.doi.org/10.24821/ars.v21i3.2899.

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Some international craft exhibitions focus on home accessories, gifts, and furniture. The exhibition aim as craft product branding at the national and international market, for example 2016 JIFFINA exhibition. Indonesian craft commodity maintains market share in several export destination countries because Indonesian products offer special characteristics and moreover, Indonesian exporters are enthusiastic in promoting the products in international exhibitions. In Asia level, Canton Fair held in Guangzhou International Convention & Exhibition Center China is one of the biggest programs where a big number of buyers look for products they want to purchase. In Asia, exhibition series peak in Guangzhou in March and in Shanghai in October. These exhibitions are visited by importers from Europe, America, Africa, The Middle East, Australia, etc. They come to buy Asian furniture. Some exhibitions in several countries are intentionally organized within a short time in sequence to grab buyers coming to South East Asian area. It is when the commission products from Indonesian producers, in form of retails or projects. Indonesian stakeholders respond this opportunity by organizing two big exhibitions, namely Indonesia International Furniture Expo (IFEX) in Jakarta and Jogja International Furniture and Craft Fair (JIFFINA) in Yogyakarta
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Bowker, Sam. "No Looking Back." Australian Journal of Islamic Studies 4, no. 1 (July 17, 2019): 18–32. http://dx.doi.org/10.55831/ajis.v4i1.153.

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This is a critical review of changes in the two years since I wrote “The Invisibility of Islamic Art in Australia” for The Conversation in 2016. This includes the National Museum of Australia’s collaborative exhibition “So That You May Know Each Other” (2018), and the rise of the Eleven Collective through their exhibitions “We are all affected” (2017) in Sydney and “Waqt al-Tagheer – Time of Change” (2018) in Adelaide. It considers the representation of Australian contemporary artists in the documentary “You See Monsters” (2017) by Tony Jackson and Chemical Media, and the exhibition “Khalas! Enough!” (2018) at the UNSW. These initiatives demonstrate the momentum of generational change within contemporary Australian art and literary performance cultures. These creative practitioners have articulated their work through formidable public networks. They include well-established and emerging artists, driven to engage with political and social contexts that have defined their peers by antagonism or marginalisation. There has never been a ‘Golden Age’ for ‘Islamic’ arts in Australia. But as the Eleven Collective have argued, we are living in a time of change. This is an exceptional period for the creation and mobilisation of artworks that articulate what it means to be Muslim in Australia.
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Perry, Barbara. "The Pictorial Collection of the National Library of Australia." Art Libraries Journal 13, no. 1 (1988): 23–25. http://dx.doi.org/10.1017/s0307472200005526.

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The National Library of Australia at Canberra includes a Pictorial Collection comprising paintings, drawings, prints and photographs which illustrate the history of Australia. The Collection is being actively developed, the ultimate goal being a comprehensive visual record of all aspects of Australian life. The Collection is open to the public, and is served by a photographic unit; a selection of pictures are always on display, and items are lent to exhibitions elsewhere. A publications programme is to culminate in the production of an illustrated catalogue. Data on selected items in the Collection is being entered into the Australian Bibliographic Network database.
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Fisher, Laura, and Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas." Media International Australia 158, no. 1 (January 11, 2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.

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In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine art status – something that, while no longer questioned in Australia, continues to be precarious overseas. By considering how both political and aesthetic concerns were addressed by Indigenous curators Hetti Perkins and Brenda L. Croft, this discussion sheds light on the ways in which emergent political meanings associated with Indigeneity have driven new kinds of institutional practice and international cultural brokerage.
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De Lorenzo, Catherine. "Installation View: Photography Exhibitions in Australia (1848–2020)." Australian and New Zealand Journal of Art 22, no. 1 (January 2, 2022): 133–36. http://dx.doi.org/10.1080/14434318.2022.2076037.

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Batchen, Geoffrey. "Installation View: Photography Exhibitions in Australia 1848–2020." History of Photography 45, no. 1 (January 2, 2021): 101–3. http://dx.doi.org/10.1080/03087298.2021.2020476.

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

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Agricultural shows are important events in rural and regional Australia. For over a century, they have often been the main annual festival on any given town's calendar. This importance makes the lack of scholarly attention to rural and regional shows puzzling. Recently, Australian exhibitions and agricultural shows have come in for some very welcome scholarly attention, although very little has been written about rural and regional events. Scholars such as Kate Darian-Smith and Sara Wills, Joanne Scott and Ross Laurie, Judith McKay, and Kay Anderson have all written on exhibitions and shows – although, of this group, only Darian-Smith and Wills have written on rural shows, the rest focusing more on inter-colonial and metropolitan Australian shows. Even Richard Waterhouse's groundbreaking study of rural Australian cultural history, The Vision Splendid, provides little detail on agricultural shows and their role in rural cultural life, although the show's importance is recognised.
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Hughes, Patrick. "New Media in the ‘New Museums’: Much Technology, Little Historiography." Media International Australia 95, no. 1 (May 2000): 183–90. http://dx.doi.org/10.1177/1329878x0009500116.

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New communications technologies offer museum curators opportunities to create exhibitions that are ‘open’ to diverse interpretations and are ‘democratic’ in privileging no particular interpretation. However, a fascination with the new forms of exhibition that communications technologies offer can distract us from the fact that they inevitably represent a particular view of the past. Reconsidering the collection of articles titled ‘Museums and New Media’ (Media International Australia incorporating Culture and Policy, no. 89) highlights the need to assert the primacy of historiography over the technologies of its representation.
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Dissertations / Theses on the topic "Exhibitions Australia"

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

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The Master of Fine Art document examines the inception of Matter Painting as it occurred in Europe and it's following in Australia. This document recalls the history and process of this late assimilation through examining the development of abstraction in Australia and the local receptiveness of influence from abroad. Within a climate of increased immigration and international awareness, Matter Painting was encountered by an initiated few. This history firstly begins with practitioners that were not in locale but rather overseas who were in close proximity to the centre of such avant-garde. It is not until the artist and critic Elwyn Lynn returns from his seminal overseas travels in 1959 and his first showing of "Matter" painting's in 1960 that Matter Painting in Australia gathered momentum. Discussed within this document is the history of this movement, the impact that it had on local practitioners and the relevance that it has played within my practice.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." University of Sydney, 2005. http://hdl.handle.net/2123/1098.

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Master of Visual Arts
The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Farmer, Margaret Art College of Fine Arts UNSW. "Terra Alterius: land of another." Awarded by:University of New South Wales. School of Art, 2007. http://handle.unsw.edu.au/1959.4/29574.

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What would Australia be like if it had been recognised as terra alterius, ???land of another???, by the British, rather than claimed and treated as terra nullius, ???land of no-one???? This question was posed by the exhibition Terra Alterius: Land of Another, which comprised works by Gordon Bennett, Barbara Campbell-Allen, Julie Dowling, Shaun Gladwell + Michael Schiavello, Jonathan Jones, Joanne Searle, Esme Timbery, Freddie Timms, Lynette Wallworth, Guan Wei and Lena Yarinkura, created or nominated in response to the theme. This thesis describes the concept of terra alterius and the exhibition Terra Alterius: Land of Another. It considers the utility of the concept terra alterius, whether the exhibition achieved its ambition to explore the political and social terrain of a reconciled Australia, and, briefly, whether the concept of terra alterius might be useful to other ???terra nullius??? countries. It argues that the curatorial strategies ??? the ???What if???? re-imagination of Australia???s past, multiplicity of vision and active creation, grounding of the exhibition in affect (in response to Aboriginal painting), and working within Indigenous protocols ??? were effective, and that the exhibition was a useful means of exploring the relationships between Indigenous and non-Indigenous Australians. Comparisons with the exhibition Turn the Soil curated by Kevin Murray and the ???retrospective utopia??? W.H. Oliver argues has been created for New Zealand by the Waitangi Tribunal provide insight into the nature of the reconciled Australia presented in the exhibition and what might be achieved by a counterfactual exhibition. From these comparisons, it is argued, first, that the exhibition points to a disjuncture between Australia???s ongoing official, psychological and legal terra nullius and the approaches and relationships present in Australian society (characterised as a performance of Bloch???s utopian function); and secondly, that a counterfactual exhibition, because it is not bound to the factual, causal or narrative qualities traditionally attributed to history, is able to explore the future in a way that contains rather than denies the past. Although the concept of terra alterius is seen as having played a crucial role in the realisation of the exhibition, it is questioned whether the concept???s utility extends beyond Australia.
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McKenzie, Anna, and n/a. "An Investment in Being Human EXPLORING YEAR 9 STUDENT EXHIBITIONS AN ACT CASE STUDY." University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20081216.140527.

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ACT Year 9 Exhibitions Program aligns curriculum, pedagogy and assessment in the design and implementation of rich learning tasks, which are focussed on transdisciplinary, problem-based, community-centred issues. It provides an authentic assessment model through a panel assessment process of demonstrated student achievement. This case study research examines the uptake of an Exhibitions approach in three ACT high schools. It discovers, through their own telling, what inspires commitment by participants to the program and the ways that they measure success. The study draws on a rich data set of narrative inquiry and semi-structured interviews with teachers and students from the case study schools. Analysis of the 'lived experiences' of the participants indicates that how individuals profit by the program is determined by five critical factors which are realized differently for them. Further, for the Year 9 Student Exhibitions Program to succeed in meeting its goals of providing for teacher renewal and improved student learning outcomes, and of promoting high school reform, certain conditions must prevail. These conditions converge around the support afforded teachers to build their capacity for curriculum and pedagogical change, and the opportunities for engagement and agency of both teachers and students in the design of the Exhibition task and its implementation. This study investigates the realities of implementing change in schools and its findings augment what theorists would predict for school change. It indicates that the extent to which Exhibitions can drive a wedge into the 'business-as-usual' approach of the ACT's more traditional high schools, and provide an alternative view of what it means to educate for the 21st century, depends ultimately upon the human and structural conditions created in the school, and the authenticity of the approach to uptake. This study contains important recommendations for government and education systems alike as they pursue school change.
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Orr, Kirsten School of Architecture UNSW. "A force for Federation: international exhibitions and the formation of Australian ethos (1851-1901)." Awarded by:University of New South Wales. School of Architecture, 2006. http://handle.unsw.edu.au/1959.4/23987.

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In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.
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Boyanoski, Christine. "Decolonising visual culture : Canada, Australia, New Zealand and South Africa and the Imperial Exhibitions 1919-1939." Thesis, Birkbeck (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271816.

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Meyer, Paula. "Will the show go on? a marketing concept analysis of the management effectiveness of agricultural show societies in Australia /." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/35888.

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Thesis (M. Commerce (Hons.)) -- University of Western Sydney, 2008.
A thesis submitted to the University of Western Sydney, College of Business, School of Marketing, in fulfilment of the requirements for the degree of Master of Commerce (Honours). Includes bibliographical references.
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Murphy, Rachael. "Exhibiting Indigenous Australian collections in the UK." Thesis, University of East Anglia, 2017. https://ueaeprints.uea.ac.uk/67831/.

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This thesis asks: what are the uses and meanings of Indigenous Australian collections in the UK today? This question is approached through a comprehensive analysis of one exhibition, Indigenous Australia: enduring civilisation, which took place at the British Museum (BM), London, from 23 April to 2 August, 2015. Each chapter considers a different stage of the exhibition’s development and reception. It begins in Chapter 2. Genealogy with a study of how the exhibition emerged from the longer history of collecting and displaying Indigenous Australian material at the BM. It then interrogates the aims and experiences of the people who made Indigenous Australia in Chapter 3. Production. Chapter 4. Text analyses the finished display and, Chapter 5. Consumption, evaluates how the exhibition was received by its audiences. Each chapter considers not only how the exhibition was experienced by the people involved, but also how their aims and understandings relate to broader debates about the role of colonial era collections in contemporary Western societies.
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Berryman, James (Jim) Thomas. "From field to fieldwork : the exhibition catalogue and art history in Australia." Phd thesis, Canberra, ACT : The Australian National University, 2005. http://hdl.handle.net/1885/9528.

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

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

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Lauber, Timothy J. Furniture exhibitions: Europe, Asia, Australia, Latin America. Hamburg, NY: AKTRIN Research Institute, 1994.

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Marco, Parri, and Palazzo Incontro (Rome Italy), eds. Australia today: Aboriginal contemporary art : masterpieces of the Aboriginals of Australia. Firenze: National Gallery Firenze, 2009.

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Terry, Martin. Cooee: Australia in the 19th century. Canberra: National Library of Australia, 2007.

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

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Indigenous Australia standing strong. Australia: Simon & Schuster, 2001.

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Queensland Art Gallery. Gallery of Modern Art, ed. Contemporary Australia: Women. South Brisbane, Qld: Queensland Art Gallery, 2012.

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Landon, Richard. Terra Australis incognita: An exhibition about Australia to 1900 : June 15 to September 16, 1988. [Toronto: University of Toronto Library, 1988.

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Art Gallery of South Australia. Library. Artists in South Australia, 1940-1950: Art Gallery of South Australia Library. Adelaide: The Library, 1991.

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

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Book chapters on the topic "Exhibitions Australia"

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

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AbstractIn this chapter, Boyd summarises the Engaging Youth in Regional Australia (EYRA) Study whose findings formed the basis of the touring art exhibition called ‘Finding Home’. Rooted in placed-based understandings of youth belonging and well-being, the study sought to challenge some of the long-standing assumptions about young people’s internal migration decisions in regional Australia. Specifically, the study’s findings support an enhanced understanding of regional youth engagement that takes into account the affective and material dimensions of young people’s relationships with regional places.
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Lawrenson, Anna, and Chiara O’Reilly. "Scholarship and the exportation of Australian exhibitions." In The Rise of the Must-See Exhibition, 166–90. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315597119-8.

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

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AbstractAfter considering the nature and role of creative co-production in research contexts, Boyd describes the processes involved in producing artworks for the ‘Finding Home’ exhibition based on research findings from the Engaging Youth in Regional Australia (EYRA) Study. Commencing with work produced by some of the study’s participants, Boyd moves on to discuss the commissioning of a set of textile works and a contemporary Aboriginal artwork for the exhibition. The chapter is interwoven with a description of Boyd’s own artworks as an artist-geographer, produced in response but also in sympathy with the rest of the exhibition as it emerged. The chapter concludes with some first-hand reflections on curating a research exhibition.
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Stevens, Kirsten. "Growth and Change: Curator-Led Festivals, Fragmenting Audiences, and Shifting Film Exhibition Cultures." In Australian Film Festivals, 47–77. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_3.

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

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

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

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

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

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

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Conference papers on the topic "Exhibitions Australia"

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Chun Wai, Wilson Yeung, and Estefanía Salas Llopis. "THE SPACE BETWEEN US." In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
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Day, Kristen, and Erin Campbell. "Four Melbourne Architects (1979): The Creation of Contemporary Perceptions for Australian Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3994pszy5.

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In 1979, Peter Corrigan conceived the idea for the ‘Four Melbourne Architects’ exhibition to be held at South Yarra’s Powell Street Gallery. Corrigan led the charge to draw a line between a new generation of architectural practitioners with a fresh design agenda and the conservative practices represented by the Royal Australian Institute of Architects (RAIA). This exhibition, along with the establishment of the Half Time Club and the launch of Transition Magazine, provided platforms for a lively and vigorous profession. The ‘Four Melbourne Architects’—Greg Burgess, Peter Crone, Norman Day and Edmond and Corrigan—were diverse in their approach to architectural design yet shared common concerns of the post-Whitlam generation. The research for this paper examines the documentation between the four architects as they prepared their exhibition, recording the projects exhibited, along with critical reviews of the exhibition. Interviews have been undertaken with the surviving architects involved and people who attended the exhibition. Four Melbourne Architects was the first of many exhibitions during that period, which became one of many vehicles for public engagement with early postmodernism and those creating it, where collaboration, inclusion, and connectivity informed designers. That process activated a search for a contemporary Australian identity leading to the development of the ‘Melbourne School’.
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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.

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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.
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Yousefnia, Ali Rad. "Provocation, Ultra-Resistance and Representation: A Case Study-Based Research Course & the Student Exhibition ‘Re- Presented’." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3993p1uq3.

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The core premise of the paper focuses on approaching a specific case study as the subject and the object of an architectural research heritage course, in this case, the UQ Union complex (UQU). During the summer semester 2020 – 2021, thirteen students in the M. Arch program at the University of Queensland (UQ) studied and interpreted the tangible and intangible heritages of the UQU. Once an award-winning project back in the 1960s, the entire complex faced the threat of demolition by the university’s proposed master plan in 2017. There is no doubt that the demolition proposal was an ‘Ultra’ decision. The process followed an ‘Ultra’ reaction in the form of a campaign for saving UQU, supported by hundreds of activists, UQ staff, students, and alumni. Therefore, an ‘Ultra’ synthesis emerged from this dialectic. Besides the pedagogical approaches of the course, the site’s rich history shaped an important section of the paper. Given the spirit of the recent period, the ‘ultra-temporal’ and uncertain times caused by the COVID-19 pandemic created an ambiguous situation, and there is a major pause for the demolition proposal. The new response from the UQ administration was also briefly discussed at the end of the paper. Within the course, the curiosity to have an in-depth understanding of a built environment transformed and evolved. Thus, the outcome was two exhibitions titled ‘re-Presented’ as a result of this collective work. The course created the opportunity for students to think critically about the role of the UQU Complex within the new master plan and re-image its position in the university’s future by their provocative proposals. These innovative and creative exhibition pieces went beyond conventional methods of documentation. The paper focuses on the students’ journey and how they unpacked the site’s history. It explains how their ideas re-presented a daily built environment that has dispatched from its past and alienated among its users. In summary, an ‘Ultra’ perspective, such as the one exemplified by the described course, comes back in a full circle.
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Kokkoni, Panayiotis Peter, and Alizera Salmachi. "Analysis of South Australian Onshore Oil & Gas Well Decommissioning and Potential Impact on Regulatory Compliance, Environmental and Corporate Risk — Unified Risk Code." In SPE/IATMI Asia Pacific Oil & Gas Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205762-ms.

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The Cooper/Eromanga Basin is in central Australia and has been the focal point for oil and gas exploration and development in South Australia since the first commercial hydrocarbon discovery in 1963. In the years and decades following, thousands of subsequent wells have been drilled. The CE Basin spans across four states and territories covering an area ~35,000km2. The concentration of South Australian wells is situated in the Northeast of the state and sparsely concentrated in a 300km × 500km area (Figure 1) with the wells in this area being the focus of this research study. Well decommissioning commonly referred to as Plug and Abandonment (P&A) aims to restore the natural integrity of geological formations that existed prior to drilling. It is a mandatory requirement for all wells and must account for the effects of any foreseeable chemical and geological processes from an eternal standpoint. The minimum requirement for abandonment of the South Australian wells is governed by Objective 6 Cooper Basin State Environmental Objectives (SEO): Drilling, Completions and Well Operations, November 2015 guidelines, which provides the compliance criteria for appropriate barrier installation and verification. Well complexity is determined by the difficulty in achieving this minimum compliance requirement based on available data of well conditions, simplified in the form of a risk code.
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Smith, P., and W. Biggs. "Securing interoperable and integrated command and control of unmanned systems – building on the successes of Unmanned Warrior." In 14th International Naval Engineering Conference and Exhibition. IMarEST, 2018. http://dx.doi.org/10.24868/issn.2515-818x.2018.066.

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The objective of more complete integration of unmanned vehicles into maritime command and control systems has been set out in previous papers, as has the progress made through the MAPLE (Maritime Autonomous Platform Exploitation) and the demonstrations undertaken at Unmanned Warrior in 2016. This paper details the significant progress that has subsequently been achieved in the fourth phase of MAPLE, in the run up to a further set of demonstrations in Australia in late 2018. Using a comprehensive synthetic environment and a process of iterative development, the ACER (Autonomy Control Exploitation and Realisation) demonstrator is being updated to include new functionality that closes gaps in the MAPLE visionary Persistent Architecture (PA). Specifically this will introduce enhanced Situational Awareness for the operator during Mission Execution, providing details of UxV asset and payload status. Additional functionality will also provide Payload control. Summarising these developments and outlining their significance, the paper will give illustrations of potential applications. Ahead of the Australian Wizard of Aus demonstrations, under the multinational technology co-operation programme (TTCP) and part of Autonomous Warrior, the MAPLE team will further support the STANAG 4586 interface and will undertake derisking work in preparation for the integration of TTCP vehicles provided by Australia, New Zealand and the US. The paper outlines the relevance of this development and how it will be utilised in the Australian demonstration. Finally, the paper will look forward to the developments planned in both future phase of MAPLE and under QinetiQ’s participation with the multinational EU Ocean 2020 programme.
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Paay, Jeni, Nathalie Karzel, Pedro Gonzales, and Po-Yu Chiu. "Online Codesign Activities to Co-create a ‘Loneliness’ Exhibition." In OzCHI '20: 32nd Australian Conference on Human-Computer-Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3441000.3441011.

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

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Abstract The Chevron-operated Gorgon asset is the largest single resource project in Australia, with a portfolio of offshore gas fields to supply gas via two trunklines (Gorgon and Jansz-Io) to a three-train, 15.6 MTPA LNG plant and a 300 TJ/D domestic gas plant on Barrow Island. Gorgon will be a legacy project, with decades of production anticipated from the development of backfill fields gas resources. To realise the value of the asset, it is critical to select the right projects and execute them at the right time. Greater Gorgon Integrated Production Modelling (IPM) has been developed by Chevron Australia's gas supply team on behalf of the Gorgon Joint Venture (Australian Subsidiaries of Chevron, ExxonMobil, Shell, Osaka Gas, Tokyo Gas and JERA) to specifically enable optimisation of both the subsurface and surface value chain. It integrates reservoirs, wells, and subsea production networks to enable rigorous assessment of various portfolio-level development and planning scenarios. The focus of this paper is on the Jansz-Io trunkline, which is initially supplied by the massive depletion drive Jansz-Io field, and the key decision of how to maintain production post development of the Gorgon Stage 2 (GS2) project. To inform this key decision, extensive evaluation was conducted using coupled INTERSECT (IX) IPM model to assess Jansz-Io Compression (J-IC) concepts (floating platform vs subsea compression). The IX-IPM model includes either detailed IX dynamic simulation or simplified material balance (MBAL) reservoirs, and a detailed production system that captures the full pressure hydraulics and their complex interactions. Using this IX-IPM model, a systematic staircase approach was applied, starting with a minimum facility concept, before sequentially adding more functionalities (power, capacity, phasing and backfill fields tie-in) and quantifying their incremental benefits. This enabled comprehensive understanding of the compression model's pressure hydraulic performance and various value trade-offs at each step. A fit-for-purpose, fixed power compression model was implemented to commence the staircase assessment. Once subsea compression was selected, and as the assessment matured, vendor compressor performance curves were adopted for more rigorous modelling. Overall, the Greater Gorgon coupled IX-IPM model has proved to be invaluable in the assessment of the J-IC concept select and supported the Final Investment Decision (FID) on J-IC in 2021. The coupled IX-IPM model is continually refined with greater engineering resolution and additional production history to support the wider Gorgon asset decisions.
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Gardiner, Fiona. "Yes, You Can Be an Architect and a Woman!’ Women in Architecture: Queensland 1982-1989." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4001phps8.

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From the 1970s social and political changes in Australia and the burgeoning feminist movement were challenging established power relationships and hierarchies. This paper explores how in the 1980s groups of women architects actively took positions that were outside the established professional mainstream. A 1982 seminar at the University of Queensland galvanised women in Brisbane to form the Association of Women Architects, Town Planners and Landscape Architects. Formally founded the association was multi-disciplinary and not affiliated with the established bodies. Its aims included promoting women and working to reform the practice of these professions. While predominately made up of architects, the group never became part of the Royal Australian Institutes of Architects, it did inject itself into its activities, spectacularly sponsoring the Indian architect Revathi Kamath to speak at the 1984 RAIA. For five years the group was active organising talks, speakers, a newsletter and participating in Architecture Week. In 1984 an exhibition ‘Profile: Women in Architecture’ featured the work of 40 past and present women architects and students, including a profile of Queensland’s then oldest practitioner Beatrice Hutton. Sydney architect Eve Laron, the convenor of Constructive Women in Sydney opened the exhibition. There was an active interchange between Women in Architecture in Melbourne, Constructive Women, and the Queensland group, with architects such as Ann Keddie, Suzanne Dance and Barbara van den Broek speaking in Brisbane. While the focus of the group centred around women’s issues such as traditional prejudice, conflicting commitments and retraining, its architectural interests were not those of conventional practice. It explored and promoted the design of cities and buildings that were sensitive to users including women and children, design using natural materials and sustainability. While the group only existed for a short period, it advanced positions and perspectives that were outside the mainstream of architectural discourse and practice. Nearly 40 years on a new generation of women is leading the debate into the structural inequities in the architectural profession which are very similar to those tackled by women architects in the 1980s.
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Askew, Philip, Christophe Bourdeau, Arnold Volkenborn, Andrew Lea-Cox, and Abhinav Charan. "Managing Abandonment in Australia." In SPE Asia Pacific Oil & Gas Conference and Exhibition. Society of Petroleum Engineers, 2016. http://dx.doi.org/10.2118/182416-ms.

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Reports on the topic "Exhibitions Australia"

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

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

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