Dissertations / Theses on the topic 'Exhibitions Australia'
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1
McCormack, Bernadette. "Blockbustering Australian style: Evolution of the blockbuster exhibition in Australian museums." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/200164/1/Bernadette_McCormack_Thesis.pdf.
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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 ArtsThe 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.
6
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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Maule, Linda J. "An exploratory study of exhibitionism amongst adult men in Perth: a qualitative perspective as a guide for treatment." Thesis, Curtin University, 2000. http://hdl.handle.net/20.500.11937/1690.
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The aim of this research is to talk to a sample of exhibitionists who are currently under the supervision of the Ministry of Justice (MOJ) in Perth, Western Australia in order to ascertain whether current treatment approaches used within the MOJ are the most effective and appropriate for this group of sex offenders. It was considered that the most effective research method would be a qualitative approach in order to gain insight into the offender's understanding of their offending behaviour and to attempt to identify their areas of treatment need. Through personal observations in working with exhibitionists and supported by the literature, an interview schedule was developed to combine a detailed social history with questions on communication, childhood issues, father issues and stress. Twenty voluntary participants were interviewed, having been accessed through the correctional community and prison environments. The objectives were (1) To identify any categories of exhibitionists and therefore better utilise treatment resources, (2) To identify the role of stress and communication deficits in offending behaviour of exhibitionists, (3) To determine whether exhibitionists would be more effectively treated within their own discrete population or with other types of sex offenders and (4) To identify a more appropriate treatment model. Another area of interest which was not specifically focussed on was whether findings would emerge which could predict which exhibitionists would progress to more serious sexual offending.The study found 3 categories of exhibitionist (1) Adolescent Onset Career Exhibitionists, (2) Adult Onset Career Exhibitionists and (3) Situational Response Exhibitionists. Whilst the first 2 categories contained participants whose offending was entrenched once commenced, either in early adolescence or adulthood, the latter group appeared to offend as a specific response to a life crisis. Further, findings indicated that there were 3 levels of communication deficits ranging from poor communication (65% of participants) to an inability to express negatively perceived emotions such as sadness or fear. All but one participant experienced high levels of stress and had difficulty coping with their symptoms. Again, all but one participant expressed unsatisfactory relationships with their fathers ranging from abandonment to emotional distance and 50% of the participants experienced physical, sexual and/or emotional abuse.A model of treatment was recommended which allowed for increased flexibility, allowing resources to be focussed on those offenders with the highest need. Further recommendations included increased liaison with the courts and Community Corrections in order to facilitate a more integrated approach to the client. It was also considered that exhibitionists should continue working within groups which contained other types of sex offenders.
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Maule, Linda J. "An exploratory study of exhibitionism amongst adult men in Perth: a qualitative perspective as a guide for treatment." Curtin University of Technology, School of Social Work, 2000. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=11587.
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The aim of this research is to talk to a sample of exhibitionists who are currently under the supervision of the Ministry of Justice (MOJ) in Perth, Western Australia in order to ascertain whether current treatment approaches used within the MOJ are the most effective and appropriate for this group of sex offenders. It was considered that the most effective research method would be a qualitative approach in order to gain insight into the offender's understanding of their offending behaviour and to attempt to identify their areas of treatment need. Through personal observations in working with exhibitionists and supported by the literature, an interview schedule was developed to combine a detailed social history with questions on communication, childhood issues, father issues and stress. Twenty voluntary participants were interviewed, having been accessed through the correctional community and prison environments. The objectives were (1) To identify any categories of exhibitionists and therefore better utilise treatment resources, (2) To identify the role of stress and communication deficits in offending behaviour of exhibitionists, (3) To determine whether exhibitionists would be more effectively treated within their own discrete population or with other types of sex offenders and (4) To identify a more appropriate treatment model. Another area of interest which was not specifically focussed on was whether findings would emerge which could predict which exhibitionists would progress to more serious sexual offending.The study found 3 categories of exhibitionist (1) Adolescent Onset Career Exhibitionists, (2) Adult Onset Career Exhibitionists and (3) Situational Response Exhibitionists. Whilst the first 2 categories contained participants whose offending was entrenched once commenced, either in early adolescence or adulthood, the latter group appeared to offend as a ++specific response to a life crisis. Further, findings indicated that there were 3 levels of communication deficits ranging from poor communication (65% of participants) to an inability to express negatively perceived emotions such as sadness or fear. All but one participant experienced high levels of stress and had difficulty coping with their symptoms. Again, all but one participant expressed unsatisfactory relationships with their fathers ranging from abandonment to emotional distance and 50% of the participants experienced physical, sexual and/or emotional abuse.A model of treatment was recommended which allowed for increased flexibility, allowing resources to be focussed on those offenders with the highest need. Further recommendations included increased liaison with the courts and Community Corrections in order to facilitate a more integrated approach to the client. It was also considered that exhibitionists should continue working within groups which contained other types of sex offenders.
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Nykiel, Annette. "meeting place An exhibition – and – locating the Country: an Australian bricoleuse’s inquiry An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2100.
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This practice-led PhD research investigated alternate forms of articulation to relate stories of place-making, as narrative or object, and added threads to the complex meshwork and herstory of the Country. The research was conducted in ‘The Country’, of the north-eastern Goldfields and Yalgorup Lakes in Western Australia. These two non-urban sites provided unique experiences of the bush, local people’s stories and understandings of time. The research investigated the implications of non-urban spaces as studios in relation to the concepts of place, time and narrative.
This research was, in part, experiential and drew on an absorbed embodied awareness of notions of the Country (a place). This was embedded in an ethical onto-epistemology, through the process of piecing together bricolages of seemingly unrelated fragments of methods, conceptual frameworks and materials in simple and complex ways. In making and thinking, gleaned, recycled and repurposed bits and pieces were gathered and utilised during nomadic wayfaring.
The research drew on ideas pertaining to wayfaring and yarning, ‘mapping’ and experiencing the Country through the multi-faceted lenses of the bricoleuse, the geoscientist, the maker and the artsworker. Experiencing the materiality of the Country was a spatial, kinaesthetic and tactile engagement over long periods of time in the midst of the social, physical, material and biotic elements of specific ‘places’. Narratives and artworks emerged from piecing together pre-used fragments into textiles, then curated to form assemblages in built environments, and at the non-urban sites. Collective gatherings of people making, and sharing were facilitated as part of my practice. Yarning about and creatively mapping, these situated experiences in place, aimed to encourage connections and collaborative understanding between the city and the Country.
This research contributes to the value and importance of using non-urban spaces both as sustainable sources of material for artwork and as studios. A bricoleuse’s approach to field-based/practice-led research contributes a relational, conceptual and methodological approach to creative arts, and to collaborative and interdisciplinary research frameworks.
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Gray, Michael. "New Australian plants and animals. An exhibition - and - Physiology, phenomenology and photography: Picturing the indeterminate within an Australian art practice. An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1923.
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This practice-led research project investigates indeterminate aspects of perception related to human vision and postcolonial conditioning. Through an inventive range of lens-based artworks, the research draws parallels between preconscious visual phenomena and the subjective experience of non-indigenous Australians of multiple generations.
The resulting body of creative work, New Australian Plants and Animals, can be seen to approach preconscious visual phenomena derived from the physiology of the human eye through the use of primitive photographic lens technology. This process is applied to the subject matter: introduced plants and partially naturalised migrants. This synthesis of subject and materials creates new insights into preconscious vision whilst questioning aspects of colonisation-in-reverse (Tacey, 1995) where the colonised land immeasurably exerts itself on the coloniser’s psyche. The partially naturalised migrant is metaphorically compared to introduced plants in Australia that are found inexplicably to evolve into new species.
The research highlights photography’s historic role in falsely maintaining the view that the human eye views the world with a flat, sharp field of focus by revealing how images potentially appear at the back of the human eye before being processed by the mind. The photographic component of the research work can be seen to depart from the contemporary practice of representing cultured landscapes with highly refined technical processes. Instead, the photographs move towards picturing an indeterminate space where the physical world meets the embodied subject through the use of primitive photographic materials. Additionally, by inverting the power of the lens and photographing the coloniser instead of the colonised, this project enabled fresh insights into the postcolonial subject.
In line with Paul Carter’s concept of material thinking (2004), this research relies on the ‘intelligence’ of materials to automatically reduce visual phenomena to a preconscious ocular quality whilst metaphorically operating as nineteenth-century colonial survey equipment. A broad range of artists has informed the research, ranging from late nineteenth-century European naturalist painters to contemporary Australian installation artists. The main theorists informing this project are Walter Benjamin, Maurice Merleau-Ponty and Edmund Husserl.
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Cork, Kevin James, of Western Sydney Nepean University, and Faculty of Humanities and Social Sciences. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales." THESIS_FHSS_XXX_Cork_K.xml, 1994. http://handle.uws.edu.au:8081/1959.7/684.
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Little research into historical, architectural and social significance of the picture theatre in pre-television rural Australian society has been undertaken. Taking a New South Wales country area (to represent a microcosm), this thesis records the picture venues and qualitative research material from past patrons and theatre staff. The study 1/. establishes the environment created by a picture theatre 2/. shows that New South Wales was typical of Australia in film attendance before the 1960s 3/. introduces the Central-West subject area, and describes how data was gathered from available records 4/. shows the development of the picture venues within the subject areas 5/. gives 'life' to the occasion formerly associated with going to the pictures 6/. suggests the success ot the rural picture shows was a happy co-incidence: the exhibitors' desire to make money and the patrons' desire for a social experience (and entertainment). A recommendation is made that one of the venues discovered during the course of research should be investigated for heritage listing. It is important that we should acknowledge the vital part that going to the pictures once played in pre-television days, especially in rural areasMaster of Arts (Hons)
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Souliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.
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Cette thèse explore l’influence artistique et culturelle de la Grande-Bretagne en Australie, ou les caractéristiques britanniques de l’identité australienne, depuis les années suivant la fin de la Première Guerre Mondiale jusqu’à 1941. La culture australienne de cette période a souvent été décrite comme isolée, voire même « en quarantaine », caractérisée par son acceptation tardive du modernisme. Bien qu’à cette époque la Grande-Bretagne accorde davantage d’indépendance et d’autonomie à ses dominions, l’Australie cherche à maintenir des liens culturels et impériaux en s’identifiant exclusivement à la Grande-Bretagne. Ainsi, pendant cette période, la majorité des Australiens considèrent toujours l’Angleterre comme mère patrie et Londres attire de nombreux artistes australiens expatriés. Pour reprendre les termes de Daniel Thomas, historien de l’art australien, l’Australie développe une identité culturelle dite « bi-hémisphérique Anglo-australienne », imprégnée de nationalisme, de conservatisme et de valeurs patriarcales. Cette thèse examine les échanges artistiques entre l’Australie et la Grande-Bretagne pendant les années 1920 et 1930 et met en lumière les complexités de l’identification culturelle. Elle considère tout particulièrement le fait que l’historiographie nationaliste de l’art australien a passé sous silence le rôle joué par les femmes dans la construction de l’identité nationale et dans la définition d’un art australien. A travers l’analyse des collections nationales d’art britannique et les mécanismes de circulation de l’art moderne britannique en Australie, cette thèse met en avant la dualité de l’identité culturelle australienne et la marginalisation des femmes, non seulement en tant qu’artistes mais aussi en tant que défenseuses culturelles. En mettant l’accent sur l’expérience d’expatriés australiens en Angleterre et comment ceux-ci cherchent à s’intégrer à la scène artistique britannique, cette thèse rend compte de l’importance de l’expatriation en tant que concept contribuant aux historiographies de l’art en Grande-Bretagne et en Australie. Enfin, cette thèse conceptualise le travail de deux Australiennes expatriées, Edith May Fry et Clarice Zander, qui, en tant qu’organisatrices d’expositions, ont considérablement contribué à la dissémination du modernisme en Australie et à la définition de l’identité culturelle australienne pendant l’entre-deux-guerres. L’enjeu de cette thèse est de démontrer les mécanismes qui ont permis à l’Australie de représenter sa propre identité à travers l’art tout en continuant à s’identifier à la Grande-BretagneThis thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
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Fozard, Roxanne. "Ghostcards of WA: An exhibition of oil paintings on linen – and – Repositioning the Denkbild: A painting investigation into deaths in custody in 21st century Western Australia: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2155.
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Having a personal connection through several family members to the life and work of Ngaanyatjarra Elder Mr Ward, I found his death in custody in outback Western Australia unsettling and incomprehensible. As the circumstances of his death were revealed, I became aware of glaring omissions in the telling of his story and the circumstances that led to his death. Through my engagement with the subsequent media reporting, official documents and personal conversations, I recognised a profound lack of understanding of difference and otherness within a shared history and space in Western Australia. The initial aim of my project was to investigate the incomprehensible through the lens of Ngaanyatjarra Elder Mr Ward’s death; however, ethically, this proved a difficult path to negotiate. Through my research, I came to understand that the continued use of the dominant language of the coloniser, which is embedded in social practices and academic discourse is, in part, continuing to perpetuate white privilege. The ethical problems raised inspired me to develop an approach, which although oblique, would nevertheless enable fresh insight into otherness and difference in a multi-cultural society. The particular concern of this practice-led research project is not to exploit the trauma of others but to raise awareness of this social space through my work, giving rise to new understandings and possible relations.
This research gathered key texts from Walter Benjamin and Theodor Adorno, to facilitate the transfer of the written form of Denkbild, a literary device manipulating the codes of language to visualise the process of thought, into a painting practice. The Denkbild (thought-image) is a Euro-centric genre of exploratory philosophical writing, crafted in response to a society witnessing tremendous change as a result of the devastating impact of WWI and WWII. Through this creative project, the challenge was to re-activate the Denkbild through painting and accompanying text to investigate deaths in custody and interrogate the connected issues of ethics, politics and inequality, which is written into the shared spaces of Western Australia. The Denkbild is then developed further with the addition of Henri Lefebvre’s threedimensional spatial application of dialectical thinking and the creative practice of selected Australian artists. Through this addition, the binary dialectical framework of the Denkbild is expanded to reflect contemporary thinking on the concept of space as a social product. This perspective emerges to enable fresh insight into Aboriginal understandings of space as representing an ‘eternal now’, such that a mutual understanding of space is manifested. My painting practice reflects and informs this transition, as I moved from the painting studio to selected locations to record information and experiences that developed my research position.
To achieve the project’s aims, I engaged in reflexivity and praxis as the methodological tools to guide my research. Through painting, my research extended across interdisciplinary fields including visual arts practices, philosophical history and literature, to interrogate a spatial dynamic, revealing marginalised insights and connecting interrelationships between sites. For the purpose of this research, the paintings, exhibitions and exegesis function on two levels: as an avenue into mediation of Western Australian culture and as a methodological approach to visual art practice. My research culminated in the exhibition, Ghostcards of WA 2017 at the Spectrum Project Space, ECU, Mount Lawley. This project is significant as it renews the Denkbild to further the unique relationship between conceptual and representational categories that binds together experience, object and practice to form an interrogative tool for critical inquiry. In the application of this method to a Western Australian context, new thinking is encouraged through the inclusive reading of space and the collapsing of misunderstandings perpetuated in historicism through a shared recognition of the inherent value of space/sites which— far from being incomprehensible, reactive, nostalgic and solipsistic—are comprehensible, active, prescient, abundant and social.
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Tuite, Alexandra E. "The cultural economy of independent fashion." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/129093/1/Alexandra_Tuite_Thesis.pdf.
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This research explores independent cultural production in the fashion industry, with a focus on small-scale entrepreneurship. "Independent fashion" is a widely-used term that has been under-examined. Studies of small-scale fashion businesses tend to focus on practioners' processes and practices, taking for granted the notion of their "independence" and looking past it in order to consider other aspects. This project seeks to address this gap in our knowledge of small-scale fashion practice by analysing the way in which independent fashion as a concept is understood, demonstrated and judged by those who identify as participants in the independent fashion sector.
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Burtnyk, Kimberly M. "On-site insights : reflections of astronomy exhibitions at observatory visitor centres." Master's thesis, 1999. http://hdl.handle.net/1885/147420.
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Compagnoni, Melissa. "Shifting the boundaries between science and art : a case study of an exhibition of science and art." Thesis, 2000. http://hdl.handle.net/1885/147931.
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Bowker, Samuel Robert Athol. "Their war and mine : the use of self-portraiture in Australian war art." Phd thesis, 2010. http://hdl.handle.net/1885/150698.
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Meyer, Paula, University of Western Sydney, College of Business, and School of Marketing. "Will the show go on? : a marketing concept analysis of the management effectiveness of agricultural show societies in Australia." 2008. http://handle.uws.edu.au:8081/1959.7/35888.
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Agricultural shows are community-based festivals that represent a majority of festivals staged in rural destinations within Australia. Recent anecdotal evidence indicates their survival is being threatened. Declines in the overall number of shows and visitor attendance have been widely reported, yet an analysis of the reason for these declines has not been investigated. Agricultural shows are managed by volunteers within not-for-profit show societies who are finding it difficult to survive in an increasingly competitive and challenging external environment. Little is understood about these show societies, their volunteer managers and the management effectiveness. This study has addressed these gaps by investigating show society management effectiveness by means of a marketing concept paradigm. A case study method employing qualitative in-depth interviews with key show society members and other stakeholders was conducted on one agricultural show. Findings reveal that this show society is managed by volunteers whose primary involvement motivation is based upon self-interest in one or more components of the show. The majority of these individuals do not have management skills and expertise required to manage a festival and whilst it is important to note their volunteering contribution, it is this lack of skills and knowledge that has prevented a systematic approach to management. There is no attempt at consumer research, strategic planning, organisational planning or volunteer recruitment. The show programs do not change to reflect the current needs of the community, rather what is affordable, who can organise it and what has always been done. As a result, the case study show society is not employing a marketing concept orientation but a product concept orientation. This study concludes that without this focus, the show society will be ill equipped to meet changing customer demands and stay abreast of competitors. To assist agricultural shows to manage future challenges and adopt a marketing concept, a theoretical model has been proposed that incorporates existing frameworks and this study’s findings.M. Commerce (Hons.)
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Harris, Jennifer Anne. "The formation of the Japanese Art Collection at the Art Gallery of South Australia 1904-1940 : tangible evidence of Bunmei Kaika." Thesis, 2012. http://hdl.handle.net/2440/84054.
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The momentous signing of the Treaty of Kanagawa in 1854 marked the turning point to end Japan’s long seclusion from the West. Its subsequent ‘opening’ unveiled the refreshingly different aesthetic canon of Japanese art which was enthusiastically hailed by nineteenth century Western artists and designers. As a much sought after commodity, Japanese art was collected in unprecedented quantities throughout Europe, the British Empire and the United States. The mania for things Japanese also reached the far-flung colonies in Australia and New Zealand. This phenomenon, referred to in the English-speaking world as ‘Mikado Mania’ or the ‘Cult of Japan’, coincided with the establishment of public museums, the proliferation of international exhibitions and ease of global travel. These innovations fostered and facilitated the formation of Japanese art collections internationally. A survey of Australian and New Zealand collections and a particular examination of the Art Gallery of South Australia’s collection formed between the years 1904-1940 reveal the circumstances and personalities that shaped the nature and content of the collections. It is argued in this thesis that while nascent colonial public museums and private collectors such as those in South Australia were guided by British tastes, the genesis of which predated the nineteenth century ‘opening’ of Japan, the collecting of Japanese art in nineteenth-century Australia and New Zealand served as a signifier of international discourse and modernity. For Japan, its art became a tool to fend off foreign hegemony. Driven by the slogan bunmei kaika ‘civilisation and enlightenment’, Japan throughout the Meiji era (1868-1912) exploited the mania for its art in order to achieve status and recognition as a world power. It will be further argued that the spirit of bunmei kaika also encapsulated the cultural aspirations of the fledgling colonies in Australia and New Zealand which, by the late nineteenth century, were endeavouring to articulate their own ‘civilisation and enlightenment’ within the British Empire. Through their efforts to advance onto the world stage, the Australian colonies played a significant, though unrecognised role in Japan’s experimentation and investment in its self-promotion as a civilised country. The cause and effect of measures undertaken by the Japanese government to achieve bunmei kaika through the applied arts of ceramics, metalware, ivories and lacquer can be directly demonstrated through the very objects collected in South Australia and the other colonies. A study of their intrinsic qualities and provenance provides tangible evidence of Japan’s strategic efforts to advance its national identity through art. It also serves to shed light on the curatorial expertise and connoisseurship being exercised at the time by colonial museums and collectors. Japanese objects acquired during the formative period of Australian and New Zealand museums have long been ignored or dismissed as hybridised and inauthentic. Recently their technological ingenuity and cross-cultural aesthetic have been more generously acknowledged. They are the beacons of Japan’s quest for ‘civilisation and enlightenment’.Thesis (Ph.D.) -- University of Adelaide, School of History & Politics, 2012
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Tsai, Wendy. "A response to space in the natural environment : painting as a phenomenological study of the Blue Mountains, NSW." Master's thesis, 2015. http://hdl.handle.net/1885/150365.
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My Masters research engages with the ways as a painter, I increasingly struggle to give form to my relationship with the Blue Mountains. Although it is a familiar natural environment, this struggle has articulated my research question: Can problems associated with representing vast natural environments like the Blue Mountains be overcome through an analysis of personal embodied experience? This thesis examines the complexities of translating the perceptual and corporeal experience of the Blue Mountains. This site is rich in social history, from Indigenous occupation through to the listing of its status as a World Heritage Area in 2000. It is also a place of early childhood memories and has been my home for the last 20 years. My research has investigated these histories and the physical landscape in an organically responsive practice of both charcoal drawing and watercolour on paper. The written exegesis of 20,000 words, describes the outcome of the research in four bodies of work on paper: Nests, Vertigo, Absence and Presence and Keepsake. The Nests works explore the symbolism of the nature of nests, while also providing the opportunity to more ambiguously trace the labyrinthine form of the mountains. Vertigo considers the implications of edges, and of distance and intimacy. In Absence and Presence, I advocate for what is hidden in the landscape, including the competing and forgotten stories about place. The final works identify how I have brought the horizon and vastness into intimate images that can also become objects to be held in the palm of the hand. I have argued in the exegesis from the perspective of psychoanalytic theory and phenomenology, how the development of a personal symbolism originating in an embryonic nest has enabled me to approach some of the more problematic concepts of vastness that this natural environment holds. This trope evolved through my studio research, and was developed through a series of constructed and productive binaries, such as intimacy and distance, past and present, and loss and attachment. I argue through the studio practice and writing that the development of these approaches have contributed to the renewed accessibility, for my audience, and myself, of a distinctly over-represented and culturally determined site.
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Northfield, Sally. "Canvassing the emotions : women, creativity and mental health in context." Thesis, 2014. https://vuir.vu.edu.au/29985/.
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Canvassing the emotions examines the role and meaning of artmaking in the lives of women who have experienced mental ill-health and/or psychological trauma in Australia between the 1950s and the present. Hovering at the nexus of a number of contested domains, the thesis bypasses the perennial question of what is art to explore the neglected and perhaps more interesting query – what does art do for the artmaker? – and associated questions of why does art matter; what is the function of artmaking in relation to wellbeing; and what are the implications of a thwarted life of making?
The thesis presents the findings of three studies: The Exhibition – a touring exhibition of art produced by women with an experience of mental ill-health; The Interviews – with thirty-two women who make art and who have experienced mental ill-health; and The Collage – a collation of women’s accounts of – what does art do?
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Ryan, Louise Frances Art History & Art Education College of Fine Arts UNSW. "Forging diplomacy: a socio-cultural investigation of the Carnegie Corporation of New York and the "Art of Australia 1788-1941" exhibition." 2007. http://handle.unsw.edu.au/1959.4/43085.
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The study is an historical investigation exploring the impact of the Carnegie Corporation's philanthropic cultural and educational activities in North America and Australia during the 1940s. The author examines the Carnegie's formation of public values and perceptions using cultural and aesthetic material in order to transmit American ideological ideals with the goal of influencing Australian, Canadian and USA cultural norms. The principal case examined in the paper is the "Art of Australia 1788-1941" exhibition, which toured the USA and Canada during 1941-42. Scrutiny of the exhibition uncovers the role it played in alliance building and the promotion of a range of cultural and political agendas. The investigation deploys a theoretical framework derived from the writings of Tony Bennett. The framework takes the form of a matrix that uses concepts of institutionalized agencies/power and individual agencies/knowledge detailed in a nine-cell matrix composed of propositional statements under the intersecting categories of culture, technologies, ethics, zones, objects, and visualization. The "Art of Australia" Exhibition is a paradigmatic case of the instrumental, cultural application of exhibitions in the interest of the state, using government and non-government, public and private organizations as intermediaries. The analysis reveals the existence of diverse agendas and power/knowledge relationships between governments, corporations and the exhibition. This account highlights the museum as a significant arena for establishing and legitimating social norms and practices whilst steering cultural values. Such actions sponsored by government and entrepreneurial philanthropy are analyzed and interpreted as an early instance of building civic values and promoting the public belief in shared national identity. In this sense the investigation explores the educational mission of the museum and it's supporting agencies in the broadest public context.