Journal articles on the topic 'Exhibitions Australia'
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1
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.
2
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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Lewi, Hannah. "Putting Architecture on Show: Two Recent Exhibitions in Victoria, Australia." Fabrications 28, no. 1 (January 2, 2018): 113–17. http://dx.doi.org/10.1080/10331867.2018.1401428.
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Sussman, Herbert. "VICTORIANS LIVE: Introduction." Victorian Literature and Culture 34, no. 1 (March 2006): 333. http://dx.doi.org/10.1017/s1060150306051187.
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For this issue, Victorians Live takes a global perspective on the afterlife of the Victorians. Using a fine nineteenth-century phrase, Margaret Harris writes of “Victorian Vestiges” in Australia. Carole Silver describes the mix of concealment and display in South Africa's dealing with its Victorian heritage. My essay on a recent American exhibition of the work of Morris & Co. shows the influence of this representative Victorian in California, as filtered through the collection of Henry Huntington for his Library in southern California and with additions for this show by contemporary California collectors. That Morris continues to live into our time is vividly shown in the venues of his global exhibitions, in Australia in a converted nineteenth-century powerhouse, at Yale in the modernist masterpiece of the twentieth-century architect, Louis Kahn.
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Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.
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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.
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Hansen, Guy. "Dispatches from the front line: A curator’s view of history exhibitions in Australia." Australasian Journal of Popular Culture 7, no. 1 (March 1, 2018): 141–52. http://dx.doi.org/10.1386/ajpc.7.1.141_1.
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bandt, ros. "designing sound in public space in australia: a comparative study based on the australian sound design project's online gallery and database." Organised Sound 10, no. 2 (August 2005): 129–40. http://dx.doi.org/10.1017/s1355771805000774.
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the purpose of this paper is to articulate some of the ways in which australian sound practitioners are already designing sound in the public domain so that current trends and practices can be examined, compared and contrasted. this paper interrogates the new hybrid art form, public sound art, and the design processes associated with it as it occurs in public space in australia. the right to quiet has been defined as a public commons (franklin 1993). public space in australia is becoming increasingly sound designed. this article investigates the variety of approaches by sound artists and practitioners who have installed in public space through a representative sample of works drawn from the australian sound design project's online gallery and article, http://www.sounddesign.unimelb.edu.au, a site dedicated to the multimedia publishing of diverse sound designs installed in public space in australia, as well as its international outreach hearing place. works include permanent public and ephemeral sculptures, time-dense computerised sound installations, museum designs, exhibits in airports, art galleries, car parks, digital and interactive media exhibitions, and real-time virtual habitats on and off the web. the degree of interactivity in the sound-designed artworks varies greatly from work to work. stylistic features and design processes are identified in each work and compared and contrasted as a basis for examining the characteristics of the genre as a whole and its impact on the soundscape now and in the future.
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Boaden, Sue. "Art information networks in Asia and the Pacific." Art Libraries Journal 11, no. 4 (1986): 4–7. http://dx.doi.org/10.1017/s0307472200004855.
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As former colonial links and reliance on a technologically-developed ‘West’ recede into the past, Asian and Pacific countries, including Australia, are becoming increasingly aware of one another as neighbours. Circulation of exhibitions, artists’ visits, cultural festivals, government and UNESCO activities, and art publishing, provide a network for sharing art and art information between countries in this region. Among art libraries, those in Australia and New Zealand participate in the network represented by ARLIS/ANZ; the IFLA Section of Art Libraries and its global role offers scope for further developments. An Asian/Pacific ‘ARLIS’ is proposed.
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O’Reilly, Chiara, and Anna Lawrenson. "Revenue, relevance and reflecting community: Blockbusters at the Art Galley of NSW." Museum and Society 12, no. 3 (April 20, 2015): 157–70. http://dx.doi.org/10.29311/mas.v12i3.257.
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Museums are judged not solely on the basis of their exhibition quality and collection care but, within a corporate model, they are also judged on quantitative measures such as audience numbers and, in turn, their financial viability. Programming has, therefore, become a major focus of forward planning and the basis for funding development. Blockbuster exhibitions, strategically placed throughout annual programs, have been a common way to increase audience numbers and sustain support. In more recent times, the blockbuster model has developed to address more complex measures of success beyond their quantifiable benefits. In addition to the aim of increasing visitor numbers, the blockbuster exhibition and its associated public and education programs, have been effectively utilized as a means of broadening and diversifying audiences. Such efforts help museums to meet expectations, often set by governments, to address and reflect the diverse demographic communities within which they are situated and to whom they serve.The Art Gallery of New South Wales (AGNSW) in Australia provides one such example of a museum that is working creatively within the blockbuster model in order to present exhibitions that build on their collection strengths and existing programs, attract large audiences and engage diverse audiences by focusing on community building. This paper uses the AGNSW blockbuster exhibition The First Emperor: China’s Entombed Warriors, to examine the role of this format in contemporary museums more broadly. We use this exhibition as a frame by which to analyse how the Gallery has modified the blockbuster model, and indeed built on it, in order to target geographically and culturally diverse audiences. We argue that this has been effectively achieved as a result of the Gallery building blockbusters around their curatorial and collection strengths, by working with external organizations and community groups and by offering a range of activities and opportunities for engagement both within the museum and outside of its boundaries. This exhibition proves that when blockbusters are used creatively to support museum wide efforts to engage culturally and linguistically diverse audiences they can achieve success that is both quantitative and qualitative.
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Gorman-Murray, Andrew. "So, Where Is Queer?: A Critical Geography of Queer Exhibitions in Australia." Museums & Social Issues 3, no. 1 (April 2008): 67–80. http://dx.doi.org/10.1179/msi.2008.3.1.67.
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Hassam, Andrew. "Indian Jute in Australian Collections: Forgetting and Recollecting Transnational Networks." Public History Review 18 (December 31, 2011): 108–28. http://dx.doi.org/10.5130/phrj.v18i0.2268.
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Indian jute sacking played an essential role in Australian life for over 150 years, yet its contribution to Australian development and its Indian origins have been barely recognised in Australian public collections. What has Australian history gained by this erasing of jute from public memory? Wool, sugar and hop sacks are displayed in public collections as evidence of an Australian national story, but their national dimension depends on the cultural invisibility of jute and jute’s connections to the stories of other communities in other places. Developing an awareness of the contribution of Indian jute to the development of Australia requires an awareness not simply that jute comes from India but that the construction of national identity by collecting institutions relies on forgetting those transnational connections evident in their own collections. Where jute sacks have been preserved, it is because they are invested with memories of a collective way of life, yet in attempting to speak on behalf of the nation, the public museum denies more multidimensional models of cultural identity that are less linear and less place-based. If Indian jute is to be acknowledged as part of ‘the Australian story’, the concept of an Australian story must change and exhibitions need to explore, rather than ignore, transnational networks.
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Murphy, Kerry. "Choral Concert Life in the Late Nineteenth-Century ‘Metropolis of the Southern Hemisphere’." Nineteenth-Century Music Review 2, no. 2 (November 2005): xi—xiv. http://dx.doi.org/10.1017/s1479409800002172.
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This issue of the Nineteenth-Century Music Review is devoted to Australia and more specifically to music-making in colonial Melbourne. The colony of Victoria was acknowledged as the cultural heart of Australia during the second half of the nineteenth century. Melbourne hosted two International Exhibitions in the 1880s and welcomed innumerable travelling musicians to its shores, where significant amounts of money could be made. Because of Melbourne's standing and cultural significance at the time and the extensive body of material available for study, the articles in this journal focus on this ‘metropolis of the Southern Hemisphere’. However, the activities discussed here can all be found, to varying degrees, in other parts of Australia as well. Liedertafels, for instance, were very prominent in Adelaide and its surrounding areas (and indeed still exist today), because of the significant German migration there. Philharmonic choirs were also widely established.
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Brien, Donna Lee. "Celebration or Manufacturing Nostalgia? Constructing Histories of World Expo '88." Queensland Review 16, no. 2 (July 2009): 73–87. http://dx.doi.org/10.1017/s1321816600005122.
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Brisbane's World Expo '88 changed people's lives, and the memories of Expo '88 are revered more than 20 years on from the event itself. We are very much looking forward to celebrating the anniversary of this very special event with the people of Brisbane, and recreating the unique atmosphere and sense of wonder that Expo '88 created in Brisbane. (Malcolm Snow, South Bank Corporation CEO, in Hoey 2008a)World Expo ‘88, also widely known as ‘Expo '88’ and locally simply as ‘Expo’, was held in Brisbane from April to October 1988, as a key event of the national Bicentennial celebrations commemorating the 200 years of European settlement of Australia. Other major components of the Bicentennial year – such as the symbolic re-enactment of the voyage of the First Fleet that culminated in the Parade of Tall Ships sailing into Sydney Harbour on Australia Day – together with other significant national events such as the 1956 and 2000 Olympic Games, have generated historically focused interest, which has been manifested and disseminated in the usual way in articles, books and museum exhibitions. Brisbane's World Expo '88, however, appears to be one of the few Australian so-called ‘signature’ events that has also generated its own long-lived series of commemorative memorials and festivals.
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Budge, Kylie. "Beyond folding and gathering: museums attending to the new materiality." Museum and Society 15, no. 1 (June 9, 2017): 33–42. http://dx.doi.org/10.29311/mas.v15i1.660.
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Museums are attending to matters of technique in relation to objects and exhibitions suggesting a new or renewed interest in creative practice and how objects are made. This focus parallels practices and changes occurring in broader society. In this article I argue that a rise in attending to technique extends what various theorists have referred to as the ‘material turn’ in a dimension that underscores creative process and making. I do so by exploring two recent exhibitions, one in Israel and another in Australia, which have brought the notion of technique into focus through the context of textiles and other materials such as paper, porcelain, wood and metal. Through their emphasis on ‘gathering’ and ‘folding’, the construction of textiles and other forms are accentuated for public exploration, fostering new understandings of technique. Conclusions are drawn connecting museum contexts with that of broader society in reference to making, the role of the hand, and craft processes.
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Brinke, Josef. "26th Congress of the International Geographical Union." Geografie 94, no. 1 (1989): 1–4. http://dx.doi.org/10.37040/geografie1989094010001.
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The autor, head of the Czechoslovak delegation, presents basic information about the 26th International Geographical Congress which took place in Sydney, Australia, from 21st to 26th August, 1988. The Congress was formally opened by Sir N. Stephen, Gavernor General of Australia, at the Concert Hall of Sydney Opera House. All sessions and exhibitions were held at the University of Sydney, established in 1850. In the congress more than 1200 geographers participated while from among 88 IGU member countries 51 ones were represented by official delegations. About 800 papers were presented in 14 sections, working and study groups sessions. Prof. Ronald Fuchs from the USA was elected president by the General Assembly of IGU for the next four years. The 27th International Geographical Congress will take place in Washington, D.C. in 1992.
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Archer, Anita, and David M. Challis. "‘The Lucky Country’: How the COVID-19 Pandemic Revitalised Australia’s Lethargic Art Market." Arts 11, no. 2 (April 5, 2022): 49. http://dx.doi.org/10.3390/arts11020049.
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Since its publication in 1964, Australians have used the title of Donald Horne’s book, The Lucky Country, as a term of self-reflective endearment to express the social and economic benefits afforded to the population by the country’s wealth of geographical and environmental advantages. These same advantages, combined with strict border closures, have proven invaluable in protecting Australia from the ravages of the global COVID-19 pandemic, in comparison to many other countries. However, elements of Australia’s arts sector have not been so fortunate. The financial damage of pandemic-driven closures of exhibitions, art events, museums, and art businesses has been compounded by complex government stimulus packages that have excluded many contracted arts workers. Contrarily, a booming fine art auction market and commercial gallery sector driven by stay-at-home local collectors demonstrated remarkable resilience considering the extraordinary circumstances. Nonetheless, this resilience must be contextualised against a decade of underperformance in the Australian art market, fed by the negative impact of national taxation policies and a dearth of Federal government support for the visual arts sector. This paper examines the complex and contradictory landscape of the art market in Australia during the global pandemic, including the extension of pre-pandemic trends towards digitalisation and internationalisation. Drawing on qualitative and quantitative analysis, the paper concludes that Australia is indeed a ‘lucky country’, and that whilst lockdowns have driven stay-at-home collectors to kick-start the local art market, an overdue digital pivot also offers future opportunities in the aftermath of the pandemic for national and international growth.
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Tingay, Steven. "Indigenous Australian artists and astrophysicists come together to communicate science and culture via art." Journal of Science Communication 17, no. 04 (December 17, 2018): C02. http://dx.doi.org/10.22323/2.17040302.
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During the International Year of Astronomy in 2009, we initiated a collaboration between astrophysicists in Western Australia working toward building the largest telescope on Earth, the Square Kilometre Array (SKA), and Indigenous artists living in the region where the SKA is to be built. We came together to explore deep traditions in Indigenous culture, including perspectives of the night sky, and the modern astrophysical understanding of the Universe. Over the course of the year, we travelled as a group and camped at the SKA site, we sat under the stars and shared stories about the constellations, and we talked about the telescopes we wanted to build and how they could sit on the Indigenous traditional country. We found lots of interesting points of connection in our discussions and both artists and astronomers found inspiration. The artists then produced <150 original works of art, curated as an exhibition called “Ilgarijiri — Things belonging to the Sky” in the language of the Wadjarri Yamatji people. This was exhibited in Geraldton, Perth, Canberra, South Africa, Brussels, the U.S.A., and Germany over the course of the next few years. In 2015, the concept went further, connecting with Indigenous artists from South Africa, resulting in the “Shared Sky” exhibition, which now tours the ten SKA member countries. The exhibitions communicate astrophysics and traditional Indigenous stories, as well as carry to the world Indigenous culture and art forms. The process behind the collaboration is an example of the Reconciliation process in Australia, successful through thoughtful and respectful engagements, built around common human experiences and points of contact (the night sky). This Commentary briefly describes the collaboration, its outcomes, and future work.
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Whittington, Vanessa. "Decolonising the museum?" Culture Unbound 13, no. 2 (February 8, 2022): 245–69. http://dx.doi.org/10.3384/cu.3296.
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As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation.
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Robertson, Emma. "A sense of coherence: Drawing for the mind." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 2020): 333–50. http://dx.doi.org/10.1386/drtp_00042_1.
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As part of the award-winning Big Anxiety Festival in Australia, an exhibition of mixed-media drawings of plants and seeds was displayed at the University of Sydney, at the same time as two public drawing workshops in the Royal Botanic Garden Sydney. This paper describes and summarizes the various drawing techniques used in these workshops, and discusses the feedback from participants, who self-identified as having anxiety. Drawing using different types of approaches allowed workshop participants to mediate their tacit knowledge of the symptoms and solutions of living with anxiety, and to transition to a lived experience of proactively using drawings to improve their individual cognition, mindsets and mental health. Utilizing the platform afforded by the promotion of Mental Health Month in New South Wales, allowed the drawing exhibitions and workshops to be understood more broadly within an interdisciplinary context, which embedded their impact on other fields of research, including ecopsychology and biophilia, in a salutogenic model of practice. Specific to this approach, a ‘sense of coherence’ was deliberately embedded in both of the workshops’ sequential drawing exercises, which were observational and objective in intent. The exhibitions in 2017 and 2019 also consciously deployed a ‘sense of coherence’ in their design. Documentation drawings have recently been used as a tool to alleviate anxiety and promote wellness in medical staff working in a UK Emergency Department during the COVID-19 pandemic. This demonstrated the widespread potential applications for drawings to provide an antidote and a method of communication to proactively and positively assist mental health. Further research and exploration of the role that drawing plants and nature can play in the construction of learning in the context of individuals struggling with anxiety may offer routes to new knowledge and better understanding and potentially enhance connections between art and health researchers and institutions globally.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Tóth, Zsófia, Sergio Biggemann, and Martin Williams. "Unintentionality in market shaping – A multiple case study of touring exhibitions from New Zealand, Australia, and the United Kingdom." Industrial Marketing Management 103 (May 2022): 117–29. http://dx.doi.org/10.1016/j.indmarman.2022.03.012.
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McCabe, Vivienne. "Career paths and labour mobility in the conventions and exhibitions industry in eastern Australia: results from a preliminary study." International Journal of Tourism Research 3, no. 6 (2001): 493–99. http://dx.doi.org/10.1002/jtr.338.
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Petersen, John. "Though This be Madness: Heritage Methods for Working in Culturally Diverse Communities." Public History Review 17 (December 22, 2010): 34–51. http://dx.doi.org/10.5130/phrj.v17i0.1802.
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In 1998, the NSW Migration Heritage Centre was conceived by the NSW Government as a virtual heritage centre to help ageing former migrants tell their stories. Migration museums and other organisations interested in heritage are grappling with how to identify, record, preserve and interpret the heritage legacy of migration and settlement in their communities. The distinctions between museum and environmental heritage practices have diminished during the past decade in Australia. The Centre’s methodologies are based on historic method and thematic and typology studies, better known for their application to heritage place identification and archaeological artefact studies than for their more recent use by some Australian museum curators for the survey and documentation of collections and community participation in heritage. The ‘virtual museum’ has enabled the Centre to break away from the centralised museum concept, with the associated trappings of venue management, to pioneer a decentralised and dispersed museum model that works almost entirely in collaborative community history research partnerships to document culturally significant collections, and associated migration memories, held by communities and private individuals. The work is centralised on the Centre’s website as a virtual collection of objects, places and associated memories. They are presented in online exhibitions for student research and as a destination for the mass audiences of the worldwide web.
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Collie, Madeleine. "Ash Stories: A Spell against Forgetting." Performance Philosophy 6, no. 2 (November 1, 2021): 156–73. http://dx.doi.org/10.21476/pp.2021.62320.
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This paper will explore The Ash Project (2016-2019), which worked to commission a memorial sculpture and a series of walks, talks, workshops and exhibitions to create closer relationships between ash trees and the local puow trade in plants has created increased risks to plant health, and the way in which plants can perform complex relationships to a collective sense of national and colonial identity, through an exploration of ash migrations to the colonies via acclimatisatioblics. This paper will situate the concerns of the ash within broader thinking about capitalism's intensifying impact on nature. It explores hn societies in Australia and New Zealand. Finally, the paper thinks about how we might perform memorial acts to curate love or care while acknowledging our complex shared histories in multi-species entanglements.
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McKernan, Amy. "Affective practices and the prison visit: learning at Port Arthur and the Cascades Female Factory." History of Education Review 47, no. 2 (October 1, 2018): 131–42. http://dx.doi.org/10.1108/her-11-2017-0023.
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Purpose The purpose of this paper is to consider the ways Port Arthur Historic Site and the Cascades Female Factory educate visitors using the often contentious and confronting histories of convictism in Australia. Design/methodology/approach The research was conducted between 2012 and 2015, and included analysis of exhibitions and education programs at the two sites, as well as interviews with core staff, and archival research. Analysis employed a methodological framework drawing on Margaret Wetherell’s (2012) notion of “affective practice”, as well as understandings of historical thinking in education developed by theorists and educators. Findings The two sites take differing approaches to educating visitors about the “uncomfortable” histories related to their heritage. Ultimately, this paper argues that the Cascades presents a greater ease with communicating the confronting aspects of the site’s history, while Port Arthur’s interpretive strategies are often focussed on countering widespread assumptions about the “darkness” and cruelty characteristic of the penal system in Australia. Overall, the analysis finds considerable potential in the “use” of confronting and contested history in teaching aimed at developing historical thought and empathy. Originality/value The research addresses an issue that is of central concern in heritage education at present – interpretations of confronting and contentious histories – and employs an innovative set of conceptual strategies and tools to gather insights of use to practitioners in heritage and education.
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Taylor, Gretel, and Deborah Warr. "Touchy Art: A phenomenological approach to artistic practice in stigmatised neighbourhoods." Conjunctions. Transdisciplinary Journal of Cultural Participation 5, no. 1 (May 24, 2018): 1–16. http://dx.doi.org/10.7146/tjcp.v5i1.105290.
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This paper outlines an artistic method combining a socially engaged and site-responsive arts practice with sociological discursive reflection that aimed to challenge the stigmatising stereotypes associated with many low-income neighbourhoods in Australia. We characterise our approach as ‘touchy’ to draw attention to issues that informed our approach: the sensitivity of the topic of stigma for residents; the need for a phenomenological method that sensitised participants to see/perceive beyond stereotypes; and aims of creating experiential and tactile artworks that could engage local and wider audiences in the issues. The paper discusses our rationale for the method and explicates components of the approach – excursions, workshop activities and exhibitions – and draws on artefacts, artworks and interview material to visualise and give voice to participants’ experiences of the project. Artistic and social outcomes were suggestive of the potential of this approach to develop alternative, experiential portrayals that might challenge the persistently negative stereotyping of low-income neighbourhoods.
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Berlo, Janet Catherine. "Australian Art Exhibition Catalog:Dreamings; The Art of Aboriginal Australia." Museum Anthropology 14, no. 2 (May 1990): 31. http://dx.doi.org/10.1525/mua.1990.14.2.31.
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Hilton-Smith, Simon, M. Elizabeth Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nalani Wilson-Hokowhitu, Fei Chen, Yi Zheng, and Xiaorui Guan. "Exhibition Reviews." Museum Worlds 10, no. 1 (July 1, 2022): 257–89. http://dx.doi.org/10.3167/armw.2022.100121.
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[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)
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Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.
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Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.
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Nguyen, Anh. "Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017." Migration, Mobility, & Displacement 4, no. 1 (June 7, 2019): 133–39. http://dx.doi.org/10.18357/mmd41201918976.
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Anh Nguyen was co-curator, with Nadia Rhook, of the “Vietnamese Here Contemporary Art and Refections” exhibition about Vietnamese migrants in Melbourne, Australia, May 4–26, 2017. Phuong Ngo’s work, the basis of this photo essay, was part of the exhibition, which featured visual art, performance art, and readings refecting on Vietnamese heritage, history, and memory in the diaspora. The exhibition was sponsored by the Australian Research Council’s Kathleen Fitzpatrick Laureate Fellowship, of which Anh Nguyen is a researcher.
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Aveyard, Karina. "Australian Films at the Cinema: Rethinking the Role of Distribution and Exhibition." Media International Australia 138, no. 1 (February 2011): 36–45. http://dx.doi.org/10.1177/1329878x1113800106.
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Australian films are criticised regularly for their failure to engage local audiences and for their lack of commercial success. Academic and industry analysis of these shortcomings has tended to focus on problems in production and financing, but has given inadequate attention to the role of distribution and exhibition. This article examines how the commercial and cultural situation of Australian films is fundamentally shaped by the manner in which they are circulated and screened. It highlights the complex interrelations between the production, distribution and exhibition sectors, and addresses the implications of these issues for contemporary film policy and practice in Australia.
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Ladas, Nancy. "Ethical and Legal Considerations for Collection Development, Exhibition and Research at Museums Victoria." Heritage 2, no. 1 (March 13, 2019): 858–67. http://dx.doi.org/10.3390/heritage2010057.
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With over 17 million collection items, Museums Victoria is the largest museum in Australia. Museums Victoria recognises the public benefit derived from lending and borrowing between collecting institutions and actively participates in the international loans network in order to complement and enhance the potential for learning and enjoyment for all audiences. Museums Victoria staff undertook an extensive review of policies and procedures in order to apply for approval for protection under the Australian Government’s Protection of Cultural Objects on Loan Scheme (PCOL Scheme), established to administer the Commonwealth Protection of Cultural Objects on Loan Act 2013 (PCOL Act). The PCOL Scheme provides (with some limits) legal protection—immunity from seizure—for Australian and foreign cultural items on loan from overseas lenders for temporary public exhibition in Australia. The Ministry for the Arts also released the Australian Best Practice Guide to Collecting Cultural Material in 2015. The Guide is not a mandatory code. It recommends principles and standards to apply when acquiring collection items and in part for inward and outward loans. In 2016–2017 Museums Victoria staff used the Act and its Regulation along with the Guide to substantially update and formalise previous formal and informal policies and practices, in order to demonstrate its commitment to due diligence endeavours to verify the accuracy of information before acquiring, deaccessioning, borrowing, or lending items. This paper outlines the steps we took and what we have learned since receiving approval as a registered borrower under the PCOL Scheme.
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Lesničenoka, Agnija. "Student Fraternity of the Art Academy of Latvia “Dzintarzeme”: Latvian National Art Conservation Policy in Exile (1958–1987)." Art History & Criticism 15, no. 1 (December 1, 2019): 57–70. http://dx.doi.org/10.2478/mik-2019-0004.
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Summary After the proclamation of the Republic of Latvia in 1918, Latvia experienced a rapid influx of youth into its capital city of Riga, looking to obtain education in universities. Students began to build their academic lives and student societies. In 1923, students of the Art Academy of Latvia founded the “Dzintarzeme” (“Amberland”) fraternity. The aim of “Dzintarzeme” was to unite nationally minded students of the Art Academy of Latvia and to promote the development of national art and self-education. Most “Dzintarzeme” members were faithful to the old masters and Latvian art. This phenomenon is significant, because “Dzintarzeme” members grew up with Latvian painting traditions, which are a remarkable heritage of interwar Latvia. In 1940, when Latvia was occupied by the Soviet Union, “Dzintarzeme” was banned. A part of “Dzintarzeme” members were deported, killed in war, went missing, or stayed in the Latvian SSR; the remaining chose exile. Although scattered throughout the United States of America, Canada, and Australia, some members were able to rebuild and sustain the fraternity’s life, gathering its members, organising trips and anniversary art exhibitions. The aim of this research is to reflect on “Dzintarzeme’s” activities in exile (1958–1987), focusing on the main factors of Latvian national art conservation policy: first, the ability of “Dzintarzeme’s” ideology to preserve the values of Latvian national art in an international environment, and second, the problem of generational change and the enrollment of young Latvian artists who continued to maintain “Dzintarzeme” values in exile.
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Elliott, Peter. "Nineteenth-Century Australian Charismata: Edward Irving’s Legacy*." Pneuma 34, no. 1 (2012): 26–36. http://dx.doi.org/10.1163/157007412x621716.
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Abstract In recent decades, most interpreters have argued that as an organized movement, Australian Pentecostalism began in 1909 with Janet Lancaster’s Good News Hall. This article argues that Australian Pentecostal beginnings should be recalibrated to 1853, with the arrival of representatives of the Catholic Apostolic Church in Melbourne. The evidence indicates that the Catholic Apostolic Church continually taught and practiced the charismatic gifts in Australia throughout the second half of the nineteenth century. The existence of an established denomination in Australia embracing and exhibiting the charismatic gifts for the period 1853 to 1900 challenges the dominant Lancaster interpretation. This evidence also argues for a direct historic link between Australian Pentecostalism and the charismata of Edward Irving and the nascent Catholic Apostolic Church in 1830s London.
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Crowley, Ben, Brian Dollery, and Lin Crase. "A Comparative Analysis of Australian Film Assistance, 1997–2001." Media International Australia 113, no. 1 (November 2004): 124–39. http://dx.doi.org/10.1177/1329878x0411300114.
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Considerable time has elapsed since the last comprehensive review of Australian film assistance policy. Despite the fact the no universal agreement exists on the aims of national film assistance policies, it is nonetheless timely to consider the overall effectiveness of present film assistance programs in Australia. Accordingly, the limited objective of this paper is to examine some aggregative outcomes of the Australian film assistance program in comparison to similar programs in Canada and the United Kingdom in the areas of film development, film production, film distribution, film exhibition and film performance.
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Regina Permatadewi Tantiany Gunawan and Eko Ribawati. "The Conservative Role of Aboriginal Wind of Instruments." Santhet: (Jurnal Sejarah, Pendidikan, dan Humaniora) 6, no. 2 (November 1, 2022): 179–84. http://dx.doi.org/10.36526/santhet.v6i2.2205.
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Australia is used as one of the countries that overshadow the Australian continent. Civilization from the Australian continent itself emerged with the initial presence of the British arrival to Australia in the form of decolonization. This is what causes cultural acculturation to experience continuity in it. However, the main issue is whether there is a return to the original culture that is maintained by the Aboriginal Tribes as the original tribes that inhabit the Australian continent to be passed on to their generations. Apparently, the original culture is contained in a wind instrument called the Didgeridoo. Didgeridoo is used as a musical instrument that has a conservative role in relaxation for its listeners. In fact, this wind instrument has also been declared the oldest musical instrument from Australia which has a long estimate of the beginning of its civilization. This is what makes it a point in historical value with outstanding usefulness values in the use of Didgeridoo which is associated with the past to the modernized era in order to preserve the musical instrument by holding an exhibition in it to introduce and show how to play it for many people which listening it.
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Sepasgozar, Samad M. E., Steven Davis, Martin Loosemore, and Leonhard Bernold. "An investigation of modern building equipment technology adoption in the Australian construction industry." Engineering, Construction and Architectural Management 25, no. 8 (September 17, 2018): 1075–91. http://dx.doi.org/10.1108/ecam-03-2017-0052.
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Purpose Research into the construction industry’s adoption of modern equipment technologies, such as remote-controlled trucks, excavators and drones, has been neglected in comparison to the significant body of research into the adoption of information technology in construction. Construction research has also neglected to adequately consider the important role of vendors in the innovation diffusion process, focussing mostly on the role of the customer. Set within the context of Australia’s construction industry, the purpose of this paper is to address these gaps in knowledge by exploring the role of customers and vendors in the diffusion of modern equipment technologies into the construction industry. Design/methodology/approach Using contemporary models of innovation diffusion which move beyond the simple dualistic problem of whether innovation is supply-pushed or demand-pulled, 19 semi-structured interviews were undertaken with customers and vendors involved in two major modern equipment technology trade exhibitions in Australia. This was followed by the collection of documentary data in the form of photos, directory books, marketing material, catalogues, websites and booth and exhibition layouts to validate the proposed model and provide insights into vendor marketing strategies. These data were analysed using both content analysis and principal component analysis (PCA). Findings According to the PCA and content analysis, vendor’s engagement in the adoption of modern equipment technologies falls into three stages that correspond to three stages in the customer’s adoption process. In the first stage, customers identify possible solutions and recognise new technologies following a previous recognition of a need. Vendors provide facilities for attracting potential customers and letting customers know that their technology exists and can help solve the customer’s problem. The second stage involves customers gaining knowledge about the details of the new technology, and vendors focusing on detailed knowledge transfer through written materials and demonstrations of the functionality of the new technology. In the third stage, customers have specific questions that they want answered to assist them in comparing different vendors and solutions. By this stage, vendors have built a close relationship with the customer and in contrast to earlier stages engage in two-way communication to help the customer’s decision process by addressing specific technical and support-related questions. Originality/value The originality and value of this research is in addressing the lack of research in modern equipment technology adoption for building construction and the lack of data on the role of vendors in the process by developing a new empirical framework which describes the stages in the process and the ways that customers and vendors interact at each stage. The results indicate that conceptually, as the construction industry becomes more industrialised, current models of innovation adoption will need to develop to reflect this growing technological complexity and recognise that vendors and customers engage differently in the adoption process, according to the type of technology they wish to adopt.
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Khan, Arifuzzaman, Kalie Green, Gulam Khandaker, Sheleigh Lawler, and Coral Gartner. "How can a coordinated regional smoking cessation initiative be developed and implemented? A programme logic model to evaluate the ‘10,000 Lives’ health promotion initiative in Central Queensland, Australia." BMJ Open 11, no. 3 (March 2021): e044649. http://dx.doi.org/10.1136/bmjopen-2020-044649.
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ObjectiveThis study used a programme logic model to describe the inputs, activities and outputs of the ‘10,000 Lives’ smoking cessation initiative in Central Queensland, Australia.DesignA programme logic model provided the framework for the process evaluation of ‘10,000 Lives’. The data were collected through document review, observation and key informant interviews and subsequently analysed after coding and recoding into classified themes, inputs, activities and outputs.SettingThe prevalence of smoking is higher in the Central Queensland region of Australia compared with the national and state averages. In 2017, Central Queensland Hospital and Health Services set a target to reduce the percentage of adults who smoke from 16.7% to 9.5% in the Central Queensland region by 2030 as part of their strategic vision (‘Destination 2030’). Achieving this target is equivalent to 20,000 fewer smokers in Central Queensland, which should result in 10,000 fewer premature deaths due to smoking-related diseases. To translate this strategic goal into an actionable smoking cessation initiative, the ‘10,000 Lives’ health promotion programme was officially launched on 1 November 2017.ResultThe activities of the initiative coordinated by a senior project officer included building clinical and community taskforces, organising summits and workshops, and regular communications to stakeholders. Public communication strategies (e.g., Facebook, radio, community exhibitions of ‘10,000 Lives’ and health-related events) were used to promote available smoking cessation support to the Central Queensland community.ConclusionThe ‘10,000 Lives’ initiative provides an example of a coordinated health promotion programme to increase smoking cessation in a regional area through harnessing existing resources and strategic partnerships (e.g., Quitline). Documenting and describing the process evaluation of the ‘10,000 Lives’ model is important so that it can be replicated in other regional areas with high prevalence of smoking.
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Reid, AL. "Review of the Peripatopsidae (Onychophora) in Australia, with comments on peripatopsid relationships." Invertebrate Systematics 10, no. 4 (1996): 663. http://dx.doi.org/10.1071/it9960663.
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The Peripatopsidae (Onychophora) are analysed by cladistic techniques. In all, 64 taxa, including 41 new Australian species, are included, and 369 character states are studied for these taxa; 36 genera are recognised, 22 of which are new from Australia. New species are described and redescriptions provided for the 13 Australian taxa recognised prior to the present study. A neotype is designated for Euperipatoides leuckartii (Saenger, 1869) and a lectotype is designated for Ooperipatus oviparus (Dendy, 1895). The phylogenetic relationships of the genera and a selection of characters used in the phylogenetic analyses are discussed. The results indicate that the Australian Peripatopsidae may not be monophyletic. The historical biogeography of the Peripatopsidae appears consistent with current geological theories of continental breakup and climate change, with the oldest elements of the fauna confined to Tasmania and south-eastern mainland Australia, regions that retain affinity with taxa from South America, South Africa and New Zealand. The evolution of some important characters is discussed in relation to these events. Ovoviviparity appears to be the ancestral state in the Onychophora, with oviparity arising in at least two Australian lineages. In eastern Australia there has been a dramatic radiation of species, many exhibiting unusual modifications of the head and its papillae.
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Endersby, Jim. "The evolving museum." Public Understanding of Science 6, no. 2 (April 1997): 185–206. http://dx.doi.org/10.1088/0963-6625/6/2/005.
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This paper examines a recent exhibition on evolution at the Australian Museum, in Sydney, and contrasts it with the museum's earlier exhibitions on the same theme, looking at the images of science each presents. The differences between the most recent display and its predecessors can be broadly grouped under three themes: the use of narrative and chronology to organize the display; the use of realistic dioramas and reconstructions; and the use of glass cases to keep the visitors and the science apart. Partly through deliberate decisions and partly through other pressures—including space, time and financial considerations—the newest exhibition has resolved some of the problems exemplified by the earlier ones. Nevertheless, other difficulties remain and the conclusion sketches some possible directions which museum designers might explore in the future.
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Guest, Luise. "Translation, transformation and refiguration: The significance of Jingdezhen and the materiality of porcelain in the work of two contemporary Chinese artists1." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 207–23. http://dx.doi.org/10.1386/jcca_00004_1.
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Abstract In December 2016 a group of researchers led by Professor Jiang Jiehong travelled to Jingdezhen as fieldwork for the Everyday Legend research project, funded by the Leverhulme Trust. Representing the White Rabbit Collection of Contemporary Chinese Art, Australia, I was invited to participate. This article developed from reflections on the fieldwork component of the research project, as well as the formal and informal discussions that took place, at the time and subsequently, in Shanghai, Birmingham, Groningen and London. In 2018, as a further development of this process of reflection, I conducted semi-structured interviews with two artists of different generations: the article examines how Liu Jianhua and Geng Xue approach the use of porcelain as a contemporary art material. Each has spent extensive periods of time in Jingdezhen and each is immersed in this particularly Chinese tradition. At the same time, each is identified (and identifies themselves) as practising in a global contemporary art context and participates in exhibitions and exchanges internationally. Considered in the context of current and historical discourses around global contemporaneity2 and its manifestations in twenty-first-century China, their work illuminates the key question that the Everyday Legend project was designed to examine: how can contemporary art and traditional Chinese craft practices intersect, informing and enriching each other? As representatives, respectively, of the generation who emerged into the first years of the post-Cultural Revolution Reform and Opening period, and of a younger generation educated partly outside China, they reveal how Chinese artists strategically negotiate local and global in positioning their work as contemporary reinventions of traditional forms and materiality.
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Gosseye, Janina, and Alice Hampson. "Queensland making a splash: Memorial pools and the body politics of reconstruction." Queensland Review 23, no. 2 (December 2016): 178–95. http://dx.doi.org/10.1017/qre.2016.28.
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AbstractIn April 2015, The Pool emerged as the winning proposal for Australia's exhibition at the 2016 Venice Architecture Biennale.1 Creative directors Aileen Sage and Michelle Tabet explained that the pool was ‘a lens through which to explore Australian cultural identity’ and ‘aptly represents a distinctively Australian democratic and social space’.2 In Australia, the public pool was popularised in the post-war period, particularly in Queensland where it offered relief from the long, hot and humid summers. Although Brisbane already had several floating baths along the Brisbane River from the mid-nineteenth century, large-scale, in-ground pool construction in the state did not start in earnest until the mid-1950s, when the personal and social benefits of recreational time with family and friends became well established. In Queensland, as elsewhere in the country, the government encouraged the construction of swimming pools, and many became memorial pools, dedicated to those who had fought to defend an Australian ‘way of life’. Their design was to reflect the civic and social foundations of the initiative, and in Queensland architects took delight in all the opportunities it afforded. The result was a widely diverging collection of predominantly humble and economical structures that were rarely ordinary or dull. Analysing three key pools that were constructed in regional Queensland between 1955 and 1965 — in Rockhampton, Mackay and Miles — this article draws out some of the defining features of Queensland's modern memorial pools, and highlights how this typology became the quintessential ‘Australian democratic and social space’.3