Relevant bibliographies by topics / Glass art Australia History

Academic literature on the topic 'Glass art Australia History'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Glass art Australia History"

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Ivanyshyn, Ostap. "Experiment in the art of Klaus Moje." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 265–77. http://dx.doi.org/10.37131/2524-0943-2019-39-18.

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The paper overviews a lifetime achievement of german native australian artist Klaus Moje in the field of decorative glass art. An article traces the development of his artwork in the late 1900th - early 2000th. Much attention is given to Moje`s innovative approach of traditional technique. It is made an attempt to evaluate the implementation of new methods and technics to the educational process. It is analysed a contribution of an artist in the context of the studio glass movement. The paper describes most creative periods and examines appropriate artworks. The results of collaboration between an artist and a manufacturer of coloured glass are revealed. Main articles to the theme is observed. The determination of kilnforming, as an independent medium technique is considered. The results obtained confirm the significant contribution of an outstanding artist, which allows to determine his prominent place in thу world history of art
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Elias, Ann. "Aquariums and human–animal relations at the Great Barrier Reef." Queensland Review 28, no. 2 (December 2021): 98–113. http://dx.doi.org/10.1017/qre.2022.6.

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AbstractIn the early twentieth century, great delight in the unique tropical beauty of the Great Barrier Reef, coupled with an opportunistic spirit for commercial development, inspired the commission of eye-catching posters and advertisements by Australian tourist organisations. The aim of this article is to discuss a pictorial device that developed alongside the rise of modern tourist advertising images of Great Barrier Reef – a split-level viewpoint that approximates the effect of looking at the Reef through the glass sides of an aquarium. Building on my earlier research published in 2019 on wildlife photography and the construction of the Great Barrier Reef as a modern visual spectacle, and combining art history with environmental history, this article also turns to coloured advertising lithographs. It argues that split-level visualisations separate human from non-human and elevate the idea of human superiority. With the Great Barrier Reef facing unprecedented ecological pressures, the historical images at the centre of this article are instructive for understanding the deleterious effects of anthropogenic impact, as well as early twentieth-century attitudes towards human–non-human relations.
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Blackman, Cally. "The Colour of Fashion at the Salon du Goût Français: A Virtual Exhibition of French Luxury Commodities, 1921–1923." Costume 56, no. 1 (March 2022): 51–73. http://dx.doi.org/10.3366/cost.2022.0218.

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This article investigates the use of the Autochrome, an important photographic process invented by the Lumière brothers that produced the most accurate representation of colour between 1907 and the early 1930s, in a government-backed exhibition of French luxury commodities, the Salon du Goût Français. Between 1921 and 1923 the exhibition showed in Paris and undertook two international tours, first to North America and then to Australasia, China, Vietnam, Japan and India. Thousands of objects were displayed, from automobiles to umbrellas, including couture, ready to wear, lingerie, menswear, children's wear and accessories. By reducing the objects to two dimensions on the glass Autochrome plates, the exhibition could be shown in a relatively small venue in Paris, transported to America in a trunk and voyage on a decommissioned battle cruiser to the Far East. Using the trope of Western fashion as a form of soft power mediated by the global reach afforded by the Autochromes, the article proposes that the Salon du Goût Français offered a kind of roving virtual art gallery, a vividly colourful encyclopaedic display of over 2,000 images of luxury manufacturing deployed to restore France's imperial and cultural hegemony as supreme arbiter of taste after the trauma of the First World War.
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Lozanovska, Mirjana, and Akari Nakai Kidd. "‘Vacant Geelong’ and its lingering industrial architecture." Architectural Research Quarterly 24, no. 4 (December 2020): 353–68. http://dx.doi.org/10.1017/s1359135520000421.

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Once a prosperous manufacturing town, Geelong in Victoria, Australia is undergoing a process of deindustrialisation and, in turn, redefining its identity to better retain viability in a globalised world. For instance, the town bid to host a Guggenheim museum on its Eastern Beach shore at the turn of the millennium, and has recently become a UNESCO City of Design (2017). Like so many declining regional industrial towns, Geelong has been undercut by the new economic forces, and has sought a new identity in cultural economies. The ‘Vacant Geelong’ project, which began at Deakin University in 2015 and is ongoing, evolved as a response to vacant industrial architecture in Geelong. Major industries including Ford (vehicles), Alcoa (aluminium), timber sawmills, wool mills, Pilkington Glass, cement works, and the oil refinery once defined the town and its history as an industrial architectural landscape.1 Major industries transformed the architectural and cultural terrain. Despite these cycles of transformation and erasure, and counter to a progressive and chronological approach to change, the ‘Vacant Geelong’ project explored this vacancy of industrial operation, yet presence of industrial architecture. Through inscriptions – artworks, design projects, creative research, installations, texts – it addressed those material realities that did not leave, the industrial structures – silos, ducts, chimneys, warehouses – that give Geelong its continuing industrial architectural character.
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Smith, Bernard. "On Writing Art History in Australia." Thesis Eleven 82, no. 1 (August 2005): 5–15. http://dx.doi.org/10.1177/0725513605054354.

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Speck, Catherine. "Camouflage Australia: Art, Nature, Science and War." Australian Historical Studies 44, no. 1 (March 2013): 162–63. http://dx.doi.org/10.1080/1031461x.2013.761649.

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Shemyakina, Sophia. "History of One Portrait." Bulletin of Baikal State University 29, no. 1 (April 4, 2019): 32–38. http://dx.doi.org/10.17150/2500-2759.2019.29(1).32-38.

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Irkutsk Regional Art Museum exhibition opened in September 2018 commemorated the 90th anniversary of the birth of Boris Timofe­evich Bychkov, Russian folk artist, corresponding member of Russian Art Academy, member of Irkutsk Regional Union of Artists and master of decorative glass. He had lived and worked in Irkutsk since 1962. A native of Moscow he graduated from Mukhina Leningard Higher Arts and Crafts College. For many years, he was an art director of Gusev glass manufacturing plant in Gus-Khrustalny. In 1962, he moved to Irkutsk and dedicated his whole life to Siberia. These are some of his art works known to natives of Irkutsk: stained glass windows «Irkutsk» in the hotel «Inturist», «The Blue Bird» in Bratsk community center, chandeliers in Irkutsk Music Theater, «Vostoksibsantechmontazh» and «Agrodorspecstroy» companies, and ornamental designs «Frozen sounds» and «Victory» in Irkutsk Art Museum Collection. Most of his designs and artifacts are stored in warehouses and are on exhibit in Irkutsk Art Museum, and all of them were featured in an exhibition. Besides the artist’s works, there were two other art works on display — «Portrait of B.T. Bychkov. Mural» and «Portrait of B.T. Bychkov on the optical glass» by painter-jewelers Natali and Arkadyi Lodyanovyh. This article is about the creative works of the glassware art artist himself and the story behind his portrait.
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Murcia-Mascarós, Sonia. "Glass science in art and conservation." Journal of Cultural Heritage 9 (December 2008): e1-e4. http://dx.doi.org/10.1016/j.culher.2008.10.001.

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Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVER the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country. Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Gallery’s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent
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Freestone, Robert, and Alan Hutchings. "Planning history in Australia: The state of the art." Planning Perspectives 8, no. 1 (January 1993): 72–91. http://dx.doi.org/10.1080/02665439308725764.

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Dissertations / Theses on the topic "Glass art Australia History"

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Beckman, Jeannine A. "Imported Glass Objects in the Bronze Age Aegean." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/215280.

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Art History
M.A.
A great deal of evidence exists in support of Bronze Age intra-Aegean trade, but the dynamics and material goods that made up these exchanges are still being explored. Initially, foreign glass most likely originated in Western Asia and Egypt. Recent excavations at the Minoan sites of Chryssi, Papadiokambos, and Mochlos have provided evidence of such trade on Crete. All three sites yielded glass beads that, judging by their rarity in the region, must have come from elsewhere. While glass artifacts such as those found on Minoan Crete are often assumed to be Egyptian in genesis, a Western Asian source has not been sufficiently ruled out. Based on their findspots, appearance, and our present understanding of shipping and trade in the Bronze Age Aegean, it is most likely that the beads from Chryssi, Papadiokambos, and Mochlos were manufactured in the Levant and arrived in Crete from the East.
Temple University--Theses
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McCray, William Patrick. "The culture and technology of glass in Renaissance Venice." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290650.

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Venetian glass, especially that of the Renaissance, has been admired for centuries due to its quality workmanship and overall visual appeal. In addition, a certain mystique surrounds the glassmakers of Venice and their products. This dissertation research undertakes a comprehensive view of the culture and technology of Renaissance Venetian glass and glassmaking. Particular attention is paid to luxury vessel glass, especially those made of the "colorless" material typically referred to as cristallo. This segment of the industry is seen as the primary locus of substantial technological change. The primary question examined in this work is the nature of this technological change, specifically that observed in the Renaissance Venetian glass industry circa 1450-1550. After providing an appropriate social and economic context, a discussion of Venice's glass industry in the pre-Renaissance is given. Industry and guild trends and conditions which would be influential in later centuries are identified. In addition, the sudden expansion of Venice's glass production in the mid-15th century is described as a self-catalyzed phenomenon in response to prevailing cultural and economic conditions. Demand is identified as a necessary precursor to the production of luxury glass. Building on this concept, activities and behaviors relevant to demand, production, and distribution of Venetian glass are examined in depth. The interaction between the Renaissance consumer and producer is treated along with the position of Venice's glass industry in the overall culture and economy of the city. It is concluded that the technological changes observed in Venice's Renaissance luxury glass industry arose primarily out of perceived consumer demand. Social and economic circumstances particular to Renaissance Italy created an environment in which a technological development such as cristallo glass could take place. The success of the industry in the 15th and 16th centuries can be found in the fruitful interplay between consumers and producers, the manner in which the industry was organized, coupled with the skill of the Venetian glassmakers to make and work new glass compositions into a variety of desired objects.
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Denholm, Michael. "Art magazines in Australia, 1963-1990 : a study of values, influence and patronage." Thesis, Canberra, ACT : The Australian National University, 1994. http://hdl.handle.net/1885/139448.

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Gibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.

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The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.
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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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Edamura, Taisuke. "Toward motional thinking: reflections on the movement of Gerhard Richter's glass works." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21922.

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The distinctive presentations of the use of glass sheets by Gerhard Richter (1932-) occupy a special place in his entire oeuvre. This thesis particularly examines Richter's glass works invested with distinctive mobility with a keen awareness of the significant implications of the concept of "movement" that could allow one to reflect on the existing contexts of the critique of his creation. Chapter one, referring to the current arguments about Richter's radical (dis)engagement with viscous pictorial traditions, addresses the critical availability and limits of "double negation" through focus on the implications of strategic irony. In chapter two, emphasis is placed on the immobilized "pictorial perspective" from which Richter's glass works can be more immediately comprehended, by referring to the history of glass. Following these preliminary discussions, chapter three intends to investigate the generative elusiveness of Richter's glass works with a wide spectrum of the gestures of glass panes that transforms the glass works from a mere viewed object to a vital thing looking at viewers.
L'usage de plaques de verre occupe une place notable dans la production artistique de Gerhard Richter (1932-). Ce mémoire propose d'examiner les diverses exploitations plastiques que Richter fait à partir du verre en portant une attention particulière aux implications liées au concept de « mouvement ». Ceci étant, c'est concurremment à l'analyse des écrits portant sur les œuvres de l'artiste que notre analyse s'ancrera. Méditant sur l'idée selon laquelle Richter opterait pour un (dés)engagment radical par rapport à la tradition picturale, le premier chapitre traite des avantages et des désavantages de l'utilisation par la critique de la notion de « double négation », à l'aune des implications ironiques. Tout en se référent à l'histoire du verre, le second chapitre se penche sur la « perspective picturale » immobile à partir de laquelle les œuvres de verre de Richter peuvent être immédiatement appréhendées. Enfin, poursuivant les réflexions déjà amorcées, le troisième chapitre s'intéresse au caractère fuyant du verre, à son large spectre de gestes qui le transforme d'un simple objet regardé en un dispositif vivant qui regarde la spectateur.
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Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.

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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.
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Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.

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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Grey, Kaitlynn. "Grape Flasks of Third-Century Cologne: An Investigation into Roman Glass and Dionysus." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent152685668282561.

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Rossi, Alana. "An archaeological re-investigation of the Mulka's Cave Aboriginal rock art site, near Hyden, Southwestern Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1884.

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Mulka's Cave is a profusely decorated hollow boulder at The Humps, a large granite dome near Hyden, a small town 350 km southeast of Perth. The importance of the artwork has been recognised for 50 years. Test excavations in the cave in 1988 yielded 210 mainly quartz artefacts assignable to the Australian Small Tool phase and a radiocarbon date of 420 ± 50 BP from just below the lowest artefact found. The artwork was recorded in detail in 2004. The recorder considered the radiocarbon date to be 'anomalously young' because most of the artwork is in poor condition, suggesting that it was made 3000-2000 years ago. Other dated rock art sites in Southwestern Australia came into use 4000-3000 BP. The excavators argued that the site was fairly insignificant, while the rock art researcher thought the profusion of motifs (452) made it a site of some significance, particularly in Southwestern Australia. The main aim of this study was to investigate these conflicting claims by re-investigating how Mulka's Cave had been used by Aboriginal people in the archaeological past. This research became possible because local tourist organisations obtained federal funding to install an elevated walkway outside the cave in 2006. Under Section 18 of the Aboriginal Heritage Act (1972) 12 of the 34 postholes required were excavated and artefacts were collected from all the ground surfaces to be impacted. Subsequently, under Section 16 of the AHA, four, small, 0.5 x 0.5 m, testpits were excavated around the site: outside the cave entrance, on The Humps and in the Camping Area; a sheltered spot where the Traditional Owners had camped as children, with their grandparents. Organic material was scarce, so analysis focused on the numbers and types of stone artefacts recovered. The artefacts excavated in 1988 were also re-analysed. Five radiocarbon dates were obtained, which suggested that people began visiting the Camping Area (and using ochre) about 6500 BP, making Mulka's Cave one of the oldest radiometrically dated rock art sites in southern Western Australia. The artefact data from Mulka's Cave were compared to those from these sites. The low artefact discard rate and high proportion of retouched/formal tools found at Mulka's Cave may indicate that the site was used differently from the other sites, but the data are problematic. Most (70%) of the handstencils in Mulka's Cave can be attributed to adolescents, possibly boys, which may also suggest that the site had ceremonial significance; perhaps as a focus for male initiation rituals. The artefact data do not support this hypothesis, however. There is no evidence of spatial patterning in artefact type or frequency across the site, which would be expected if the cave had had a ritual function. Instead, the Camping Area, Walkway Area and Mulka's Cave itself seem to have been used similarly. It was concluded that, given the scarcity of free-standing potable water in the surrounding region and the presence at The Humps of two capacious gnammas (rockholes), that people probably visited the site when the gnammas were full. A wide variety of plant and animal foods would also have been available before the country was cleared for agriculture. When at Mulka's Cave, they may well have added to the corpus of rock art and carried out other ceremonial business, but there is no archaeological evidence for the latter. It was also concluded that much more research needs to be undertaken in this neglected part of the semi-arid zone before the significance of Mulka's Cave can be properly assessed and its place in the archaeological record of Southwestern Australia determined.
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Books on the topic "Glass art Australia History"

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Ebeltoft, Glasmuseum. Ausglass: An exhibition of glass art by 16 artists from Australia. Ebeltoft: Glasmuseum, 1995.

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Ioannou, Noris. Australian studio glass: The movement, its makers, and their art. Roseville East, NSW: Craftsman House, 1995.

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Gallery, Kurland/Summers. Australian kiln/formed glass: Exhibition April 13, 1989 - May 13, 1989. Los Angeles: Kurland/Summers Gallery, 1989.

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Layton, Peter. Glass art. London: A&C Black, 1996.

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Snyder, Jeffrey B. Art glass today. Atglen, PA: Schiffer Publishing Ltd, 2010.

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1935-, Lotton Charles G., ed. Lotton art glass. Marietta, Ohio: Antique Publications, 1990.

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Art in glass. Detroit: Lucent Books, 2007.

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Glass: A contemporary art. New York: Rizzoli, 1989.

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Glass: A contemporary art. London: Collins, 1989.

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Arwas, Victor. Glass: Art Nouveau to Art Deco. London: Academy Editions, 1987.

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Book chapters on the topic "Glass art Australia History"

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Flexner, James L. "Worked Glass Artefacts in Australia and the Pacific." In Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 1–5. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-3934-5_10240-1.

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Flexner, James L. "Worked Glass Artefacts in Australia and the Pacific." In Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 4519–23. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-94-007-7747-7_10240.

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Carter, David. "Yiwarra Kuju—One Road: Storytelling and History Making in Aboriginal Art." In Transcultural Connections: Australia and China, 219–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5028-4_14.

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Tello, Verónica. "How to Appear? Writing Art History in Australia After 1973." In Performance, Resistance and Refugees, 138–54. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003142782-11.

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Veth, Peter, Sam Harper, Kane Ditchfield, Sven Ouzman, and Balanggarra Aboriginal. "The case for continuity of human occupation and rock art production in the Kimberley, Australia." In The Routledge Companion to Global Indigenous History, 194–220. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315181929-10.

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Rasmussen, Seth C. "Modern Materials in Antiquity: An Early History of the Art and Technology of Glass." In ACS Symposium Series, 267–313. Washington, DC: American Chemical Society, 2015. http://dx.doi.org/10.1021/bk-2015-1211.ch010.

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Dixon, Robert, and Jeanette Hoorn. "Art and literature: a cosmopolitan culture." In The Cambridge History of Australia, 487–510. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cho9781107445758.023.

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Turnbull, Wayne. "Illuminating the History of the Training Ship HMS Conway through Stained Glass Windows." In Art and the Sea, 179–206. Liverpool University Press, 2022. http://dx.doi.org/10.2307/j.ctv2hbr255.13.

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Turnbull, Wayne. "Illuminating the History of the Training Ship HMS Conway through Stained Glass Windows." In Art and the Sea, 179–206. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802070200.003.0009.

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Wayne Turnbull demonstrates that the stained glass windows in the Scriptorium at Birkenhead Priory, Merseyside, illustrate the story of HMS Conway- a naval cadet training ship of the nineteenth century. The illuminated windows preserve and celebrate the history of the ship through art and provide an effective medium for contemporary audiences to learn about the ship and also about the training which was provided for nineteenth century sea cadets. The images in glass illustrate and evaluate the contribution to seafarers’ education made by the training ship movement in the Victorian era. Turnbull also explores the concept that British fascination with the sea was compounded by the ‘Cult’ of Admiral Nelson and that this prepared the British nation for an enhanced appreciation of the sea. Therefore, the chapter examines the formation of nationalism and imperialist thinking in Great Britain in the nineteenth century.
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"A Brief History of Wine - Storing and Drinking Wine Before Glass." In The Glass of Wine: The Science, Technology, and Art of Glassware for Transporting and Enjoying Wine, 15–26. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119223443.ch2.

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Conference papers on the topic "Glass art Australia History"

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Lewi, Hanna, and Cameron Logan. "Campus Crisis: Materiality and the Institutional Identity of Australia’s Universities." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4019p8ixw.

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In the current century the extreme or ‘ultra’ position on the university campus has been to argue for its dissolution or abolition. University leaders and campus planners in Australia have mostly been unmoved by that position and ploughed on with expansive capital works campaigns and ambitious reformulations of existing campuses. The pandemic, however, provided ideal conditions for an unplanned but thoroughgoing experiment in operating universities without the need for a campus. Consequently, the extreme prospect of universities after the era of the modern campus now seems more likely than ever. In this paper we raise the question of the dematerialised or fully digital campus, by drawing attention to the traditional dependence of universities on material and architectural identities. We ask, what is the nature of that dependence? And consider how the current uncertainties about the status of buildings and grounds for tertiary education are driving new campus models. Using material monikers to categorise groups of universities is something of a commonplace. There is the American Ivy League, which refers to the ritualised planting of ivy at elite colleges in the late nineteenth and early twentieth centuries. The English have long referred to their “red brick” universities and to a later generation as the “plate glass” universities. In Australia, the older universities developed in the colonial era came to be known as the “sandstones” to distinguish them from the large group of new universities developed in the postwar decades. While some of the latter possess what are commonly called bush campuses. If nothing else, this tendency to categorise places of higher learning by planting and building materials indicates that the identity of institutions is bound up with their materiality. The paper is in two parts. It first sketches out the material history of the Australian university in the twentieth century, before examining an exemplary recent project that reflects some of the architectural and material uncertainties of the present moment in campus development. This prompts a series of reflections on the problem of institutional trust and brand value in a possible future without buildings.
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Carley, James T., and Tom Denniss. "Electrical Energy from Ocean Waves—History and State of the Art in Australia." In 27th International Conference on Coastal Engineering (ICCE). Reston, VA: American Society of Civil Engineers, 2001. http://dx.doi.org/10.1061/40549(276)272.

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Sokolova, V. YU. "Interpretation of the images of the East in the motives of the panel of the Glass Bead Cabinet Chinese Palace in Oranienbaum." In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-06-2020-09.

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Mađanović, Milica, Cameron Moore, and Renata Jadresin Milic. "The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4007piywz.

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In response to the third thematic sub-stream of the 38th Annual SAHANZ Conference, this paper will discuss the role of architectural research in the architecture of Gummer and Ford, the Auckland-based practice, often described as one of the most prolific bureaus in interwar New Zealand. The paper is a fraction of a three-staged project, “Gummer and Ford,” developed by a team of researchers from the Unitec Institute of Technology in response to an event recognised as a milestone in the New Zealand architectural calendar – the 2023 centenary of the firm’s establishment. This paper explores the design principles of William Gummer, the principal designer of the firm. From 1914 to 1935, Gummer consistently published his view that the goal of the architect was to cater to humanity’s highest instincts. He was unwavering but vague on how this is achieved; through composition, unity, contrast, proportion and scale, appropriate use of materials is all needed to produce buildings of good character. But what did he really mean by this? A close reading of three books Gummer considered invaluable to architectural students – The Essentials of Composition as Applied to Art by John Vredenburgh Van Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The Mistress Art by Reginald Bloomfield – offers a direct insight into the influences behind his thinking about architecture and his architectural production. Directly traceable to Gummer, the three titles include clear, precise instructions on both the functional and artistic nature of architectural design. Interestingly, this paper employs a method not dissimilar to Gummer’s design method. These books taken together, along with Gummer’s own writing, a study of renderings and construction drawings, and close observation of the buildings, an architectural analysis of Gummer’s work becomes possible – it is what Gummer himself referred to as Architectural Research. This historically focused study will bring a new perspective to understanding the value and contribution of traditional architects, not only in New Zealand but other English-speaking countries.
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Huang, Jian, Dongling Liang, and Zhongheng Wei. "Reflection on the Training of General Medical Students in China from the Development History of General Medicine in Australia and Other Countries*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.092.

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Lu, Duanfang. "A Conceptual Framework for Architectural Historiography." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4005p6e3c.

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Architectural history used to be part of art history, but has been gradually distanced from the latter as architecture develops as an independent modern discipline. Despite debates on architectural historiography in recent decades, architecture as a unique type of historically situated aesthetic objects and design products has not been adequately addressed. To further an independence from art history, and to re-center architecture itself in historical analysis, this article highlights three essential natures of architecture which differentiate it from other types of aesthetic objects (such as painting and sculpture) and design products (such as cars and furniture), while asserting its situated materiality: architecture orders bodily activities and conditions human existence; it necessitates the integration of techne, technology, materials, and labor in construction; and it is a collective expressive medium which is shaped by and contributes to the interaction between different social forces. Based on the above propositions, this article provides an upgraded version of the Vitruvian Triad, with the existential replacing utilitatis (utility), the constructive replacing firmitatis (stability), and the interactive replacing venustatis (beauty).
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Petrović, Emina Kristina. "Two Conceptualisations of Change in Architectural History: Towards Driving Pro-sustainable Change in Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4006pqv8s.

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At the time when it is important to act on the Climate Emergency and other pro-sustainable efforts, the key question is how to drive change. This paper examines two conceptualisations of change in architectural history in an attempt to support a better understanding of architecture-specific conceptualisations of change itself. Such understanding could offer real value in articulating how to drive pro-sustainable change in architecture. The paper identifies two conceptualisations of change which are easily found in existing writing on change in architectural history. One such conceptualisation considers architectural developments in terms of cyclical styles, or triads of early, high, and decadent stages of development of styles. Attributed to the 18th century writing of Johann Joachim Winckelmann on ancient Greek art, this conceptualisation presents one useful interpretation which links the change with natural growth. A simpler conceptualisation of two-point change is interpreted using the minor/major interpretations of change, as developed by Joan Ockman, based on the work of Gilles Deleuze and Félix Guattari. The key proposition is that the selected historical examples of conceptualisation of change reveal useful aspects of the past patterns of change in architecture. These might help understand how to drive needed change now. One critical factor in the transition which is facing us now, is that in contrast to many past transitions which were driven by technological innovation, current transition requires development of technologies capable to support the change which is scientifically proven as needed and real. Therefore, some of the historical natural ease of the past transitions in the current contexts needs active driving of change. Without an intention to propose a holistic new framework, the main value of this paper is that it identifies some of the key conceptualisations which are evident in architectural history and that could be useful in driving pro-sustainable change.
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Corkhill, Anna, and Amit Srivastava. "Alan Gilbert and Sarah Lo in Reform Era China and Hong Kong: A NSW Architect in Asia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4015pq8jc.

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This paper is based on archival research done for a larger project looking at the impact of emergent transnational networks in Asia on the work of New South Wales architects. During the period of the Cultural Revolution in China (1966-1976), the neighbouring territories of Macau and Hong Kong served as centres of resistance, where an expatriate population interested in traditional Asian arts and culture would find growing support and patronage amongst the elite intellectual class. This brought influential international actors in the fields of journalism, filmmaking, art and architecture to the region, including a number of Australian architects. This paper traces the history of one such Australian émigré, Alan Gilbert, who arrived in Macau in 1963 just before the Cultural Revolution and continued to work as a professional filmmaker and photojournalist documenting the revolution. In 1967 he joined the influential design practice of Dale and Patricia Keller (DKA) in Hong Kong, where he met his future wife Sarah Lo. By the mid 1970s both Alan Gilbert and Sarah Lo had left to start their own design practice under Alan Gilbert and Associates (AGA) and Innerspace Design. The paper particularly explores their engagement with ‘reform-era’ China in the late 1970s and early 1980s when they secured one of the first and largest commissions awarded to a foreign design firm by the Chinese government to redesign a series of nine state- run hotels, two of which, the Minzu and Xiyuan Hotels in Beijing, are discussed here.
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Jin, Xin. "Making with the Past: Bricolages in Wang Shu’s Design Writings and Built Projects." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4002phgul.

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This study explores how design research writing can engage with historical reference in a radical way. In the 2002 essay “Shijian Tingzhi de Chengshi” (“City Froze in Time”), based on Chapter 2 of his 2000 PhD thesis, Xugou Chengshi (Fictionalising City), the Chinese architect Wang Shu proposes reinterpreting the traditional Chinese architecture and city through the anthropologist Claude Lévi-Strauss’s notion of “bricolage”, which is defined as making do with available objects. Bricolage is informative for understanding Wang’s design undertakings, which involve skilful adaptations of vernacular building types and construction techniques in new urban projects. Nevertheless, its fundamental role in shaping Wang’s design writings is yet to be fully understood. In his design writings, Wang employs a specific quotation method whereby words and paragraphs from other writers’ preexisting works are reused and woven into new textual compositions. Through formal analysis of “City Froze in Time” and comparisons of compositional patterns between the essay and Wang’s built projects, mainly the Xiangshan Campus of the China Academy of Art, Phase II, Hangzhou (2007) and the Ningbo History Museum, Ningbo (2008), this piece explores three issues. First, it demonstrates how textual fragments found in the past and uttered by others undergo bricolage in Wang’s essay. Second, it foregrounds the intention behind Wang’s chosen writing strategy and investigates broader critical issues, such as authorship and the past–present nonlinear order associated with Wang’s strategy. Third, it expresses how historical materials – understanding “materials” in an inclusive sense – are treated in comparable ways in Wang’s written and built works. By examining Wang’s case, this paper highlights a radical case of contemporary architectural research writing in which an attempt is made to demolish the boundary between theory and design by extending the make-do logic of design into the field of design reflection.
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Wolfe, Byron, and Seher Erdoǧan Ford. "How Do We Work? Metacognition in Creative and Collaborative Practices." In 2019 Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.64.

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constitute best practices for initiatingand maintaining sustainable collaborations?These questions arise regularly within the context of our institution, Tyler School of Art and Architecture, which is part of TempleUniversity in Philadelphia, Pennsylvania. The school includes the departments of Architecture and Environmental Design, Art Education and Community Arts Practices, Art History, Studio Art, and Graphic and Interactive Design. It recently updated its structure and adopted a name that captures its breadth of programs to support cross-disciplinary study and reflect current understanding of creative practice and research.One of us being a professor in Studio Art with a background in Photography and the other in Architecture and EnvironmentalDesign, our collective experience and shared interests in interdisciplinary engagements motivated us to design and co-teach a new, graduate-level course focusing on collaboration and the creative process. Following preparations and planning for about a year, we taught the course titled “ Collaboration and Creativity” three times since its first iteration in the fall of 2017. Each semester varied widely in terms of the number of students enrolled, background and expectations both on the part of the students as well as us, as instructors. So far the cohort has included students from architecture, photography, ceramics, glass, painting, printmaking, sculpture and film and media programs.To facilitate research-based collaborative work, we considered place-based topics, allowing for various modes of research, which would generate connections with the local environment. Since students from diverse disciplinary backgrounds and with different skill-sets enroll in the course, we deliberately selected a neutral topic of study, a locally sourced stone, in order to encourage a shared experience of discovery. Taking its name from the creek that defines the northwestern arm of the city of Philadelphia, the Wissahickon schist stone—a metamorphic rock—is widely used in historical construction in the area and well-recognized for its distinct specks of shiny mica and multi-toned layers of gray, blue, brown, and black. We decided to work with this stone as a departure point for diverse lines of inquiry into physical, historical, cultural, and social domains.
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