Relevant bibliographies by topics / Installations (Art) New South Wales Sydney

Academic literature on the topic 'Installations (Art) New South Wales Sydney'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Installations (Art) New South Wales Sydney"

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Devine, Kit. "Artistic License in Heritage Visualization: VR Sydney Cove circa 1800: SIGGRAPH Asia 2019 Featured Paper." Leonardo 53, no. 4 (July 2020): 415–18. http://dx.doi.org/10.1162/leon_a_01928.

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Heritage visualizations are works of the cultural imaginary and this paper examines the artwork Artistic License: VR Sydney Cove circa 1800, which foregrounds the interpretive nature of heritage visualization. It is a reimagining in VR of A View of Sydney Cove, New South Wales, 1804, a contemporaneous print of Sydney Cove. Existing in the liminal space between accuracy and authenticity it is both art object and heritage visualization. The dual nature of this work supports engagement with wider audiences, fostering and broadening debate at individual, institutional, academic and societal levels about the nature and role of heritage.
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Johnson, Virgil C. "BOOK REVIEW: Anita Callaway.VISUAL EPHEMERA: THEATRICAL ART IN NINETEENTH CENTURY AUSTRALIA. Sydney: University of New South Wales Press, 2000." Victorian Studies 44, no. 4 (July 2002): 704–6. http://dx.doi.org/10.2979/vic.2002.44.4.704.

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Moran, Leslie J. "Judging pictures: a case study of portraits of the Chief Justices, Supreme Court of New South Wales." International Journal of Law in Context 5, no. 3 (September 2009): 295–314. http://dx.doi.org/10.1017/s1744552309990139.

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This essay is about portraits: judicial portraits. It offers a case study of the interface between law and visual culture. Its object of enquiry is a collection of pictures (painted and photographic), depicting the sixteen Chief Justices of the Supreme Court of New South Wales, Australia, from 1824 to the present day. The original paintings hang in the Banco Court, Sydney. The photographs and digital copies of all the images are on the Court’s website. Beginning with a brief review of socio-legal scholarship on the judiciary, the essay explores existing work on the visual image of the judge. In response to the limitations of that research, the paper turns to art historical scholarship to facilitate an analysis of the aesthetic and technological factors (the continuities and changes) that shape and generate the meaning of these judicial images. It explores the relevance of context upon meaning. The paper demonstrates a number of methodological approaches and reflects upon the contribution that a study of judicial pictures may make to socio-legal scholarship.
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Rosen, Alan. "Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia." Epidemiologia e Psichiatria Sociale 16, no. 2 (June 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.

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SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Results - Earlier practices with regardto the artworks of captive patients of psychiatrists, psychotherapists, art therapists, occupational and diversional therapists, often emphasised diagnostic or interpretive purposes, or were used to gauge progress or exemplify particular syndromes. As artists and art historians began to take an interest in such artworks, they emphasised their expressive, communicative and aesthetic aspects, sometimes in relation to primitive art. These efforts to ascribe value to these works, while well-meaning, were sometimes patronising and vulnerable to perversion by totalitarian regimes, which portrayed them as degenerate art, often alongside the works of mainstream modernist artists. This has culminated in revelations that the most prominent European collection of psychiatric art still contains, and appears to have only started to acknowledge since these revelations, unattributed works by hospital patients who were exterminated in the so-called “euthanasia” program in the Nazi era. Conclusions - Terms like Psychiatric Art, Art Therapy, Art Brut and Outsider Art may be vulnerable to abuse and are a poor fit with the aspirations of artists living with severe mental illnesses, who are increasingly exercising their rights to live and work freely, without being captive, or having others controlling their lives, or mediating and interpreting their works. They sometimes do not mind living voluntarily marginal lives as artists, but they prefer to live as citizens, without being involuntarily marginalised by stigma. They also prefer to live with culturally valued roles which are recognised as legitimate in the community, where they are also more likely to heal and recover.Declaration of Interest: This paper was completed during a Visiting Fellowship, Department of Social Medicine, School of Public Health, & Department of Medical Anthropology, Faculty of Arts & Sciences, Harvard University, Cambridge, Mass, USA. A condensed version of this paper is published in “For Matthew & Others: Journeys with Schizophrenia”, Dysart, D, Fenner, F, Loxley, A, eds. Sydney, University of New South Wales Press in conjunction with Campbelltown Arts Centre & Joan Sutherland Performing Arts Centre, Penrith, 2006, to accompany with a large exhibition of the same name, with symposia & performances, atseveral public art galleries in Sydney & Melbourne, Australia. The author is also a printmaker, partly trained at Ruskin School, Oxford, Central St. Martin's School, London, and College of Fine Arts, University of New South Wales, Sydney.
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Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.

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Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.
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Odlum, Nadia Rene, and Morwenna Collett. "The Right to Play: Snakes and Ladders." Journal of Public Space 7, no. 2 (June 26, 2022): 243–58. http://dx.doi.org/10.32891/jps.v7i2.1501.

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This case-study will present learnings from the public art project ‘Snakes and Ladders’, a fifty metre, ground plane mural in Sydney Olympic Park, in Sydney’s western suburbs. This was a collaboration between Digby Webster, an artist with Down syndrome, and Nadia Odlum, an artist without disability who specialises in playful, large-scale public art. Snakes and Ladders was commissioned by the Sydney Olympic Parks Authority (SOPA) as a result of a community consultation and co-design process, and was supported by Accessible Arts, the peak body for advancing the rights of New South Wales artists who have disability and/or who are d/Deaf. The result was a public artwork that functions as an inclusive playspace, supporting the right to play for all people who visit or live in Sydney Olympic Park.The key achievements of this project were the meaningful inclusion of an artist with disability in a significant public art project, and the creation of an accessible and inclusive opportunity for play in public space. This case-study focuses on process, including the community consultation process that led to the commission; the role of peak body Accessible Arts in facilitating and guiding the commission; the methods used to ensure accessibility in the artwork design; and the collaborative process between Digby and Nadia, including the steps taken to support Digby’s access requirements and ensure his full participation in the commission from concept to delivery. Read the full article in accessible html-format here.
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Davis, Jim. "Visual Ephemera: Theatrical Art in Nineteenth-Century Australia. By Anita Callaway. Sydney: University of New South Wales Press, 2000. Pp. xi + 227 + illus. AUS$50 Hb." Theatre Research International 26, no. 2 (June 15, 2001): 209–21. http://dx.doi.org/10.1017/s0307883301230223.

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Rey, Una. "Brook Andrew, 22nd Biennale of Sydney: NIRIN, Art Gallery of New South Wales, Artspace, Campbelltown Arts Centre, Cockatoo Island, Museum of Contemporary Art, National Art School (Reopened at Carriageworks), 2020, 14 March–6 September 2020." Australian and New Zealand Journal of Art 20, no. 2 (July 2, 2020): 288–92. http://dx.doi.org/10.1080/14434318.2020.1837381.

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Fox, Paul. "The Photograph and Australia, Judy Annear. Art Gallery of New South Wales, Sydney, 2015. 308 pages, with 193 plates. Hardcover AU$75.00, ISBN 978-1-741-74116-2." History of Photography 39, no. 4 (October 2, 2015): 428–30. http://dx.doi.org/10.1080/03087298.2015.1110392.

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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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Dissertations / Theses on the topic "Installations (Art) New South Wales Sydney"

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

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Thesis (Ph.D.) -- University of Western Sydney, 2003.
"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
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Dibden, Julie Ann. "Drawing in the land : rock-art in the upper Nepean, Sydney basin, New South Wales : Vol.1 & 2." Phd thesis, 2011. http://hdl.handle.net/1885/150760.

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The Upper Nepean River catchment in the Sydney Basin has a rich repertoire of visual imagery - rock-art, and a variety of other types of marks on stone. This thesis examines the diversity and spatial distribution across the land of these rock markings and change over time. The theoretical focus is on materiality, practice and performance. In previous research conducted in the Sydney Basin, rock-art located in shelters has been considered, at least implicitly, to be functionally equivalent across both space and time. The research in this thesis, by comparison, has been developed to explore both synchronic and diachronic variability in sheltered rock-art and to give consideration to the occupational and contextual diversity this represents. The rock-art corpus is analysed in accordance with its material diversity in order to explore the qualitatively different forms of behavioural expression that this variation may embody. A fundamental distinction is made between graphically structured, imposed form on the one hand, and gestural marks on the other. The material relationship between the rock-art and the rock on and within which it is set, is also examined. The different data sets are explored dialectically and in accordance with their geographic and environmental location in order to gain an appreciation of the experience and engagement between Aboriginal people and the land in this part of the Sydney Basin. The analysis employs both quantitative and explicitly narrative approaches to examine the spatial and temporal dimensions of occupation. While this research has been conducted without the support of any direct dating or archaeological context, the methodology has, nevertheless allowed for the discrimination of temporal diversity in spatial patterns, and concomitantly, the manner in which the land has been occupied and created as landscape, over time. In order to achieve this, it has been crucial to analyse the rock markings not only in respect of their behaviour correlates, but also their material locations within geographic, environmental and micro-topographic space. The analysis of the Upper Nepean rock-art reveals a pattern of diachronic change in which the marking of the land with imagery became increasingly diverse in a number of formal and material ways, and geographically and environmentally common and widespread. The results suggests that regional bodies of rock-art are likely to have been produced in accordance with a diversity of motivations and functional purposes and that significant temporal change in the impetus to mark the land, and the choice of how and where to do so, can occur over relatively short time frames. It is argued that the practice of marking the land in the Upper Nepean was a dynamic dialectic, both constitutive and transformative, of being and place. Over time, people drew the land into an object world which became, with ever increasing inscription and embellishment, a marked and painted landscape, both productive of and reflecting, a complex history.
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Books on the topic "Installations (Art) New South Wales Sydney"

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Long, Sydney. Sydney Long: Pan. Sydney: Art Gallery of New South Wales, 2009.

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Art Gallery of New South Wales. Anne Landa Award for video and new media arts: Art Gallery of New South Wales, 17 November 06-11 February 07. Sydney, N.S.W: Art Gallery of New South Wales, 2006.

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Art Gallery of New South Wales., ed. Origins originality + beyond: 16 May-6 July 1986, Art Gallery of New South Wales, Art Gallery Road, Sydney, PIER 2/3 Walsh Bay, Sydney. Sydney, N.S.W., Australia: Sixth Biennale of Sydney, 1986.

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Laib, Wolfgang. Wolfgang Laib: Art Gallery of New South Wales, 6 August--10 October 2005. Sydney, Australia: Art Gallery of NSW, 2005.

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Lisa, Dennison, Art Gallery of New South Wales., and Solomon R. Guggenheim Museum, eds. Masterpieces from the Guggenheim: Art Gallery of New South Wales, Sydney, September 22, 1991-January 12, 1992. New York: Guggenheim Museum, 1991.

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Antonella, Boisi, ed. Living in Sydney =: Vivre à Sydney. Köln: Taschen, 2001.

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Biennale of Sydney (9th 1992 Art Gallery of New South Wales). The boundary rider: Art Gallery of New South Wales, Bond Stores 3/4, Millers Point, the Rocks Artspace Gallery, the Gunnery, Woolloomooloo Mitchell Library, State Library of New south Wales, Sydney 15 December 1992-14 March 1993. Sydney: Biennale of Sydney, 1992.

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Art Gallery of New South Wales. Research Library and Archive. Guide to the papers of the Sydney Camera Circle (1916-1978): In the Archive of the Art Gallery of New South Wales. Sydney: Art Gallery of New South Wales, 2001.

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Gascoigne, Rosalie. Rosalie Gascoigne, Colin McCahon: Sense of place : Ivan Dougherty Gallery, Sydney, College of Fine Arts, the University of New South Wales : the Ian Potter Gallery, Melbourne, the University of Melbourne Museum of Art. Paddington, NSW: Published for the Ivan Dougherty Gallery, College of Fine Arts, by the University of New South Wales, 1990.

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Kevin, Connor. Kevin Connor: Paintings and drawings, 1947-88 : Art Gallery of New South Wales, Sydney, 1 September-15 October 1980, Heide Park and Art Gallery, Melbourne, 21 November-19 December 1989, Tasmanian Museum and Art Gallery, Hobart, 17 January-18 February 1990. Sydney: Art Gallery of New South Wales, 1989.

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Book chapters on the topic "Installations (Art) New South Wales Sydney"

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Ajioka, Chiaki. "Representation of Japanese Art at the Art Gallery of New South Wales (Sydney, Australia)." In Educating in the Arts, 103–20. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6387-9_7.

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