Academic literature on the topic 'Museum curators Australia'
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Journal articles on the topic "Museum curators Australia"
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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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Singh, Supriya, Meredith Blake, and Jonathan O'Donnell. "Digitizing Pacific Cultural Collections: The Australian Experience." International Journal of Cultural Property 20, no. 1 (February 2013): 77–107. http://dx.doi.org/10.1017/s0940739112000483.
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AbstractIn the absence of specific policies that address the digitization of Pacific cultural collections, it is important to document the practices of Australian museum professionals and cultural experts who deal with close to one-fifth of Pacific cultural objects held in museums. Interviews with 17 museum professionals and cultural experts in Australia help advance reflective practice relating to digitizing Pacific collections. Drawing on principles enshrined in international, regional, and Australian policies and protocols relating to the management of indigenous collections, they favor responsible digitization based on consultation with source and diasporic communities. In order to consult across a region with multiple languages and cultures when time and resources are limited, they begin with areas they know best and when possible, work with curators of Pacific backgrounds. Some practicalities of publishing and protecting digitized images online revolve around validating information about the artifact and going beyond copyright to respect traditional knowledge.
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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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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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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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Milne, Damian J., Felicity C. Jackling, Manpreet Sidhu, and Belinda R. Appleton. "Shedding new light on old species identifications: morphological and genetic evidence suggest a need for conservation status review of the critically endangered bat, Saccolaimus saccolaimus." Wildlife Research 36, no. 6 (2009): 496. http://dx.doi.org/10.1071/wr08165.
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Information based on the accurate identification of species is a vital component for achieving successful outcomes of biodiversity conservation and management. It is difficult to manage species that are poorly known or that are misidentified with other similar species. This is particularly problematic for rare and threatened species. Species that are listed under endangered species classification schemes need to be identified accurately and categorised correctly so that conservation efforts are appropriately allocated. In Australia, the emballonurid Saccolaimus saccolaimus is currently listed as ‘Critically Endangered’. On the basis of new observations and existing museum specimens, we used a combination of genetic (mitochondrial DNA sequence) and morphological (pelage characteristics, dig III : phalanx I length ratio, inter-upper canine distance) analyses to identify six new geographic records for S. saccolaimus, comprising ~100 individuals. Our analyses also suggested that there are likely to be more records in museum collections misidentified as S. flaviventris specimens. The external morphological similarities to S. flaviventris were addressed and genetic, morphological and echolocation analyses were used in an attempt to provide diagnostic characters that can be used to readily identify the two species in the field. We recommend genetic testing of all museum specimens of Australian Saccolaimus to clarify species’ distributions and provide data for reassessing the conservation status for both S. saccolaimus and S. flaviventris. Museum curators, taxonomists and wildlife managers need to be aware of potential species misidentifications, both in the field and laboratory. Misidentifications that result in misclassification of both threatened and non-threatened species can have significant implications.
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McGuffie, Kendal, and Ann Henderson-Sellers. "Interdisciplinary Climate: The Case of the First 50 Years of British Observations in Australia." Weather, Climate, and Society 4, no. 2 (April 1, 2012): 118–31. http://dx.doi.org/10.1175/wcas-d-12-00005.1.
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Abstract This paper presents the case for improved interdisciplinarity in climate research in the context of assessing and discussing the caution required when utilizing some types of historical climate data. This is done by a case study examining the reliability of the instruments used for collecting weather data in Australia between 1788 and 1840, as well as the observers themselves, during the British settlement of New South Wales. This period is challenging because the instruments were not uniformly calibrated and were created, repaired, and used by a wide variety of people with skills that frequently remain undocumented. Continuing significant efforts to rescue such early instrumental records of climate are likely to be enhanced by more open, interdisciplinary research that encourages discussion of an apparent dichotomy of view about the quantitative value of early single-instrument data between historians of physics (including museum curators) and climate researchers.
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Middleton, Craig. "Savants and Surgeons." Transfers 5, no. 2 (June 1, 2015): 135–38. http://dx.doi.org/10.3167/trans.2015.050210.
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South Australian Maritime Museum 126 Lipson Street, Port Adelaide, SA 5015, Australia http://samaritimemuseum.com.au/ Admission: AUD 10/8/5 The South Australian Maritime Museum cares for one of South Australia’s oldest cultural heritage collections.2 The core collection, inherited from the Port Adelaide Institute (one of the legion of nineteenth-century mechanics’ institutes providing learning resources to working men), began in 1872. Visiting seafarers spent time in the ins titute’s library, leaving behind crafts or souvenirs picked up in exotic ports of call as a token of thanks. In the 1930s, honorary curator Vernon Smith refi ned the collection to focus solely on nautical material and searched for artifacts to enhance it. Th e collection now comprises over twenty thousand objects.
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LEEUWEN, MICHAEL VAN. "Simon Rood Pittard (1821–1861) Curator of the Australian Museum." Archives of Natural History 25, no. 1 (February 1998): 9–24. http://dx.doi.org/10.3366/anh.1998.25.1.9.
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Previous historians of the Australian Museum (Strahan, 1979; Whitley, 1959) have tended to regard Simon Rood Pittard's short term as Curator of the Australian Museum almost purely as a precursor to that of the most important Australian-based Curator of the nineteenth century, Gerard Krefft (1830– 1881). Without the disruption caused by Pittard's untimely death, Krefft would never have become Curator (with the responsibilities of Director), with such important consequences for the Museum. However, Pittard's work does bear scrutiny as part of the mid-century development of the Museum along more professional lines. In the short period that Pittard was active at the Museum he fulfilled many of the requirements placed upon him by the Trustees, including the propagation of the study of natural history via a series of very successful lectures; advising of the Museum's existence and activities with a series of exchange letters around the globe; and the design of a new wing of the Museum. Pittard's role in the beginnings of the evolutionary debate in the Colony is also of great interest. It will also be shown how Pittard's death led directly to the elevation of Gerard Krefft to the curatorship of the Museum.
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Bekele, Mafkereseb Kassahun, Erik Champion, David A. McMeekin, and Hafizur Rahaman. "The Influence of Collaborative and Multi-Modal Mixed Reality: Cultural Learning in Virtual Heritage." Multimodal Technologies and Interaction 5, no. 12 (December 5, 2021): 79. http://dx.doi.org/10.3390/mti5120079.
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Studies in the virtual heritage (VH) domain identify collaboration (social interaction), engagement, and a contextual relationship as key elements of interaction design that influence users’ experience and cultural learning in VH applications. The purpose of this study is to validate whether collaboration (social interaction), engaging experience, and a contextual relationship enhance cultural learning in a collaborative and multi-modal mixed reality (MR) heritage environment. To this end, we have designed and implemented a cloud-based collaborative and multi-modal MR application aiming at enhancing user experience and cultural learning in museums. A conceptual model was proposed based on collaboration, engagement, and relationship in the context of MR experience. The MR application was then evaluated at the Western Australian Shipwrecks Museum by experts, archaeologists, and curators from the gallery and the Western Australian Museum. Questionnaire, semi-structured interview, and observation were used to collect data. The results suggest that integrating collaborative and multi-modal interaction methods with MR technology facilitates enhanced cultural learning in VH.
Dissertations / Theses on the topic "Museum curators Australia"
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Walton, Alexandra. "Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial." Phd thesis, 2017. http://hdl.handle.net/1885/154283.
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This thesis examines the historical development of the artist
print collections of the Imperial War Museum and Australian War
Memorial, and analyses the relationship of these collections to
their institutions. Printmaking is an artistic medium that has
historically been used by artists for social critique, and many
high quality works of this type are present in the two
collections. I argue that in both museums, when developing the
print collections, curators were able to acquire beyond the
strict interpretation of the museums’ collecting guidelines. As
a result of this, the prints have challenged some of the more
conservative underlying messages of the museums.
National war museums are ideal for a study of contested
histories, particularly those within their own collections, and
the IWM and AWM are prominent institutions in this specialist
category of museums. My hypothesis is that prints can destabilize
the histories that war museums wish to present due to their
historical use by artists for a variety of purposes that are
somewhat unique to the medium. This is driven by the materiality
of the print. This study also analyses how museum structures and
internal cultures affected the development of the print
collections. In particular, I have tried to answer the questions:
What factors influenced the development of the print collections?
And how did the professional agendas of curators inform that
development? Print collecting flourished at key points in the
histories of the institutions, particularly when fine art
specialists were in charge of acquisitions. While print
collecting broadly reflected the aims of the institutions at
different times, on occasion it introduced divergent narratives
into the war museums.
This thesis is interdisciplinary in the way it uses a history
methodology and museum studies framework. The historical research
methods employed include archival research and semi-structured
interviews with selected former and current museum staff. My
research will add to academic and curatorial knowledge about how
collections are formed in large national museums, and analyse the
role and significance of two collections that have not previously
been thoroughly examined. The thesis places the curator as the
creator of the collection, not merely as someone who carries out
instructions from management, but who negotiates between the
institutional forces, social forces and the nature of the
objects, to ultimately shape the collection.
Books on the topic "Museum curators Australia"
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The Feel of Forever. Bella Books, 2006.
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Slipinski, Adam, Jiahui Li, and Hong Pang. Ladybird Beetles of the Australo-Pacific Region. CSIRO Publishing, 2020. http://dx.doi.org/10.1071/9781486303885.
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True ladybirds, classified in the tribe Coccinellini, are easily recognisable by their relatively large and shiny bodies and contrasting colour patterns. They are one of the most widely studied groups of beetles, being of economic importance and used as model organisms in biological and ecological research.
Ladybird Beetles of the Australo-Pacific Region covers 22 genera and 95 valid species, including 12 new species, of ladybird beetles from Australia, New Guinea and the Pacific area. For each species, descriptions, illustrations and keys will assist with the correct identification of ladybirds from this large but practically unknown fauna.
This book is a valuable contribution to the taxonomy of the ladybirds and to the knowledge of the biodiversity of this unique biogeographic region. It will be of use to entomologists, biologists, ecologists, quarantine officers, natural history museum curators, and students.
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Slipinski, Adam, and Hermes Escalona. Australian Longhorn Beetles (Coleoptera: Cerambycidae) Volume 1. CSIRO Publishing, 2013. http://dx.doi.org/10.1071/9781486300044.
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Longhorn Beetles — Cerambycidae are one of the most easily recognised groups of beetles, a family that worldwide encompasses over 33,000 species in 5,200 genera. With over 1,400 species classified in 300 genera, this is the sixth largest among 117 beetle families in Australia.
These beetles often attack and kill living forest or orchard trees and develop in construction timber (like European House borer, introduced to WA), causing serious damages. Virtually all Cerambycidae feed on living or dead plant tissues and play a significant role in all terrestrial environments where plants are found. Larvae often utilise damaged or dead trees for their development, and through feeding on rotten wood form an important element of the saproxylic fauna, speeding energy circulation in these habitats. Many species are listed as quarantine pests because of their destructive role to the timber industry.
This volume provides a general introduction to the Australian Cerambycidae with sections on biology, phylogeny and morphology of adult and larvae, followed by the keys to the subfamilies and an overview of the 74 genera of the subfamily Lamiinae occurring in Australia. All Lamiinae genera are diagnosed, described and illustrated and an illustrated key to their identification is provided. A full listing of all included Australian species with synonymies and bibliographic citations is also included.
Biologists worldwide, curators and staff at natural history museums, quarantine/inspection services, entomologists and collectors - many of these beetles are collector's items.
Winner of the 2016 J.O. Westwood Medal
Winner of the 2014 Whitley Medal
Book chapters on the topic "Museum curators Australia"
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Witcomb, Andrea. "Curating relations between ‘us’ and ‘them’: the changing role of migration museums in Australia1." In Curatopia, 262–78. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0017.
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Australia’s first Migration Museum in Adelaide recognised from its inception in 1986, that representing migration history could not be done without acknowledging its intimate association with colonisation and the dispossession of indigenous people. Their first move therefore, was to create a distinction between all migrants, a category that included British ‘settlers’, and Indigenous Australians. This was significant not only because it implicated colonisation within migration history but because it made all non-Indigenous Australians migrants. The move though, was not easy to establish, largely because, in the public imagination, migrants were the other to mainstream or ‘British Australia’. In the mid-1990s, however, it seemed to work as Australia was indeed seen as a country that was relatively successful in integrating various waves of migration into its historical narratives while valuing cultural diversity and recognising the prior occupation of the land by Aboriginal people. The ‘War on terror’, the arrival of asylum seekers and the threat of internal terrorist attacks, along with changes in immigration policy and a general climate of fear has changed that, and migration museums are now working to combat a new wave of racism. To do so, I argue, they have developed a new set of curatorial strategies that aim to facilitate an exploration of the complexity of contemporary forms of identity. This chapter provides a history of the development of curatorial strategies that have helped to change the ways in which relations between ‘us and them’ have changed over the years in response to changes in the wider public discourse. My focus will be on both collecting and display practices, from changes to what is collected and how it is displayed, to the changing role of personal stories, the relationship between curators and the communities they work with, and the role of exhibition design in structuring the visitor experience.
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Arthur, Jay, Barbara Paulson, and Troy Pickwick. "Overheard – conversations of a museum curator." In Passionate Histories: Myth, memory and Indigenous Australia. ANU Press, 2010. http://dx.doi.org/10.22459/ph.09.2010.15.
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Sylvester, Christine. "Museums, Memorials, and Novels as Sites of War Knowledge." In Curating and Re-Curating the American Wars in Vietnam and Iraq, 45–70. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190840556.003.0003.
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Curations of war objects and stories can direct observers to a culturally prescribed view of America’s wars in Vietnam and Iraq; or, contrarily, they can challenge, revise, and destabilize associations and memory politics around these wars. This chapter focuses on the role of cultural institutions and material object practices in curating and re-curating America’s wars in Vietnam and Iraq. Examples appear from a Smithsonian museum and the Australia War Memorial and museum, the Vietnam Veterans Memorial and traveling facsimile, pop-up exhibitions critical of the war in Iraq, displays at Arlington National Cemetery, and selected novels about the two wars.