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Journal articles on the topic 'Museums and women Australia'

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Published: 10 December 2022

Last updated: 29 January 2023

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1

Butler-Henderson, Kerryn, Alisa Percy, and Jo-Anne Kelder. "Editorial 18:3 Celebrating women in higher education on International Women’s Day." Journal of University Teaching and Learning Practice 18, no. 3 (July 1, 2021): 2–5. http://dx.doi.org/10.53761/1.18.3.1.

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We have timed publishing our first standard issue of the year to coincide with International Woman’s Day, 8 March 2021 to celebrate the contribution women have made to higher education. The first woman documented as teaching in a university was more than 800 years ago, and yet it is only the last century that the number of female academics has started to increase (Whaley, 2011). In Australia, the first university was established in 1851, yet it would be another 32 years until Julia Guerin graduated in 1883 from the University of Melbourne with a Bachelor of Arts (Hons) in 1883 (Women's Museum of Australia, 2020). And another 10 years when Leonora Little graduated from Melbourne University with a Bachelor of Science in 1983. Despite these accomplishments in the late 19th century, it was not until 1959 when the first woman, Dorothy Hill, was awarded a Chair appointment (Chair of Geology) in an Australian university, and nearly a century before Australia has its first female Vice Chancellor, when Dianne Yerbury became the Vice-Chancellor of Macquarie University in 1987, a position she held for twenty years. Australia’s higher education history tells a clear story of the slow integration of women in higher education, particularly within the STEM fields. For example, Little graduated in 1893 with a Bachelor of Science, but it was 1928 before the first female Lecturer in Mathematics, Ethel Raybould was appointed, and another 36 years before Hanna Neumann became the first female Professor of Pure Mathematics in 1964. It was just over 60 years ago that Margaret Williams-Weir was the first female Indigenous Australian to graduate with a university qualification in 1959. Female Indigenous Australians remain under-represented in the Australian university graduate population. The current situation for Australian higher education still retains a dominance of males within academic roles, such as 30 percent more men in Associate and Full Professor roles than women (Devlin, 2021). And whilst there has been progress in some jurisdictions, such as the majority of Queensland vice chancellors are women in 2021, these continue to be the exception, for example only 28% of vice chancellors in Australia are women. International Woman’s Day is an opportunity to reflect on the significant contribution women make in higher education in Australia and globally. We celebrate through the publication of this issue, with many female authors from across higher education globally.

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2

Paul, Mandy. "Women are Transmogrifying: History, Feminism and Australian Museums, 1975–2001." Journal of Australian Studies 40, no. 2 (April 2, 2016): 140–55. http://dx.doi.org/10.1080/14443058.2016.1156723.

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3

Church, Toni. "Body and Language: Enlivening Exhibitions of Colonial Women in Australian Museums." Lilith: A Feminist History Journal 26 (October 26, 2020): 37–56. http://dx.doi.org/10.22459/lfhj.26.02.

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Message, Kylie, Eleanor Foster, Joanna Cobley, Shih Chang, John Reeve, Grace Gassin, Nadia Gush, Esther McNaughton, Ira Jacknis, and Siobhan Campbell. "Book Review Essays and Reviews." Museum Worlds 7, no. 1 (July 1, 2019): 292–317. http://dx.doi.org/10.3167/armw.2019.070117.

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Book Review EssaysMuseum Activism. Robert R. Janes and Richard Sandell, eds. New York: Routledge, 2019.New Conversations about Safeguarding the Future: A Review of Four Books. - A Future in Ruins: UNESCO, World Heritage, and the Dream of Peace. Lynn Meskell. New York: Oxford University Press, 2018. - Keeping Their Marbles: How the Treasures of the Past Ended Up in Museums—And Why They Should Stay There. Tiffany Jenkins. Oxford: Oxford University Press, 2016. - World Heritage and Sustainable Development: New Directions in World Heritage Management. Peter Bille Larsen and William Logan, eds. New York: Routledge, 2018. - Safeguarding Intangible Heritage: Practices and Politics. Natsuko Akagawa and Laurajane Smith, eds. New York: Routledge, 2019. Book ReviewsThe Filipino Primitive: Accumulation and Resistance in the American Museum. Sarita Echavez See. New York: New York University Press, 2017.The Art of Being a World Culture Museum: Futures and Lifeways of Ethnographic Museums in Contemporary Europe. Barbara Plankensteiner, ed. Berlin: Kerber Verlag, 2018.China in Australasia: Cultural Diplomacy and Chinese Arts since the Cold War. James Beattie, Richard Bullen, and Maria Galikowski. London: Routledge, 2019.Women and Museums, 1850–1914: Modernity and the Gendering of Knowledge. Kate Hill. Manchester: Manchester University Press, 2016.Rethinking Research in the Art Museum. Emily Pringle. New York: Routledge, 2019.A Natural History of Beer. Rob DeSalle and Ian Tattersall. New Haven, CT: Yale University Press, 2019.Fabricating Power with Balinese Textiles: An Anthropological Evaluation of Balinese Textiles in the Mead-Bateson Collection. Urmila Mohan. Chicago: University of Chicago Press, 2018.

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5

Mason, Robert, and Rebecca Damjanovic. "The start of it all? Heritage, labour and the environment in regional Queensland." Queensland Review 25, no. 2 (December 2018): 208–21. http://dx.doi.org/10.1017/qre.2018.24.

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AbstractThe Great Shearers’ Strike of 1891 transformed Australian politics and created the context for the election of the first ‘labourist’ government in the world. This nationally significant history is reflected in Barcaldine’s central heritage precinct, with a large monument to the Tree of Knowledge and spacious Australian Workers Heritage Centre. The Centre was established as the ‘National Monument’ to working men and women when it was opened by Prime Minister Bob Hawke in 1991. The Centre is one of a number of industrial museums in the Central West, and exists alongside the Stockman’s Hall of Fame in nearby Longreach. The recent increase in tourism by Grey Nomads has resulted in a more concerted effort to formulate a clear heritage discourse in Barcaldine, one that draws on the town’s labour heritage. This increased emphasis on the heritage of the Great Shearers’ Strike has further politicised an already fraught heritage, and distanced the community from its local heritage spaces and stories. This article reflects on long-standing narratives relating to the local environment as a means to articulate contested heritage discourses, situate the significant labour history and reinforce the local community’s engagement in its heritage.

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6

Milder, Robert. "John Updike: "Museums and Women," Women as Museums." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 77, no. 4 (2021): 31–60. http://dx.doi.org/10.1353/arq.2021.0019.

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7

Mohr, B. A. R., and A. Vogt. "Berliner Geowissenschaftlerinnen an der Friedrich-Wilhelms-Universität von 1906 bis 1945, eine Fallstudie." Fossil Record 6, no. 1 (January 1, 2003): 53–69. http://dx.doi.org/10.5194/fr-6-53-2003.

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In dieser Untersuchung werden beispielhaft die Lebenswege und Karrieren von Berliner Geowissenschaftlerinnen im Zeitraum von 1906 bis 1945 nachgezeichnet und analysiert. Ähnlich wie an anderen deutschen bzw. westlichen Universitäten, aber im Gegensatz zu Russland, begann die Tätigkeit von Frauen in den Geowissenschaften spät, und das Fach wurde auch relativ selten gewählt, hauptsächlich wegen der zu geringen Berufschancen. Aber die besondere Situation in Berlin mit mehreren sich ergänzenden Institutionen und dem daraus resultierenden breiten Spektrum an geowissenschaftlichen Disziplinen, sowie ausgezeichneten Professoren, ließ dennoch Raum für eine Ausbildung in diesem Bereich und erlaubte, wenn auch in bescheidenem Maße, eine gewisse Karrieremöglichkeit. <br><br> Während der hier untersuchten 40 Jahre haben weniger als 20 Frauen in den Geowissenschaften und benachbarten Gebieten promoviert. Mehrere dieser Frauen blieben in dem von ihnen gewählten Fach weiterhin aktiv und wurden erfolgreich. Zwei Frauen gelang eine akademische Karriere — eine als Universitätsprofessorin, die auch Schülerinnen hatte. Andere arbeiteten an staatlichen Institutionen, wie z. B. dem Geologischen Landesamt. Wenige Frauen blieben nach ihrer Verheiratung beruflich aktiv, wenn auch nicht offiziell angestellt, sondern als Ehefrauen. Andere arbeiteten als "Ersatz" für die im Kriege stehenden Männer. Einige waren aus persönlichen und politischen Gründen, insbesondere während der NS-Zeit, gezwungen, die Geowissenschaften zu verlassen, konnten aber teilweise auf anderen Gebieten erfolgreich arbeiten. <br><br> This paper documents the lives and careers of women geoscientists at the Berlin Friedrich-Wilhelms-University from 1906 through 1945. Traditionally, in Germany, women had difficulties to be accepted in geosciences (except for geography/geology teachers), because of strong links between geology and mining, a field dominated clearly by men. In western European countries, as well as in the U.S.A. and Australia, the situation was similar in that women started late and in small numbers to study geology. This was, however, in contrast to Russia and later the Soviet Union where women were relatively early accepted even as university teachers. <br><br> The data for this paper were gathered from Berlin University institutions, such as the historical archive and the library of the Palaeontological Institute, and in addition personal contacts were used. Women who had studied either geography, geology/palaeontology, geophysics, mineralogy or botany/palaeobotany are subject of this study. Only those are considered who had strong affiliations to geosciences proper, in all 17 women. <br><br> During the first half of the 20th century the Berlin Friedrich-Wilhelms-University, founded in 1810, was one of the most important institutions concerning higher education in Germany, especially for women. The official opening of this university for women students was in 1908, somewhat later than at other German universities. Once admitted, however, the number of dissertations completed by women was relatively high, and, 30% of all habilitations (advanced degree which allows teaching at universities) in Germany and 50% of all habilitations in the natural sciences were accomplished at Berlin between 1918/19 to 1932. <br><br> The geosciences were, together with medicine, chemistry, physics, botany and zoology, very strong scientifical and in teaching. Geoscientists of international reputation worked at large institutions, affiliated or being part of the University, such as the Prussian (later German) Geological Survey, the Institute of Geology and Palaeontology at the Museum of Natural History or the Institute and Museum of Oceanography, and were the advisers and reviewers of women Diploma and PhD students. <br><br> doi:<a href="http://dx.doi.org/10.1002/mmng.20030060103" target="_blank">10.1002/mmng.20030060103</a>

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8

Henrich, Eureka. "Museums, History and Migration in Australia." History Compass 11, no. 10 (October 2013): 783–800. http://dx.doi.org/10.1111/hic3.12090.

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9

Labrum, Bronwyn. "Women “Making History” in Museums." Museum Worlds 6, no. 1 (July 1, 2018): 74–93. http://dx.doi.org/10.3167/armw.2018.060107.

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This article examines three remarkable New Zealand women, Nancy Adams, Rose Reynolds, and Edna Stephenson, who, as honorary or part-time staff, each began the systematic collecting and display of colonial history at museums in Wellington, Christchurch, and Auckland in the 1950s. Noting how little research has been published on women workers in museums, let alone women history curators, it offers an important correction to the usual story of the heroic, scientific endeavors of male museum directors and managers. Focusing largely on female interests in everyday domestic life, textiles, and clothing, their activities conformed to contemporary gendered norms and mirrored women’s contemporary household role with its emphasis on housekeeping, domestic interiors, and shopping and clothing. This article lays bare the often ad hoc process of “making history” in these museums, and adds complexity and a greater fluidity to the interpretations we have to date of women workers in postwar museums.

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Ferres, Kay. "Cities and Museums: Introduction." Queensland Review 12, no. 1 (January 2005): 1–4. http://dx.doi.org/10.1017/s1321816600003846.

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In September 2004, the Museum of Brisbane, Museums Australia and the Centre for Public Culture and Ideas at Griffith University hosted a symposium, ‘Cities and Museums’, at the university's Southbank campus. This event initiated a conversation among museum professionals and academics from across Australia. Nick Winterbotham, from Leeds City Museum, and Morag Macpherson, from Glasgow's Open Museum, and were keynote speakers. Their papers provided perspectives on museum policy and practice in the United Kingdom and Europe, and demonstrated how museums can contribute to urban and cultural regeneration. Those papers are available on the Museum of Brisbane website (www.brisbane.qld.gov.au/MoB). The Cities and Musuems section in this issue of Queensland Review brings together papers that explore the relationship of cities and museums across global, national and local Brisbane contexts, and from diverse disciplinary perspectives. The disciplines represented in this selection of papers from the symposium include social history, urban studies, literary fiction, and heritage and cultural policy.

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11

Reinvelt, Riina. "Oma ja võõras toit: 1944. aasta pagulaste toidukogemused ERMi allikate põhjal." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 94–115. http://dx.doi.org/10.33302/ermar-2017-004.

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Our Food and Theirs: The 1944 Émigrés’ Food Experience Based on Estonian National Museum Sources In the summer and autumn of 1944, as the Soviet front drew nearer, thousands of Estonians fled across the Baltic Sea to Finland, Sweden and Germany. The total number of those who fled has been estimated at 70,000–90,000 people. Of them, 50,000 Estonians made it to Germany and 28,000 Estonians to Sweden. Later a number of them emigrated further to the US, Canada, Australia and England. In their new adopted homes, the émigrés encountered unaccustomed food ingredients, dishes and food preparation methods. These items varied slightly in all countries, but a theme that was a constant for émigrés when they wrote or talked about their experiences with food was the lack of Estonian-type foods. In the context of people’s everyday expectations and practices, this meant a cultural clash between the habitual practices they carried with them when they became refugees and the experiences in their new homelands. The lack of Estonian food in the local food culture led to the need to prepare the dishes themselves – both everyday staples (such as bread and sauerkraut) and fare associated with special occasions and holidays (head cheese or sült, the beet and potato salad called rosolje and the sweet fruited bread kringel). The food preparers were mainly women, and women also typically also hold a regular job to earn a living for the family. The first generation of émigrés saw Estonian-style food as the food of their homeland, which fostered a direct link to the home they had left; attitudes toward it became increasingly nostalgic. For the first generation of descendants of the émigrés, the flavours and food experiences are a part of home, environment and childhood memories. On the basis of the interviews and answers on questionnaire forms in the museum archive as well as the experiences gained in field work, we can conclude that in everyday practice, Estonian-style food is one of the most vital anchors of identity for émigré Estonian communities. The preparation of Estonian foods, the seeking out of such food from stores and consumption of Estonian food remains for the Estonian diaspora a way to identify as Estonian and adapt into the community of Estonians in their country of location.

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12

Wheeler, Barbara, and Linda Young. "Antarctica in museums: the Mawson collections in Australia." Polar Record 36, no. 198 (July 2000): 193–202. http://dx.doi.org/10.1017/s0032247400016454.

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AbstractThe relics of polar exploration are treasured in the museums of a multitude of nations. In Australia, the focus of most such collections is Sir Douglas Mawson and his expeditions to Antarctica in 1911–14 and 1929–31. The nature of these collections divides into the two large categories of scientific specimens and expedition relics. The latter are spread among Australian and other museums in a distribution that speaks of fascination with the exotic and heroic aspects of the Australasian Antarctic Expedition and the geopolitical ramifications of the British, Australian and New Zealand Antarctic Research Expedition. The specimens, by contrast, have not been treated well, and although thoroughly documented, may be close to losing their integrity as scientific resources. Both types of material merit the renewed attention of their museum-keepers as resources on the history of Antarctica.

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Wallace, Sue‐anne. "From campus to city: university museums in Australia." Museum International 52, no. 3 (July 2000): 32–37. http://dx.doi.org/10.1111/1468-0033.00270.

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Malt, Carol. "WOMEN, MUSEUMS, AND THE PUBLIC SPHERE." Journal of Middle East Women's Studies 2, no. 2 (April 2006): 115–36. http://dx.doi.org/10.2979/mew.2006.2.2.115.

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15

Dean, David, and Peter E. Rider. "Museums, Nation and Political History in the Australian National Museum and the Canadian Museum of Civilization." Museum and Society 3, no. 1 (April 8, 2015): 35–50. http://dx.doi.org/10.29311/mas.v3i1.63.

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The role museums play in shaping the public’s understanding of the past has recently become a matter of considerable interest for historians and others. In Canada and Australia, portraits of their country’s history created by national museums have ignited considerable controversy. The Canadian Museum of Civlization’s Canada Hall was the subject of a review by four historians, chosen to examine the Hall’s portrayal of political history, while the National Museum of Australia faced a highly politicised public review of all of its exhibits soon after the museum opened. By analysing and interpreting the findings of these reviews, the authors raise questions about the ability of museums to respond to historical controversy, shifting historiographies and changing understandings of what is important in the past.

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Gleeson, Brendan. "Landscapes Apart: Museums and Australian Suburbia." Queensland Review 12, no. 1 (January 2005): 11–16. http://dx.doi.org/10.1017/s132181660000386x.

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Australia is a nation of suburbs. The vast majority of Australians live in the subregions of our principal metropolitan areas. Even those of us moving to so-called ‘sea change’ regions outside the big cities want to live in transplanted suburban estates. For most of us, an oil change is a more pressing prospect than a sea change.

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Weisman, Celia Y., Jane R. Glaser, and Artemis A. Zenetou. "Gender Perspectives: Essays on Women in Museums." Woman's Art Journal 17, no. 2 (1996): 60. http://dx.doi.org/10.2307/1358483.

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18

Barthel, Diane, and Kathleen D. McCarthy. "They Also Gave: Women, Men, and Museums." Contemporary Sociology 21, no. 5 (September 1992): 587. http://dx.doi.org/10.2307/2075535.

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19

Richardson, Susan. "Australia for Women." Women's Studies International Forum 18, no. 2 (March 1995): 242–43. http://dx.doi.org/10.1016/0277-5395(95)80067-y.

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20

McShane, Ian. "Productive Nation? Museums, Cultural Policy and Australia’s Productivity Narrative." Museum and Society 14, no. 1 (June 9, 2017): 131–45. http://dx.doi.org/10.29311/mas.v14i1.669.

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This article traces the emergence of productivity as a central theme in Australia’s national cultural policy, and discusses some implications of this development for the Australian museum sector. The analysis focuses on two texts – Australia’s two national cultural policies, Creative Nation (1994) and Creative Australia (2013) – to highlight changing policy rhetorics through which cultural heritage and cultural pluralism lose traction, and productivity, innovation and creativity find favour. The article argues that the government’s concern to boost sources of economic growth in twenty-first century Australia focus cultural policy on the arts and creative industries, seen as the locus of innovation and the wellspring of creative activity. The article argues against this narrow construction of productivity and its sources, showing why museums are important contributors to a productivity policy agenda in a culturally diverse and globalized society. Key words: cultural policy, Australia, creative industries, productivity, diversity

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Sullivan, Tim, Lynda Kelly, and Phil Gordon. "Museums and Indigenous People in Australia: A Review ofPrevious Possessions, New Obligations: Policies for Museums in Australia and Aboriginal and Torres Strait Islander Peoples." Curator: The Museum Journal 46, no. 2 (April 2003): 208–27. http://dx.doi.org/10.1111/j.2151-6952.2003.tb00087.x.

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Whittington, Vanessa. "Decolonising the museum?" Culture Unbound 13, no. 2 (February 8, 2022): 245–69. http://dx.doi.org/10.3384/cu.3296.

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As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation.

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Cole, Barry L. "The Challenge of Preserving the Artifacts of Optometric History." Hindsight: Journal of Optometry History 50, no. 3 (August 7, 2019): 66–73. http://dx.doi.org/10.14434/hindsight.v50i3.27564.

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This paper looks at optometry museums around the world. There are only five general optometry museums: three are hosted by optometric institutions in three countries, Australia, Britain and the U.S.A., one is hosted by a Canadian university that has an optometry school, and one is in private hands in Southbridge, Massachusetts. They are supplemented by six excellent corporate museums in France, Germany and Italy, but these museums focus on either spectacles or ophthalmic instruments, rather than optometry in general. Two of the optometry museums were founded over 100 years ago, and two have had their 50th birthday, but can they survive forever? Museums are expected to preserve collections for posterity for the edification and enjoyment of future generations, yet all institutions are at risk of disruption: few institutions last more than a couple of hundred years. This paper discusses strategies optometry museums might pursue to guard against mismanagement and neglect and provide for the protection of their collections in the event of the demise of the museum or its host institution.

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Williams, Val. "English collections of women photographers in national museums." History of Photography 18, no. 3 (September 1994): 242–44. http://dx.doi.org/10.1080/03087298.1994.10442357.

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Porter, Gaby. "How are women represented in British history museums?" Museum International 43, no. 3 (September 1991): 159–62. http://dx.doi.org/10.1111/j.1468-0033.1991.tb00982.x.

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Malt, Carol. "Museums, Women and Empowerment in the MENA Countries." Museum International 59, no. 4 (December 2007): 53–62. http://dx.doi.org/10.1111/j.1468-0033.2007.00624.x.

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Misztal, Barbara A. "Migrant women in Australia." Journal of Intercultural Studies 12, no. 2 (January 1991): 15–34. http://dx.doi.org/10.1080/07256868.1991.9963376.

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Misztal, Barbara A. "Migrant Women in Australia." Policy, Organisation and Society 3, no. 1 (December 1991): 50–61. http://dx.doi.org/10.1080/10349952.1991.11876759.

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Bhathal, Ragbir. "Women astronomers in Australia." Astronomy and Geophysics 42, no. 4 (August 2001): 4.29–4.31. http://dx.doi.org/10.1046/j.1468-4004.2001.0420044.29.x.

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Stewart, Elizabeth. "A matter of rights: the representation of women in the Museum of Australian Democracy." Journal of Australian Studies 40, no. 2 (April 2, 2016): 215–21. http://dx.doi.org/10.1080/14443058.2016.1175493.

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Krutílková, Hana. "Feministická muzeologie: Výběr současných světových trendů." Acta Musei Nationalis Pragae – Historia 75, no. 1-2 (2022): 7–17. http://dx.doi.org/10.37520/amnph.2021.002.

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The paper provides a basic overview of the hitherto little-known scientific discipline in the Czech lands, namely feminist museology, and its related field – gender theory – in connection with museology. The study places the aforementioned perspectives in a broader world trend, which is understood as the new museology. It presents basic possible approaches and application of theoretical knowledge to the practice of historical museums, including the creation of „women‘s collections“, the establishment of „women‘s museums“, reflection on the phenomenon #MeToo , gender audits of exhibits and the professional structure of museums. Equally important are the calls for the equality of women visitors and employees of memory institutions, the visibility of various social groups, including women, and the so-called problematic topics in the narrative of museums. The paper also presents the activities of The International Association of Women‘s Museums.

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Pacitti, Eugenia. "Paul TurnbullScience, Museums and Collecting the Indigenous Dead in Colonial Australia." Health and History 22, no. 2 (2020): 110–12. http://dx.doi.org/10.1353/hah.2020.0005.

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Stanton, John. "Positions And Policies Of Museums In Australia On Human Skeletal Remains." Australian Archaeology 31, no. 1 (January 1990): 52–60. http://dx.doi.org/10.1080/03122417.1990.11681388.

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Gascoigne, Toss, and Jennifer Metcalfe. "The emergence of modern science communication in Australia." Journal of Science Communication 16, no. 03 (July 20, 2017): A01. http://dx.doi.org/10.22323/2.16030201.

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Modern science communication has emerged over the last 60 years as a field of study, a body of practice and a profession. This period has seen the birth of interactive science centres, the first university courses to teach the theory and practice of science communication, the first university departments conducting research into science communication, and a sharp growth in employment of science communicators by research institutions, universities, museums, science centres and industry. This chapter charts the emergence of modern science communication in Australia, against an international background.

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Greenberg, Reesa. "Jews, Museums, and National Identities." Ethnologies 24, no. 2 (June 13, 2003): 125–37. http://dx.doi.org/10.7202/006642ar.

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Museums, particularly ethnographic museums, are paradigmatic sites for testing the limits of tolerance of, for, and within, minority cultures. In a discussion of European Jewish museums in Europe, I examine four inter-related variables as indices of tolerance: 1) a museum’s integration into the culture at large; 2) the inclusion of various Jewish ethnic and racial types; 3) the representation of women; and 4) the response to genocide.

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Thouvenin, Lilian Di Demetrio. "Museums and patronage in Greece: four women – one passion." Museum International 42, no. 3 (September 1990): 186–88. http://dx.doi.org/10.1111/j.1468-0033.1990.tb00884.x.

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Glaser, Jane R. "The Impact of Women on Museums – an American seminar." Museum International 43, no. 3 (September 1991): 180–82. http://dx.doi.org/10.1111/j.1468-0033.1991.tb00989.x.

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Ladas, Nancy. "Ethical and Legal Considerations for Collection Development, Exhibition and Research at Museums Victoria." Heritage 2, no. 1 (March 13, 2019): 858–67. http://dx.doi.org/10.3390/heritage2010057.

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With over 17 million collection items, Museums Victoria is the largest museum in Australia. Museums Victoria recognises the public benefit derived from lending and borrowing between collecting institutions and actively participates in the international loans network in order to complement and enhance the potential for learning and enjoyment for all audiences. Museums Victoria staff undertook an extensive review of policies and procedures in order to apply for approval for protection under the Australian Government’s Protection of Cultural Objects on Loan Scheme (PCOL Scheme), established to administer the Commonwealth Protection of Cultural Objects on Loan Act 2013 (PCOL Act). The PCOL Scheme provides (with some limits) legal protection—immunity from seizure—for Australian and foreign cultural items on loan from overseas lenders for temporary public exhibition in Australia. The Ministry for the Arts also released the Australian Best Practice Guide to Collecting Cultural Material in 2015. The Guide is not a mandatory code. It recommends principles and standards to apply when acquiring collection items and in part for inward and outward loans. In 2016–2017 Museums Victoria staff used the Act and its Regulation along with the Guide to substantially update and formalise previous formal and informal policies and practices, in order to demonstrate its commitment to due diligence endeavours to verify the accuracy of information before acquiring, deaccessioning, borrowing, or lending items. This paper outlines the steps we took and what we have learned since receiving approval as a registered borrower under the PCOL Scheme.

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Batten, Bronwyn. "A Shared History? Presenting Australia's Post-Contact Indigenous Past." Journal of Interpretation Research 10, no. 1 (April 2005): 31–48. http://dx.doi.org/10.1177/109258720501000103.

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The colonial origins of museums have often influenced the ways in which they depict the past. In Australia, portrayals of the Indigenous past have focussed exclusively on “traditional life” or the prehistoric period of history, to the detriment of post-contact history. This paper examines ways in which museums around Australia are beginning to counter this trend. Museum exhibits that relate to Australia's shared, post-contact past are analyzed in the context of recent developments in museology. This analysis is combined with feedback generated from interviews with heritage professionals. The results suggest that in order to move towards inclusive interpretation of Australian history, multiple voices and perspectives of the past must be incorporated into interpretive programs. This paper argues that there are a variety of ways in which heritage interpreters can attempt to incorporate pluralist perspectives of the past into museum exhibits.

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Smith, Laurajane. "‘We are… we are everything’: the politics of recognition and misrecognition at immigration museums." Museum and Society 15, no. 1 (June 9, 2017): 69–86. http://dx.doi.org/10.29311/mas.v15i1.663.

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Qualitative interviews were undertaken with visitors at five museums that display the histories and experiences of immigration in the United States and Australia. This paper outlines the range of embodied performative practices of meaning making that visitors undertook during their visits and the meanings and political values that they created or reaffirmed in doing so. The key performance at these museums were the affirmation and reinforcement of familial, ethnic and national identities in which individuals explored the tensions between migrant identity and the nationalizing narratives of the resident nation. The performance of reinforcement could also be used to justify both politically progressive and conservative narratives of inclusion and exclusion. Building on performances of reinforcement some visitors also engaged in acts of justification, recognition and misrecognition. In illustrating and mapping out the range of banal and complex ways these museums were used by visitors, the paper argues that museums may be more usefully understood as arenas of justification rather than resources for public education.

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Robbins, Helen A., and Nancy J. Parezo. "Gender Perspectives: Essays on Women in Museums:Gender Perspectives: Essays on Women in Museums." Museum Anthropology 20, no. 2 (September 1996): 74–75. http://dx.doi.org/10.1525/mua.1996.20.2.74.

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Moyal, Ann, and Elizabeth Newland. "Women in science in Australia." Medical Journal of Australia 154, no. 3 (February 1991): 223. http://dx.doi.org/10.5694/j.1326-5377.1991.tb121064.x.

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Whitworth, J. A. "Women in medicine in Australia." BMJ 295, no. 6607 (November 7, 1987): 1211. http://dx.doi.org/10.1136/bmj.295.6607.1211-a.

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Hallett, Ann. "First nations women of Australia." Women and Birth 32 (September 2019): S45. http://dx.doi.org/10.1016/j.wombi.2019.07.285.

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Teare, Sheldon, and Danielle Measday. "Pyrite Rehousing – Recent Case Studies at Two Australian Museums." Biodiversity Information Science and Standards 2 (June 13, 2018): e26343. http://dx.doi.org/10.3897/biss.2.26343.

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Two major collecting institutions in Australia, the Australian Museum (Sydney) and Museums Victoria (Melbourne), are currently undertaking large-scale anoxic rehousing projects in their collections to control conservation issues caused by pyrite oxidation. This paper will highlight the successes and challenges of the rehousing projects at both institutions, which have collaborated on developing strategies to mitigate loss to their collections. In 2017, Museums Victoria Conservation undertook a survey with an Oxybaby M+ Gas Analyser to assess the oxygen levels in all their existing anoxic microclimates before launching a program to replace failed microclimates and expand the number of specimens housed in anoxic storage. This project included a literature review of current conservation materials and techniques associated with anoxic storage, and informed the selection of the RP System oxygen scavenger and Escal Neo barrier film from Mitsubishi Gas Chemical Company as the best-practice products to use for this application. Conservation at the Australian Museum in Sydney was notified of wide-scale pyrite decay in the Palaeontology and Mineral collections. It was noted that many of the old high-barrier film enclosures, done more than ten years ago, were showing signs of failing. None of the Palaeontology specimens had ever been placed in microclimates. After consultation with Museums Victoria and Collection staff, a similar pathway used by Museums Victoria was adopted. Because of the scale of the rehousing project, standardized custom boxes were made, making the construction of hundreds of boxes easier. It is hoped that new products, like the tube-style Escal film, will extend the life of this rehousing project. Enclosures are being tested at the Australian Museum with a digital oxygen meter. Pyrite rehousing projects highlight the loss of Collection materials and data brought about by the inherent properties of some specimens. The steps undertaken to mitigate or reduce the levels of corrosion are linked to the preservation of both the specimens and the data kept with them (paper labels). These projects benefited from the collaboration of Natural Sciences conservators in Australia with Geosciences collections staff. Natural Science is a relatively recent specialization for the Australian conservation profession and it is important to build resources and capacity for conservators to care for these collections. This applied knowledge has already been passed on to other regions in Australia.

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Porter, Gaby. "Seeing through Solidity: A Feminist Perspective on Museums." Sociological Review 43, no. 1_suppl (May 1995): 105–26. http://dx.doi.org/10.1111/j.1467-954x.1995.tb03427.x.

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Applying poststructuralist and feminist theory to museums, this chapter traces the gendered relations of representation in museums. The author takes the relation of text, author and reader from poststructuralist studies and translates these to the museum forms of exhibition, curator and visitor. She examines the relations between men and women, masculine and feminine as they are constituted in museums, tracing a series of gendered, hierarchical oppositions. These are central to the ways in which museums organize their identity, space, collections and exhibitions to make meanings. She concludes that the roles of women as they are represented are relatively passive, shallow, undeveloped, muted and closed; the roles of men are, in contrast, relatively active, deep, highly developed, fully pronounced and open. Together, these provide a thread for the museums in the stories and narratives they construct. The author addresses the challenge of applying abstract and theoretical ‘readings’ to museums – where the collections appear to resist such readings through their concrete and solid presence, and where the prevailing professional culture is empirical and anti-theoretical. This challenge was also her own, as a museum worker struggling to develop a theoretical critique. Finally, she describes exhibitions in Britain and northern Europe which are more productive, diverse and open to re-reading. They are interdisciplinary and irreverent, breaking new ground in museum exhibition-making, developing new methods, forms of expression and themes.

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Torreira, Lourdes Prados. "Why Is It Necessary to Include the Gender Perspective in Archaeological Museums?" Museum Worlds 4, no. 1 (July 1, 2016): 18–32. http://dx.doi.org/10.3167/armw.2016.040103.

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ABSTRACTThrough the items in archaeological museums’ collections, it is possible to create inclusive narratives and discourses in which different social groups, ethnicities, age groups, and genders can and must be present. With this in mind, we shall focus our attention on some Spanish archaeological museums inaugurated in recent years, with the aim of analyzing how they have represented and represent women, which roles are assigned to women within the collective community, and how gender relations in past societies are illustrated.

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Morphy, Howard, Jason M. Gibson, and Alison K. Brown. "Special Section." Museum Worlds 10, no. 1 (July 1, 2022): 218–29. http://dx.doi.org/10.3167/armw.2022.100119.

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Anthropology, Art, and Ethnographic Collections: A Conversation with Howard MorphyJason M. Gibson (JG): In your book Museums, Infinity and the Culture of Protocols: Ethnographic Collections and Source Communities (Morphy 2020), you begin with an anecdote of visiting the Pitt Rivers Museum as a young child. Did museums play a part in sparking an interest in humanity, and its diversity, or were you fascinated by the Other?Book Review: Museums, Societies and the Creation of Value, Howard Morphy and Robyn McKenzie, eds. (London: Routledge, 2022)What does value mean within and beyond museum contexts? What are the processes through which value is manifested? How might a deeper understanding of these processes contribute to the practice of museum anthropology? These questions are explored in Museums, Societies and the Creation of Value, which looks at collaborative work in museums using ethnographic collections as a focus. Most of the chapters involve collections from Australia and the Pacific—reflecting the origins of many of them in two conferences associated with the project “The Relational Museum and Its Objects,” funded by the Australian Research Council and the Australian National University and led by Howard Morphy. Bringing together early career researchers, as well as museum-based scholars who have many years of thinking through and learning with community-based research partners, makes evident how the processual shifts in museum anthropology toward a more collaboratively grounded practice have become normalized, but crucially also highlights the value of “slow museology,” as the editors note in their introduction (3), acknowledging Raymond Silverman’s (2015) term. While the editors caution that the core values of ethnographic collections and museums are not universal, the inclusion of chapters from beyond the Australia/Pacific region highlights that the foundational underpinning values and aspirations for cross-cultural work—“the desire for understanding” and “the desire to be understood” (22) are shaping much of the innovative museum-based work currently being carried out worldwide. Examples include Gwyneira Isaac’s chapter on 3D technologies of reproduction and their value for Tlingit of Alaska, and Henrietta Lidchi and Nicole Hartwell’s examination of how materiality and memory intersect in collections associated with nineteenth-century British military campaigns.

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McTavish, Lianne. "Strategic Donations: Women and Museums in New Brunswick, 1862-1930." Journal of Canadian Studies 42, no. 2 (February 2008): 93–116. http://dx.doi.org/10.3138/jcs.42.2.93.

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Shaughnessy, P. D. "New mammals recognised for Australia - Antarctic and Subantarctic Fur Seals Arctocephalus species." Australian Mammalogy 15, no. 1 (1992): 77. http://dx.doi.org/10.1071/am92010.

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Recent authoritative texts on Australian mammals include several pinniped species but most omit the Antarctic Fur Seal Arctocephalus gazella and Subantarctic Fur Seal A. tropicalis. The former species breeds at Heard Island; at Macquarie Island it breeds in territories with A. tropicalis. Information is tabulated on skulls of these two species held in Australian museums. It is argued that they should be included in comprehensive lists of Australian mammals.

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