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Relevant bibliographies by topics / National Gallery of Australia

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Academic literature on the topic 'National Gallery of Australia'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "National Gallery of Australia"

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Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.

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Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017

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Volker, Joye, and Jennifer Coombes. "The art of life online: creating artists’ biographies on the web." Art Libraries Journal 34, no. 1 (2009): 12–16. http://dx.doi.org/10.1017/s0307472200015704.

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The World Wide Web has created significant changes in how cultural institutions, including galleries, communicate their role as custodians of cultural content and research. In this paper we discuss a number of initiatives involving the Research Library and curatorial sections at the National Gallery of Australia to bring information about Australian visual arts to an online audience.

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Blessing, Peta Jane, and Simon Underschultz. "Expanding our reach: Special Collections and Archives of the NGA Research Library." Art Libraries Journal 44, no. 3 (June 12, 2019): 139–46. http://dx.doi.org/10.1017/alj.2019.19.

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The National Gallery of Australia Research Library and Archives (NGARL&A) offers unique collections and provides vital services within the contemporary Australian art world, but there has been a seismic shift in their users and use. This paper will explore the impact this change has had on our roles as art archivists and provide insight into new ways these collections are being used.

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Denton, Derek. "Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 1 (2007): 97. http://dx.doi.org/10.1071/hr07005.

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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.

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Denton, Derek. "Erratum to: Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 2 (2007): 305. http://dx.doi.org/10.1071/hr07005_er.

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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.

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Webber, Monique. "Torchlight, Winckelmann and Early Australian Collections." Journal of Curatorial Studies 9, no. 1 (April 1, 2020): 114–34. http://dx.doi.org/10.1386/jcs_00013_1.

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Mid-nineteenth-century Melbourne wanted to be more than a British outpost in southern Australia. Before its second decade, in 1854, the city founded an impressive museum-library-gallery complex. As European museums developed cast collections, Redmond Barry – Melbourne’s chief patron – filled Melbourne’s halls with a considerable selection. With time, these casts were discarded. The now lost collection seldom receives more than a passing remark in scholarship. However, these early displays in (what would become) the National Gallery of Victoria reimagined European Winckelmann-inspired curatorial models. The resulting experience made viewing into a performative action of nascent civic identity. Considered within current practice, Melbourne’s casts expose the implications of curatorial ideology.

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Bruce, Joan. "Using RLIN in the Australian National Gallery Library." Art Libraries Journal 14, no. 3 (1989): 17–20. http://dx.doi.org/10.1017/s0307472200006350.

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The Australian National Gallery Library has used RLIN since January 1985. It is used primarily as an online bibliographic database, to trace publications on particular artists and as a means of verifying references supplied by library users. It is also used, but less frequently, to verify bibliographic details of items to be acquired for the Library; other more occasional use is made of RLIN as a source of catalogue records, to identify locations of items the loan of which is to be sought from overseas, to verify name headings, and as a source of information used in stock selection. Of the special files, Scipio has proved most useful as a source of information on sales catalogues. RLIN does not present insuperable problems to the remote user, although an offline print facility and extended access hours would both be helpful.

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Hoffman, Sheila K., Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim. "Exhibition Reviews." Museum Worlds 9, no. 1 (July 1, 2021): 175–207. http://dx.doi.org/10.3167/armw.2021.090114.

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Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan JiangTempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarinWonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra KearneyBrett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-BarnesThe “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim

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Zerwes, Erika. "A trajetória esquecida da fotógrafa Margaret Michaelis: entrevista com Helen Ennis * The forgotten history of photographer Margaret Michaelis: interview with Helen Ennis." História e Cultura 5, no. 3 (December 14, 2016): 402. http://dx.doi.org/10.18223/hiscult.v5i3.1792.

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Esta entrevista com a australiana Helen Ennis, curadora e professora de história da arte na Australian National University, busca jogar luz sobre a vida e obra da fotógrafa Margaret Michaelis (1902-1985). Ennis foi a autora da única biografia existente até o momento sobre Michaelis, além de ter sido a responsável pela incorporação do arquivo da fotógrafa na National Gallery of Australia, e pela exposição “Margaret Michaelis: Love, loss and photography”, realizada naquela instituição em 2005. Ennis recuperou, depois de quase quarenta anos esquecida, a rica obra fotográfica e história de vida de Michaelis, austríaca de nascimento, que estudou fotografia em Berlim nos anos de 1920, mas que, por sua origem judaica e sua militância anarquista, fugiu primeiro para a Espanha, onde fotografou a Guerra Civil Espanhola pelo lado republicano, depois para Londres, e, finalmente, para a Austrália. Lá ela viveu sob vigilância política no pós Segunda Guerra, e no anonimato profissional e artístico até sua morte, em 1985.

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Nicholls, Christine. "Re‐take:Contemporary aboriginal and Torres strait islander photography, a national gallery of Australia Travelling Exhibition." Journal of Australian Studies 24, no. 64 (January 2000): 110–16. http://dx.doi.org/10.1080/14443050009387561.

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Dissertations / Theses on the topic "National Gallery of Australia"

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Ward, Debbie, and n/a. "Textile conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.174356.

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Kringas, Simon. "Design of the High Court of Australia." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18605.

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The High Court of Australia is a seminal work of architecture, recognised nationally after twenty-five years by the Royal Australian Institute of Architects 'Enduring Architecture' award, and internationally, as one of only ten Australian buildings registered on the Union of International Architects 'Architectural Heritage of the 20th Century'. Since its construction in 1980, the design of the High Court has been consistently ascribed to the architect Colin Madigan – a director of the firm Edwards Madigan Torzillo and Briggs. It is said to embody a 'unity of concept' with Madigan's National Gallery, and to accord with 'universal' principles, geometric 'design laws' and the 'craft-based attitude' of 'Madigan's architecture'. Such sustained references have effectively established a dominant and institutionally sanctioned narrative. A body of other acclaimed work produced by the firm is similarly construed as Madigan's oeuvre. In fact, the design of the High Court resulted from a national competition held between 1972 and 1973. Documented evidence credits its 'Design Team' and identifies architect Christopher Kringas as the 'Director in Charge'. The stated 'Design Concept' does not mention universal principles or geometric laws, nor does the High Court's architectonic design accord with such descriptors. Kringas's design role is further evident in the firm's most significant work. This thesis traces and critically reviews the prevailing narrative of the design of the High Court. Behind-the-scenes correspondence, original archives and oral histories expose machinations around its authorship and build a counter-narrative that re-contextualises the High Court according to Brutalist ideology, nation building agendas, individual agency and design experimentation, crystallised by an architectural competition. An alternate reading of the High Court design is developed, pointing to a radicalisation and shift of the Brutalist agenda, and salient innovations previously unexamined.

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Urquhart, Ian McLeod, and n/a. "An internship in painting conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.162330.

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My employment in the Paintings Section of the Conservation Department of the Australian National Gallery began in June 1983, however my internship did not begin until March 1984 under the supervision of Allan Byrne. At that time, the paintings section was divided, rather arbitrarily, into: paintings pre-1940, headed by Ilse King and; paintings post-1940, headed by Allan Byrne. Because of the departure of the then senior curator of conservation Dr Nathan Stolow, Allan Byrne became acting senior curator. When Allan Byrne took up the position of lecturer in paintings conservation at C.C.A.E., Ilse King then became acting senior curator and my supervisor; the division within the painting section was then disbanded. Jac Macnaughtan departed temporarily from the department to undertake study and to work at the Tate Gallery and at the Courtauld Institute in London leaving me with the paintings section. I was fortunate enough to have at first one assistant Simon Hartas, then two assistants, Mark Henderson and Les Cormack to help with the task of backing, framing and restretching paintings. There was no formal training programme for an intern - work was undertaken as it came into the department and as it was allotted. For the sake of simplicity and ease of handling the dissertation is divided into 3 parts: Part 1 includes the Functions and Facilities of the conservation department. Part 2 includes an outline of painting conservation practice within the gallery and details of conservation work undertaken. Part 3 comprises a project on some of the properties of hardboard. As the gallery has in its collection a considerable number of paintings on hardboard, to augment my knowledge and perhaps give some insight into the nature of hardboard, this project was undertaken in conjunction with the internship.

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Cains, Carol, and n/a. "Internship in textile conservation at the Australian National Gallery, 1981-1984." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20060623.130749.

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Fasoli, Lyn, and n/a. "Young children in the art gallery : excursions as induction to a community of practice." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060710.095714.

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Learning in 'communities of practice' is a new way of describing and investigating how people learn and has not been applied extensively in research in early childhood or in art galleries. This thesis is a critical case study undertaken with preschool children as they prepared for, participated in and followed up a series of excursions to the National Gallery of Australia. The study explores and analyses children's induction into the practices of the art gallery and their negotiation of the meanings around these practices in the gallery and in their preschool. Children's engagement in practices is analysed using a sociocultural framework for learning called 'communities of practice' (Wenger, 1998) in combination with a multilevel analysis of the artefacts of practice derived from the philosophical writings of Wartofsky (1979). Multiple data sources included photographs of children, their drawings, tape recordings of their incidental talk and group discussions, and results of play activities as children participated in the practices of the art gallery and the preschool. Data was also collected through semi-structured interviews with gallery and preschool staff. In a study involving such young children, the use and juxtaposition of these multiple sources of data was important because it allowed for the inclusion and privileging of the material and non-verbal resources as well as verbal resources that children used as they engaged in practices. Outcomes of this research have been used to illuminate and problematise early childhood as a site for the intersection of multiple communities of practice. Learning to make sense of experience is portrayed as more than language-based 'scaffolding' and the representation of experience through child-centred play activity. The study provides a detailed descriptive account of children's learning and sees it as a fundamentally unpredictable and emergent process. It shows that relations of power are always a part of learning and can be seen through an analysis of the resources available to children, those they took up and were constrained by in the local situation and those they brought from other communities of practice. In this process, the children, as well as their teachers, were active negotiators. They participated in complying with community-constituted views of knowledge as well as shaping, resisting and contesting what counted as knowledge. This study makes a contribution to understanding children's learning in early childhood as fundamentally social, unpredictable, productive and transformative rather than individually constructed, stable, predetermined and representational of experience.

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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
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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." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.

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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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Niciarelli, Elena <1989&gt. "Brand Community. Tate e The National Gallery." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19210.

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Il concetto di Brand Community non è nuovo, ma appare ne testi di Muniz e O’Guinn tra la fine degli anni ’90 e l’inizio del 2000. Tuttavia nel tempo, la letteratura scientifica sull’argomento brand community è aumentata, e il digitale, il mondo virtuale e le ICT hanno provveduto ad apportare ulteriori modifiche e cambiamenti. Lo studio analizza e descrive la brand community delle organizzazioni culturali, nello specifico di due musei situati nel Regno Unito. Tate e The National Gallery sono messi a confronto per descrivere come un museo multi sede e un museo mono sede inglese, abbiano attivato differenti comunità di marca in loco, virtuali, social e online. Per rincorrere sia una valenza teorica che empirica del concetto, dopo una presentazione generale sul tema, la metodologia di lavoro si concentra sullo studio complessivo dei due Musei e ne descrive le differenze, utilizzando i dati a disposizione degli ultimi anni. Il tema della brand community e del digitale, del virtuale, dei social, della post millennial community, ha una forte struttura in un museo multi sede, che vede differenti collezioni, consumatori, territori, membership, associazioni coinvolte. La National Gallery londinese ha una community digitale più concentrata sulle esposizioni temporanee, meno sulla collezione permanente, dove tuttavia si concentrano i patrons, i fedelissimi del marchio, e non ha ancora attivato una young community chiara come quella alla Tate. L’epidemia del 2020 ha messo in luce potenzialità e carenze nell’online dei due Musei, spingendo entrambi ad una maggiore informatizzazione e digitalizzazione, al fine di rincorrere e servire tutti i pubblici, creare vincenti brand community e strutturare quelle esistenti.

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Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.

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Books on the topic "National Gallery of Australia"

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Australia, National Gallery of. Australian art in the National Gallery of Australia. Edited by Gray Anne 1947-. [Canberra]: National Gallery of Australia, 2002.

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editor, Radford Ron 1949, ed. Collection highlights: National Gallery of Australia, Canberra. Canberra: National Gallery of Australia, 2014.

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1949-, Radford Ron, and National Gallery of Australia, eds. Collection highlights: National Gallery of Australia, Canberra. Canberra: National Gallery of Australia, 2008.

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Australia, National Gallery of, ed. David Hockney prints: The National Gallery of Australia collection. Canberra, A.C.T: National Gallery of Australia, 2017.

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Gilmour, Joanna. Elegance in exile: Portrait drawings from colonial Australia. Canberra: National Portrait Gallery, 2012.

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Yamamoto, Atsuko, and Misato Shōmura. Ōsutoraria Kokuritsu Bijutsukan shozō, Ōsutoraria no bijutsu, 1940-1990: Uchinaru fūkei o motomeete. [Gifu-shi]: Gifu-ken Bijutsukan, 1995.

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Butler, Roger. Poster art in Australia: The streets as art galleries : walls sometimes speak. Canberra: National Gallery of Australia, 1993.

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Australia, National Gallery of. Australian artists books. [Parkes, A.C.T.]: National Gallery of Australia, 2008.

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(Australia), National Portrait Gallery, ed. Impressions: Painting light & life. Canberra: National Portrait Gallery, 2011.

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Radford, Ron. Ocean to outback: Australian landscape painting 1850-1950. Canberra, A.C.T: National Gallery of Australia, 2007.

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Book chapters on the topic "National Gallery of Australia"

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McGregor, Katharine. "Heads from the North: Transcultural Memorialization of the 1965 Indonesian Killings at the National Gallery of Australia." In The Indonesian Genocide of 1965, 235–52. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71455-4_12.

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Greenwood, Thomas. "The National Gallery." In The History of Museums Vol 6, 238–44. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003100959-14.

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Christie, Andrew, and John Liddicoat. "Australia." In Balancing Copyright - A Survey of National Approaches, 97–118. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-29596-6_4.

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Jaensch, Dean. "The National Party." In The Politics of Australia, 285–304. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-15148-6_11.

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Finlayson, C. Max. "National Wetland Policy: Australia." In The Wetland Book, 1–5. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-94-007-6172-8_155-1.

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Finlayson, C. Max. "National Wetland Policy: Australia." In The Wetland Book, 759–63. Dordrecht: Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-90-481-9659-3_155.

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Claudino-Sales, Vanda. "Kakadu National Park, Australia." In Coastal World Heritage Sites, 165–70. Dordrecht: Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1528-5_25.

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Rodrigues, Jennifer. "National Museum of Australia." In Encyclopedia of Global Archaeology, 1–5. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-51726-1_3519-1.

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"Institutional Inertia and the National Gallery of Victoria in Australia." In Foreign Currency Volatility and the Market for French Modernist Art, 145–76. BRILL, 2021. http://dx.doi.org/10.1163/9789004468719_007.

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Doyle Wawrzyńczak, Anni. "Bitumen River Gallery – evolution and early years." In How Local Art Made Australia’s National Capital, 105–61. ANU Press, 2020. http://dx.doi.org/10.22459/hlamanc.2020.04.

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Conference papers on the topic "National Gallery of Australia"

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Christie, Robyn. "The Great Debate: Campaigns and Conflicts in London in the 1980s." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5016p9v9h.

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In 1984 HM King Charles III, then HRH The Prince of Wales, gave the infamous speech to the RIBA in which he was critical of a proposed new extension to the National Gallery in Trafalgar Square. The fervour unleashed in the press signified a unique moment when architecture, conservation, planning and development became a much – and still – talked about part of the public discourse in Britain. Conservation theory had dictated since its early guidelines of practice that new additions to historic works should be clearly distinguished from their original host or the existing environment. Historicism, imitating the existing architecture within an urban setting was taboo, a notion that went back to Ruskin and the anti-scrape lobby of Morris. Unravelling the events of the 1980s, however, reveals that the desire to copy past forms as a means of retaining the past maintained an ongoing and strong legacy. It had become a method of seeking refuge from the failures of modernism and the divergence between traditional and modern forms, language and techniques. Openly acknowledged that modernism was anti- historic and anti-urban, classicism and medieval towns and forms offered the example of outdoor rooms and a predominance of solids over voids. For the then Prince and his many followers, including vast members of the public, the use of a traditional architectural style as infill in a classically inspired building setting was “good” design practice. At this point, ironically, the retreat to historicism also comprised not only mimicking traditional details but also their playful reinterpretation through an esoteric postmodernism. But the topic of new into old had become confused: the critical issue was one of urban design and not the language of infill architecture. Three case studies within the historic core of the City of London, the basis of criticism in Charles’ speeches of 1984 and 1987, will be explored through the popular press in order to understand their lessons and relevance to the complexity of current contemporary conflicts in historic urban areas.

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Bock, Douglas C. J. "The Australia Telescope National Facility." In 2019 URSI Asia-Pacific Radio Science Conference (AP-RASC). IEEE, 2019. http://dx.doi.org/10.23919/ursiap-rasc.2019.8738515.

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Bock, Douglas. "The Australia Telescope National Facility." In XXXVth URSI General Assembly and Scientific Symposium. Gent, Belgium: URSI – International Union of Radio Science, 2023. http://dx.doi.org/10.46620/ursigass.2023.1472.nlij3539.

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Bock1\, Douglas C. j. "The Australia Telescope National Facility." In 2011 XXXth URSI General Assembly and Scientific Symposium. IEEE, 2011. http://dx.doi.org/10.1109/ursigass.2011.6123727.

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Bock, Douglas C. J. "The Australia telescope national facility." In 2014 XXXIth URSI General Assembly and Scientific Symposium (URSI GASS). IEEE, 2014. http://dx.doi.org/10.1109/ursigass.2014.6929987.

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Qi, Fei, and Yi Chen. "The Study of Configuration Analysis in Art Gallery based on Space Syntax mmComparison of Washington national gallery and the Shanghai art gallery." In 2015 4th International Conference on Sustainable Energy and Environmental Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icseee-15.2016.207.

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Craddock, Richard J. "A National Offshore Petroleum Safety Authority for Australia." In SPE International Conference on Health, Safety, and Environment in Oil and Gas Exploration and Production. Society of Petroleum Engineers, 2004. http://dx.doi.org/10.2118/86651-ms.

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Moltmann, Tim. "Ocean observing systems a national perspective from Australia." In 2011 GEOSS Workshop XLII - Oceans. IEEE, 2011. http://dx.doi.org/10.1109/geoss-xlii.2011.6105429.

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Warrington, R. B., P. T. H. Fisk, M. A. Lawn, M. J. Wouters, A. Gajaweera, S. Quigg, and J. S. Thorn. "GPS activities at the National Measurement Institute, Australia." In 2005 IEEE International Frequency Control Symposium and Exhibition. IEEE, 2005. http://dx.doi.org/10.1109/freq.2005.1573934.

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Bock, D. C. J., and G. J. Carrad. "The Australia Telescope National Facility - Recent upgrades and future plans." In 2013 US National Committee of URSI National Radio Science Meeting (USNC-URSI NRSM). IEEE, 2013. http://dx.doi.org/10.1109/usnc-ursi-nrsm.2013.6525023.

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Reports on the topic "National Gallery of Australia"

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.

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De Caritat, Patrice, and Michelle Cooper. National Geochemical Survey of Australia: the geochemical atlas of Australia. Geoscience Australia, 2011. http://dx.doi.org/10.11636/record.2011.020.

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Huston, D. L., D. C. Champion, B. Ware, G. Carr, R. Maas, and S. Tessalina. Preliminary national-scale lead isotope maps of Australia. Geoscience Australia, 2019. http://dx.doi.org/10.11636/record.2019.001.

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Allen, Trevor, Jonathan Griffin, Mark Leonard, Dan Clark, and Hadi Ghasemi. The 2018 National Seismic Assessment for Australia: model overview. Geoscience Australia, 2018. http://dx.doi.org/10.11636/record.2018.027.

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Billimoria, Farhad, and Rahmatallah Poudineh. Electricity sector transition in the national electricity market of Australia. Oxford Institute for Energy Studies, November 2018. http://dx.doi.org/10.26889/9781784671228.

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Daly, Joanne. Atlas of Living Australia Future Directions National Consultation Findings Report. Atlas of Living Australia, December 2019. http://dx.doi.org/10.54102/ala.41207.

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Allen, T. I., M. Leonard, H. Ghasemi, and G. Gibson. The 2018 National Seismic Hazard Assessment for Australia – earthquake epicentre catalogue. Geoscience Australia, 2018. http://dx.doi.org/10.11636/record.2018.030.

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Allen, T. I., J. Griffin, and D. Clark. The 2018 National Seismic Hazard Assessment for Australia: model input files. Geoscience Australia, 2019. http://dx.doi.org/10.11636/record.2018.032.

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Chou, Mark, Rachel Busbridge, and Serrin Rutledge-Prior. The changing role of local government in Australia : National survey findings. Research Centre for Social and Political Change, Australian Catholic University, February 2023. http://dx.doi.org/10.24268/acu.8yqz3.

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[Extract] The aim of this report is to analyse public perceptions on the changing role of local government in Australia. Exploring how the Australian public views and understands the expansion of local government activity, from the Three Rs to a more expansive if still limited tier of government, offers crucial insights about the sector’s current state and future direction. This report presents the findings from a new national survey of 1,350 respondents who were asked what they saw the role local government to be, what services the sector should deliver, and whether acting on controversial issues to do with national identity, refugee support, and climate change, for example, should be within local government’s remit.

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Williams, Penny, Andrew John Stewart, Paula McDonald, Robyn Mayes, Trish Obst, Catherine Kennon, Alicia Feldman, and Phuong Anh Tran. Digital Platform Work in Australia: Findings from a 2023 national survey. Queensland University of Technology, 2024. http://dx.doi.org/10.5204/rep.eprints.245183.

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Digital platforms such as Airtasker, Uber or Freelancer can connect workers with individuals or businesses looking to obtain services of various kinds on-demand. There has been much debate about ‘gig work’ of this kind, but little data on its prevalence in Australia. This report presents the findings from a national survey commissioned by the Victorian Government to address that gap. The survey, which elicited more than 14,000 usable responses, explored the prevalence and characteristics of digital platform work in Australia to gain insight into the experiences of those participating in such work, and understand the extent to which they combine digital platform work with other forms of paid work. The main findings are summarised in this report.

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