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Journal articles on the topic 'National Gallery of Australia history'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

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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2

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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3

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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4

Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.

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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.

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5

Shaw, Margaret. "Following the textile trail: acquisition of South and Southeast Asian art books from an Australian perspective." Art Libraries Journal 18, no. 2 (1993): 15–19. http://dx.doi.org/10.1017/s0307472200008294.

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Australia has traditionally adopted a Eurocentric outlook which has begun to be modified in the last decade by reappraisal of the country’s location in the Asia-Pacific region. The Australian National Gallery has only recently developed its collections of the textiles of South and Southeastern Asia and of related research materials, yet it already accommodates the world’s leading public collection of Indian textiles exported to Southeast Asia. Acquisition of both contemporary and antiquarian library materials has been complicated by the range of languages and cultures involved, the history of the textile trade, colonial publishing, and the problems encountered in dealing with a varying degree of organisation in local publishing and distribution. Nonetheless, with patience, as a result of travelling, by means of networking, and with the help of distributors, it has proved possible to build a worthwhile collection without depending too exclusively on Western publications.

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6

Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.

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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.

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7

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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8

Hansen, Guy. "There is no ‘I’ in Team: Reflections on Team-Based Content Development at the National Museum of Australia." Public History Review 17 (December 22, 2010): 16–33. http://dx.doi.org/10.5130/phrj.v17i0.1835.

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In recent years one of the most important trends in the development of history exhibitions in major museums has been the use of interdisciplinary project teams for content development. This approach, often referred to as the team based model of content development, has, in many institutions, replaced older models of exhibition production built around the expertise of the curator. The implementation of team based models has had a profound impact on the way exhibitions are produced. When done well it has helped deliver exhibitions combining a strong focus on audience needs with in-depth scholarship and collections research. In some contexts, however, the tyranny of the team has given rise to a form of museological trench warfare in which different stakeholders struggle for creative control of an exhibition. In this article I will explore some aspects of the team based approach with reference to the development of the opening suite of exhibitions for the National Museum of Australia (NMA) in 2001. My observations are drawn from my experience as the lead curator of the Nation Gallery, one of the NMA’s opening exhibitions.

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9

Beer, Chris. "The national capital city, portraiture, and recognition in the Australian mythscape: The development of Canberra's National Portrait Gallery." National Identities 11, no. 2 (June 2009): 149–63. http://dx.doi.org/10.1080/14608940902891278.

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10

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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11

Barker, Emma. "National Gallery Catalogues: The Eighteenth Century French Paintings." French History 33, no. 2 (June 2019): 307–8. http://dx.doi.org/10.1093/fh/crz051.

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12

Attwood, Bain. "The National Gallery of Victoria’s Colony and Difficult History." Australian Historical Studies 50, no. 1 (January 2, 2019): 99–116. http://dx.doi.org/10.1080/1031461x.2018.1557225.

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13

Auerbach, J. "The Nation's Mantelpiece: A History of the National Gallery." English Historical Review CXXV, no. 512 (December 30, 2009): 210–12. http://dx.doi.org/10.1093/ehr/cep401.

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14

Bergvelt, E. "The Nation's Mantelpiece. A History of the National Gallery." Journal of the History of Collections 19, no. 1 (March 13, 2007): 149–50. http://dx.doi.org/10.1093/jhc/fhm016.

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15

Garrett, Jason T. "Smithsonian Celebrates the American Musical." Theatre Survey 37, no. 2 (November 1996): 137–39. http://dx.doi.org/10.1017/s0040557400001654.

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Two of the Smithsonian museums in Washington, D.C., the National Portrait Gallery and the National Museum of American History, are celebrating Broadway and Hollywood with their collaborative exhibit “Red, Hot, and Blue: A Salute to American Musicals,” which runs 25 October 1996 to 6 July 1997, at the National Portrait Gallery.

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16

Teslya, Andrey. "“National or People’s Gallery”: The History of Brothers Tretiakov’s Collection." Sotsiologicheskoe Obozrenie / Russian Sociological Review 17, no. 2 (2018): 363–72. http://dx.doi.org/10.17323/1728-192x-2018-2-363-372.

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17

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

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OVERÂ the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country.Â Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Galleryâ€™s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent

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18

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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19

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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20

Carr, Angela. "Ord, Douglas. The National Gallery of Canada: Ideas, Art, Architecture." Urban History Review 33, no. 1 (September 2004): 55–56. http://dx.doi.org/10.7202/1015678ar.

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21

Fontana, Jeffrey, Jill Dunkerton, Susan Foister, and Nicholas Penny. "Durer to Veronese: Sixteenth-Century Painting in The National Gallery." Sixteenth Century Journal 32, no. 1 (2001): 291. http://dx.doi.org/10.2307/2671490.

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22

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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23

Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.

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24

Prior, Nick. "Edinburgh, Romanticism and the National Gallery of Scotland." Urban History 22, no. 2 (August 1995): 205–15. http://dx.doi.org/10.1017/s096392680000047x.

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An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund tradition of art patronage in Scotland, the modernization of Edinburgh's art field in the early nineteenth century depended on the activities of civic elites. The Scottish model of art museum development resembled the later American model more than it did the earlier French one. What was particular to Edinburgh, though, was a strong form of Romanticism in the early nineteenth century. The romantic landscape trope indexed the security of bourgeois power by the 1830s. But its own role was to act as a catalyst in the formation of collection-oriented and professional art institutions, and of a gallery going public in the capital.

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25

SPECK, W. A. "The Nation's Mantelpiece: A History of the National Gallery- By Jonathan Conlin." History 94, no. 313 (January 2009): 85–86. http://dx.doi.org/10.1111/j.1468-229x.2009.444_13.x.

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26

Connor, Kimberley G. "Trove. National Library of Australia. https://trove.nla.gov.au/." History 106, no. 371 (May 20, 2021): 510–12. http://dx.doi.org/10.1111/1468-229x.13163.

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27

O’Brien, Anne. "National Shame/National Treasure: Narrating Homeless Veterans in Australia 1915–1930s." Australian Historical Studies 49, no. 2 (April 3, 2018): 167–83. http://dx.doi.org/10.1080/1031461x.2018.1449872.

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28

Marshall, David R. "Tivoli not Ariccia: Gaspard Dughet's View of ‘Ariccia’ in the National Gallery, London." Papers of the British School at Rome 71 (November 2003): 287–303. http://dx.doi.org/10.1017/s0068246200002476.

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TIVOLI E NON ARICCIA: LA VEDUTA DI ‘ARICCIA’ DI GASPARD DUGHET NELLA NATIONAL GALLERY, LONDRAIn questo articolo si identitica il soggetto principale del dipinto di Dughet conservato alla National Gallery di Londra, tradizionalmente identificato come una ‘Veduta di Ariccia’, con la Porta Sant'Angelo di Tivoli. La topografia del sito viene analizzata in relazione al dipinto di Dughet e ad altre rappresentazioni dello stesso luogo di Claude Lorrain, Gaspar van Wittel e Adriaen Honing.

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29

Fraser, Liana. "RESEARCH INTO THE HISTORY OF CONSERVATION AT THE NATIONAL GALLERY OF VICTORIA." AICCM Bulletin 19, no. 3-4 (December 1994): 25–37. http://dx.doi.org/10.1179/bac.1994.19.3-4.002.

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30

Klonk, Charlotte. "Mounting Vision: Charles Eastlake and the National Gallery of London." Art Bulletin 82, no. 2 (June 2000): 331. http://dx.doi.org/10.2307/3051380.

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31

Poole, A. G. "Conspicuous Presumption: The Treasury and the Trustees of the National Gallery, 1890-1939." Twentieth Century British History 16, no. 1 (March 1, 2005): 1–28. http://dx.doi.org/10.1093/tcbh/hwi008.

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32

CARTER, TOM, and IAIN ROBERTSON. "‘Distilling More than 2,000 Years of History into 161,000 Square Feet of Display Space’: Limiting Britishness and the Failure to Create a Museum of British History." Rural History 27, no. 2 (September 14, 2016): 213–37. http://dx.doi.org/10.1017/s0956793316000054.

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Abstract:National museums both mediate and inculcate official and formal versions of national culture and by this means make and maintain national identity. Three times in the course of the twentieth century, various groups have attempted, and failed, to establish a national museum, identified variously as British or English. This paper explores just one of those attempts: the Museum of British History Project, first proposed in 1996 and finally killed off in 2008. The focus here is, therefore, on failure and on the role of the conflation of Britishness and Englishness in that failure as well as the nature of British identity construction more generally.All three attempts to create a national museum placed the rural idyll at the heart of the project. In the course of a detailed investigation of the Museum of British History project, this paper will pay particular attention to the proposed designs for a ‘British Landscape Gallery’ and the project's hegemonic, ruralised and Anglocentric perspectives. The gallery was the principal way in which established constructs of England and Englishness became conflated in the museum with Britain and Britishness and served to perpetuate the dominance of the ‘rural idyll’ in hegemonic manifestations of the nation. But the project remained stillborn in the face of the new museology: a failure which undoubtedly demonstrates the limits to the cultural power of the rural idyll.

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33

Franklin, Jonathan. "Museum libraries and library history: joining the research conversation at the National Gallery." Art Libraries Journal 44, no. 1 (January 2019): 19–22. http://dx.doi.org/10.1017/alj.2018.35.

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Responding to widespread changes in the role of the museum library, the National Gallery Library is adapting to join the research conversations within the institution, as well as in the wider arenas of art history and library history. Using the historic Eastlake Library as a focus, the library has been embarking on projects on several fronts: cataloguing rare books online; selective digitisation; collaboration with the Digital Cicognara project; publishing our own research; and establishing an innovative Collaborative Doctoral Partnership as one way of creating research opportunities for others.

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34

Kehoe, Elisabeth. "Working hard at giving it away: Lord Duveen, the British Museum and the Elgin marbles." Historical Research 77, no. 198 (October 28, 2004): 503–19. http://dx.doi.org/10.1111/j.1468-2281.2004.00220.x.

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Abstract In September 1928, just after the publication of the report of the royal commission on National Museums and Galleries, the art dealer Sir Joseph Duveen wrote to his good friend Edgar Vincent, Viscount D'Abernon, who had chaired the commission, offering to pay for a new gallery at the British Museum to house the Parthenon, or Elgin, marbles. The new gallery cost over £100,000 and took ten years to complete, during which time Duveen worked hard to impose his vision of a new gallery – a vision often at odds with that of the Museum establishment, and one that generated controversy, including the unauthorized cleaning of the marbles.

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35

Barnett, Harvey. "Legislation‐based national security services: Australia." Intelligence and National Security 9, no. 2 (April 1994): 287–300. http://dx.doi.org/10.1080/02684529408432250.

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36

Broeze, Frank. "Maritime Australia: Integrating the Sea into our National History." Maritime Studies 1988, no. 40 (May 1988): 9–16. http://dx.doi.org/10.1080/07266472.1988.11449867.

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37

Smith, Charles Saumarez. "THE INSTITUTIONALISATION OF ART IN EARLY VICTORIAN ENGLAND." Transactions of the Royal Historical Society 20 (November 5, 2010): 113–25. http://dx.doi.org/10.1017/s0080440110000071.

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ABSTRACTThis article explores the political and intellectual circumstances which led to the efflorescence of cultural institutions between the foundation of the National Gallery in 1824 and the National Portrait Gallery in 1856: the transformation of institutions of public culture from haphazard and rather amateurish institutions to ones which were well organised, with a strong sense of social mission, and professionally managed. This transformation was in part owing to a group of exceptionally talented individuals, including Charles Eastlake, Henry Cole and George Scharf, accepting appointment in institutions to foster the public understanding of art. But it was not simply a matter of individual agency, but also of coordinated action by parliament, led by a group of MPs, including the Philosophical Radicals. It was much influenced by the example of Germany, filtered through extensive translation of German art historical writings and visits by writers and politicians to Berlin and Munich. It was also closely related to the philosophy of the utilitarians, who had a strong belief in the political and social benefits of the study of art. Only the Royal Academy refused the embrace of state control.

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38

Orlova, T. "Development of Public History in Australia." Problems of World History, no. 15 (September 14, 2021): 193–208. http://dx.doi.org/10.46869/2707-6776-2021-15-10.

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The present article is aimed at demonstrating the importance of new for Ukrainian historiography direction of public history, for the country’s development and for strengthening its stance at the international arena. Australia is taken for an example, as it has turned from once remote Terra Incognita into one of the leading nations of the modern world. It is emphasized that, regardless of attainments, the identity issue is still as urgent as to other countries in the conditions of a global crisis. The sources of the public history trend are revealed, explained are the factors conducive to its spread planet-wise, attention is brought to the fact that this trend has become a natural result of developments in the science of history in the Western civilization, encompassing countries of Europe, the Americas, and Australia. The latter, being a ramification of the Western civilization branch, has adopted the guidelines outlined by American scholars, driven by pragmatic considerations. Steps are determined in the institutionalization of the said direction, a characteristic is given to the activities of the Australian Center of Public History at Sydney Technology University, of the journal “Public History Survey”, as well as to the specifics of their work in the digital era under the motto: “History for the public, about the public, together with the public”. The same motto is leading the historians working with local and family history, cooperating with the State in the field of commemoration, placing great importance on museums, memorials, monuments. Considering national holidays, particular attention is given to the National Day of Apology, reflecting the complications of Australian history. Like American public history, the Australian one began to give much attention to those groups of population that were previously omitted by the focus of research, namely, the aborigines. A conclusion is made regarding the importance of history in general and public history in particular for the implementation of the national identity policy – an important token of the nation’s stable and successful progress.

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39

Wise, Andrea. "‘Transparent things, through which the Past Shines’: Investigating Holograms in the Collection of the National Gallery of Australia†." Journal of the American Institute for Conservation 55, no. 3 (July 2, 2016): 176–85. http://dx.doi.org/10.1080/01971360.2016.1188589.

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40

Isa, Badrul, and David Forrest. "A Qualitative Case Study of the Implementation of Education Programs at the National Gallery of Victoria (Ngv), Australia." Procedia - Social and Behavioral Sciences 29 (2011): 1905–13. http://dx.doi.org/10.1016/j.sbspro.2011.11.440.

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41

Carman, Jillian. "A History of the Iziko South African National Gallery: Reflections on Art and National Identity, by Anna Tietze." de arte 53, no. 1 (January 2, 2018): 102–8. http://dx.doi.org/10.1080/00043389.2018.1459095.

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42

O’Reilly, Chiara. "Collecting French art in the late 1800s at the Art Gallery of New South Wales." Journal of the History of Collections 32, no. 2 (March 18, 2019): 313–25. http://dx.doi.org/10.1093/jhc/fhz006.

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Abstract From the nineteenth century, Sydney’s Art Gallery of New South Wales has been a marker of cultural ambition in Australia. This paper critically considers five large French paintings purchased at the end of the nineteenth century at significant expense by the gallery. Feted by contemporaries as examples of the French academic style, they formed part of plans to develop a representative collection to further understanding of art in the colony and, over time, they have taken on a rich role in the collective cultural memory. Through close examination of these paintings, their historical reception, criticism, reproduction and traces in the gallery’s archives this article reveals a history of taste, class and the formation of the cultural value of art. Using an object-based approach, it positions these works as evidence of changing cultural ideas within the context of a state collection to offer new insight into their status, the gallery itself, and the multiple roles of public art collections.

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43

Hailey, David. "The history of health technology assessment in Australia." International Journal of Technology Assessment in Health Care 25, S1 (July 2009): 61–67. http://dx.doi.org/10.1017/s0266462309090436.

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Objectives:To describe the development and application of health technology assessment (HTA) in Australia.Methods:Review of relevant literature and other documents related to HTA in Australia.Results:Most HTA activity in Australia has been associated with provision of advice for the two national subsidy programs, Medicare, and the Pharmaceutical Benefits Scheme (PBS). National advisory bodies established by the federal government have had a prominent role. Assessments from the advisory bodies have had a major influence on decisions related to Medicare and the PBS, and in some other areas. Technologies without links to the national subsidy schemes, and those that are widely distributed, have been less well covered by HTA. To some extent these are addressed by evaluations supported by state governments, but details of approaches taken are not readily available.Conclusions:HTA in Australia now has a long history and is well established as a source of advice to health decision makers. Challenges remain in extending the scope of assessments, developing more transparent approaches in some areas, and consistently applying appropriate standards.

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Crawshay-Hall, Jayne Kelly. "Between Dreams and Realities: A History of the South African National Gallery, 1871–2017." de arte 55, no. 3 (May 21, 2020): 95–101. http://dx.doi.org/10.1080/00043389.2020.1731653.

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Boss, Alan P. "Moon, Meteorites, and Solar System: Gallery exhibit at the National Museum of Natural History." Meteoritics & Planetary Science 32, no. 6 (November 1997): 742–43. http://dx.doi.org/10.1111/j.1945-5100.1997.tb01563.x.

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Fisher, J. "Review: Eugenics in Australia: Striving for National Fitness." Social History of Medicine 17, no. 2 (August 1, 2004): 320–21. http://dx.doi.org/10.1093/shm/17.2.320.

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Fletcher, Brian H. "Anglicanism and National Identity in Australia Since 1962." Journal of Religious History 25, no. 3 (October 2001): 324–45. http://dx.doi.org/10.1111/1467-9809.00137.

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Layton, Robyn. "The work of national bioethics committees in Australia: A history." Reproductive Health Matters 1, no. 2 (January 1993): 92–97. http://dx.doi.org/10.1016/0968-8080(93)90013-j.

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Gare, Deborah. "Dating Australia's independence: National sovereignty and the 1986 Australia acts." Australian Historical Studies 29, no. 113 (October 1999): 251–66. http://dx.doi.org/10.1080/10314619908596101.

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Mitchell, Bruce. "A national game goes international: baseball in Australia." International Journal of the History of Sport 9, no. 2 (August 1992): 288–301. http://dx.doi.org/10.1080/09523369208713795.

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