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Journal articles on the topic ''Queensland College of Art''

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Best, Susan. "Repair in Australian Indigenous art." Journal of Visual Culture 21, no. 1 (April 2022): 190–205. http://dx.doi.org/10.1177/14704129221088289.

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This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robert Andrew. McGregor’s work draws on possum skin cloak making, Harding has incorporated the stencil technique of rock art into his practice and Andrew uses a traditional pigment ochre and Yawuru language.

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2

Kerby, Martin, and Margaret Baguley. "Divided loyalties: St Joseph’s Nudgee College, the Great War and Anzac Day, 1915–39." Queensland Review 28, no. 1 (June 2021): 25–39. http://dx.doi.org/10.1017/qre.2021.2.

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AbstractSt Joseph’s Nudgee College is an Irish Christian Brothers boys’ boarding school in Brisbane. It was established in 1891 to provide the children of Irish Catholics living in regional and remote Queensland and northern New South Wales with access to an education that would act as a vehicle for socio-economic advancement. The first decades of the college’s existence were nevertheless defined by two competing, sometimes contradictory imperatives. An often-belligerent determination to retain an Irish identity existed side by side with an awareness that a ‘ghetto mentality’ would hinder the socio-economic advancement of Queensland’s Catholics. The balancing act that this necessitated was particularly evident in the College’s mixed reaction to the outbreak of war in 1914 and the subsequent reticence to celebrate Anzac Day between 1916 and 1939. This article explores the College’s response through its Annuals (Year Books) and places it in the context of the Australian Irish Catholic experience of war and commemoration.

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3

Heggarty, Paula, Peta-Ann Teague, Faith Alele, Mary Adu, and Bunmi S. Malau-Aduli. "Role of formative assessment in predicting academic success among GP registrars: a retrospective longitudinal study." BMJ Open 10, no. 11 (November 2020): e040290. http://dx.doi.org/10.1136/bmjopen-2020-040290.

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ObjectivesThe James Cook University General Practice Training (JCU GPT) programme’s internal formative exams were compared with the Royal Australian College of General Practitioners (RACGP) pre-entry exams to determine ability to predict final performance in the RACGP fellowship exams.DesignA retrospective longitudinal study.SettingGeneral Practice (GP) trainees enrolled between 2016 and 2019 at a Registered Training Organisation in regional Queensland, Australia.Participants376 GP trainees enrolled in the training programme.Exposure measuresThe pre-entry exams were Multiple-Mini Interviews (MMI), Situational Judgement Test (SJT) and Candidate Assessment and Applied Knowledge Test. The internal formative exams comprised multiple choice questions (MCQ1 and MCQ2), short answer questions, clinical skills and clinical reasoning.Primary outcome measureThe college exams were Applied Knowledge Test (AKT), Key Feature Problems (KFP) and Objective Structured Clinical Examination (OSCE).ResultsCorrelations (r), coefficients of determination (R2) and OR were used as parameters for estimating strength of relationship and precision of predictive accuracy. SJT and MMI were moderately (r=0.13 to 0.31) and MCQ1 and MCQ2 highly (r=0.37 to 0.53) correlated with all college exams (p<0.05 to p<0.01), with R2 ranging from 0.070 to 0.376. MCQ1 was predictive of failure in all college exams (AKT: OR=2.32, KFP: OR=3.99; OSCE: OR=3.46); while MCQ2 predicted failure in AKT (OR=2.83) and KFP (OR=3.15).ConclusionWe conclude that the internal MCQ formative exams predict performance in the RACGP fellowship exams. We propose that our formative assessment tools could be used as academic markers for early identification of potentially struggling trainees.

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4

O'DONOVAN, ANALISE, LEON SLATTERY, DAVID KAVANAGH, and ROGER DOOLEY. "Opinions of Australian Psychological Society College Chairs about process and content in supervision training: Preliminary investigation in Queensland." Australian Psychologist 43, no. 2 (June 2008): 114–20. http://dx.doi.org/10.1080/00050060801978654.

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5

EDMISTON, W. FRASER. "Queensland Central Technical College." Australasian Journal of Optometry 7, no. 1 (April 19, 2010): 19. http://dx.doi.org/10.1111/j.1444-0938.1925.tb00577.x.

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6

Russell AM RFD QC, David. "2018 WA Lee Equity Lecture:." QUT Law Review 18, no. 2 (March 1, 2019): 137. http://dx.doi.org/10.5204/qutlr.v18i2.764.

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May I commence by acknowledging the honour done to me by asking me to give this, the nineteenth WA Lee lecture. I studied Equity, in part, under Professor Lee and he was a prominent member of the teaching community at my University College. At that time, and later, I came to appreciate the extent to which his reputation was established, not just in Australia, but throughout the common law world. Perhaps the most telling of a number of indications, once publications such as the masterful Ford & Lee are put to one side, is the fact that when Donovan Waters QC, former Oxford don, STEP Honorary Member and one of the negotiators of the Hague Trust Convention,[1] visited Australia as a guest of STEP, the one Australian he specifically asked us to arrange for him to meet was Tony Lee. So to give this lecture before an audience including Tony Lee, fills me with not a little trepidation. He – and no doubt many others of you – will be immediately aware of any errors or imperfections. It is small consolation that, on this occasion at least, he will not be marking the paper. In choosing the topic for the paper, I had in mind a paper given by the Hon Dyson Heydon, AC QC, to the first STEP Australia Conference.[2] Mr Heydon QC observed that: This paper is an edited version of a paper presented at the 2018 WA Lee Equity Lecture delivered on 21 November 2018 at the Banco Court, Supreme Court of Queensland, Brisbane. * AM RFD QC; BA (UQ), LLB (UQ), LLM (UQ). [1] Adopted by Australia and implemented in the Trusts (Hague Convention) Act 1991 (Cth). [2] JD Heydon, ‘Modern Fiduciary Liability: the Sick Man of Equity’ (2014) 20 Trusts & Trustees 1006.

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7

McCarthy, Frederick D., and F. D. McCarthy. "Rock Art in Central Queensland." Mankind 5, no. 9 (February 10, 2009): 400–404. http://dx.doi.org/10.1111/j.1835-9310.1960.tb00325.x.

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8

Lennon, Jane L. "Lisanne Gibson and Joanna Besley, Monumental Queensland: Signposts on a Cultural Landscape." International Journal of Cultural Property 13, no. 1 (February 2006): 121–23. http://dx.doi.org/10.1017/s0940739106000051.

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Lisanne Gibson and Joanna Besley, Monumental Queensland: Signposts on a Cultural Landscape. Pp. 268. $49.95. St Lucia, Queensland: University of Queensland Press, 2004.By surveying and documenting outdoor cultural objects, the authors of this book seek to inform communities about the significance of their public art objects and to provide a starting point for people to value such artworks as expressing what is unique about their experience and understanding of Queensland, Australia (p. 7). However, this begs the question of public value. People in colonial times (nineteenth century) gave private subscriptions to have public monuments and memorials erected, and currently, Queensland has a Public Art Agency whose enabling legislation makes it mandatory for all public works projects to fund public art works associated with and integral to new construction, as part of the “Art Built-In” program. Queenslanders clearly like monuments!

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9

McKay, Belinda. "‘Beethoven by Bus’: Nancy Weir and Queensland Music." Queensland Review 2, no. 2 (September 1995): 27–38. http://dx.doi.org/10.1017/s1321816600000829.

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In the last issue of Queensland Review, it was argued that the idea of Queensland literature has a history, and that the various competing formulations of that idea have implications for Queensland identity and politics. Queensland art, likewise, has some currency as an idea, particularly as an ‘art off centre’ to borrow the title of a recent conference. It is, therefore, somewhat surprising that the idea of ‘Queensland music’ has not emerged as a useful way of constructing a cultural or political identity. ‘Music in Queensland’, suggesting an exotic and not fully acclimatized cultural form, is instead the designation used in the few — mostly unpublished — works which treat Queensland's musical history.

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10

Heckenberg, Kerry. "A taste for art in colonial Queensland: The Queensland Art Gallery Foundational Bequest of Thomas Lodge Murray-Prior." Queensland Review 25, no. 1 (June 2018): 119–36. http://dx.doi.org/10.1017/qre.2018.11.

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AbstractThis study arose from an encounter with some paintings (still lives, Madonnas and other religious or genre scenes of mainly seventeenth-century Northern European origin) at the Queensland Art Gallery in 2012. They were intriguing because they were part of a bequest by squatter and colonial parliamentarian Thomas Lodge Murray-Prior (1819–92), which formed the nucleus of the original Queensland Art Gallery collection when it opened in 1895. Little is known about them, but they raise questions: What part did they play in the life of the donor? Did he collect them merely to burnish his reputation? Were they hung in a town house or in the bush? How did they enter the collection of the Queensland Art Gallery and what reception did they receive? What subsequent use has been made of them? This article examines the collection and the role it played in Murray-Prior's life, arguing that it is a coherent collection of Northern European art and more than a status symbol. Furthermore, it has much to say about a period that saw the development of art collecting and exhibiting. As such, it is the perfect foundation for an art gallery in colonial Australia.

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11

Wheeler, Geraldine. "Frank Wesley: The Queensland years." Queensland Review 28, no. 1 (June 2021): 40–56. http://dx.doi.org/10.1017/qre.2021.1.

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AbstractA little-known piece of Queensland’s art history is that the Indian artist Frank Wesley lived and worked in Queensland for nearly thirty years. From Azamgarh, Uttar Pradesh, Wesley completed his art studies in India, Japan and the United States. He won the competition to design the urn that would hold the ashes of Mahatma Gandhi and had paintings exhibited in the Vatican Museum in Rome in 1950. His Blue Madonna painting was reproduced on the first UNICEF Christmas card. Wesley spent the last third of his life in Nambour. While he may chiefly be considered a watercolourist in the Indian Lucknow style, his media and practice were far more diverse. This article seeks to provide a brief overview of the work achieved by Wesley over this time, featuring biblical and Christian themes, and also landscapes and figurative pieces in a wide range of media and styles from various traditions. Among these are styles that emerged in more distinctive ways during his Nambour years, including the incorporation of the human figure or the hand of God in the landscape after seeing Indigenous rock art, and also the contrasting designs for two stained-glass windows.

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12

Westcott, Catherine, Ian Lilley, Sean Ulm, Chris Clarkson, and Deborah Brian. "Big Foot Art Site, Cania Gorge: Site Report." Queensland Archaeological Research 11 (December 1, 1999): 43. http://dx.doi.org/10.25120/qar.11.1999.86.

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This site report presents a description of archaeological investigations undertaken at Big Foot Art Site, a large rockshelter and art site located at Cania Gorge, eastern Central Queensland. Field and laboratory methods are outlined and results presented. Excavation revealed evidence for occupation spanning from before 7,700 cal BP to at least 300 cal BP, with a significant peak in stone artefact discard between c.4,200-3,200 cal BP. Results are compared to analyses undertaken in the adjacent Central Queensland Highlands.

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13

Wearing, A. H. "HORTICULTURAL EDUCATION AT THE UNIVERSITY OF QUEENSLAND GATTON COLLEGE." Acta Horticulturae, no. 350 (November 1993): 311. http://dx.doi.org/10.17660/actahortic.1993.350.50.

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14

Walters, Ian. "Current research: University College of the Northern Territory: archaeology and material culture." Queensland Archaeological Research 4 (January 1, 1987): 117. http://dx.doi.org/10.25120/qar.4.1987.176.

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I took up an appointment as Lecturer in Anthropology at University College of the Northern Territory from the beginning of the 1988 academic year. University College offers B.A. and B. Sc. Degrees, as well as masters and Ph.D qualifications. Undergraduate subjects and post-graduate study programs follow the University of Queensland curriculum, and degrees will initially be University of Queensland degrees, with an appropriate annotation showing that they were gained on the UCNT campus in Darwin.

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15

Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter." Queensland Review 13, no. 1 (January 2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.

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Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.

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16

Thiruneervannan, R. "Nail Art Competition." Journal of Academy of Dental Education 1, no. 1 (January 2, 2014): 57. http://dx.doi.org/10.18311/jade/2014/2432.

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<p>The Academy of Dental Education conducted the 'Nail Art Competitition' , as the first Academic Programme of ADE in Penang International Dental College, Salem on October 19, 2013 at 10.00 am.</p><p>Four students each from five Dental Colleges participated in the competition:</p><p>1. Vivekanandha Women's Dental College, Thiruchengodu.</p><p>2. Vinayaka mission Sankarachariyar Dental College, Salem.</p><p>3. K.S.R.Dental College, Thiruchengodu.</p><p>4. J.K.K.Natarajah Dental College, Komarapalayam and</p><p>5. Penang International Dental College, Salem.</p>

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17

Osmond, Gillian. "CLEANING CASE STUDIES:"WOLBERS TECHNOLOGY" ATTHE QUEENSLAND ART GALLERY." AICCM Bulletin 17, no. 3-4 (December 1991): 47–52. http://dx.doi.org/10.1179/bac.1991.17.3-4.005.

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18

McKay, Belinda. "A State of Harmony? Music in the Deep North." Queensland Review 5, no. 1 (May 1998): 1–16. http://dx.doi.org/10.1017/s1321816600001665.

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The subject of this paper is music in Queensland, rather than Queensland music. Although we speak readily enough, and unselfconsciously, about Queensland literature or Queensland art, the idea of ‘Queensland music’ (suggesting that there is something distinctive about music composed here) sits uncomfortably to those of us who are not Queensland composers-and even to some who are. I will not be concerned in this paper with distinguishing between the original and the derivative in Queensland musical culture. Rather, I begin from the premise that Queenslanders — like people elsewhere — have developed a unique set of cultural interactions with music, reflecting our particular history and social conditions. In this understanding of music, performance has as much social and cultural significance as composition.

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19

Hall, J. "Current research: The University of Queensland." Queensland Archaeological Research 4 (January 1, 1987): 115–16. http://dx.doi.org/10.25120/qar.4.1987.175.

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Archaeological research at UQ is presently very healthy with a number of people doing a variety of projects. An important milestone was reached in 1987 when the University of Queensland awarded its first Ph.D. in archaeology to Ian Walters for his thesis research into the development of the prehistoric Aboriginal fishery in Moreton Bay. Ian has since gained a position as the first archaeological Lecturer at the new University College of the Northern Territory.

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20

Wang, Weiwei. "Inheritance of Folk Art in College Art Design Education." E3S Web of Conferences 253 (2021): 02072. http://dx.doi.org/10.1051/e3sconf/202125302072.

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Nowadays, art design majors are offered in all art colleges and universities in China, but the students and teachers of this major often do not have a deep understanding of art design, which hinders the folk art inheritance of Chinese art design students. This paper explains folk art and art design, analyzes its characteristics, puts forward the problems of folk art inheritance in China, and puts forward the effective path of art design into folk art.

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21

Cryle, Denis. "Creating a Culture: Literary Events, Institutions and Communities in Central Queensland." Queensland Review 13, no. 2 (July 2006): 85–104. http://dx.doi.org/10.1017/s132181660000444x.

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Professor J.J. Stable, a pioneer of Australian literature at the University of Queensland, recognised the sporadic development of the state's literary culture when he observed in 1924 that, while Queensland writing was ‘not what it was’: ‘There is however very evident in Queensland at the present time a revival of interest in all matters appertaining to art and literature.’ The moment for this optimistic reflection was, aptly, the Brisbane centenary celebrations. While predominantly a metropolitan event, it was not without ramifications for regional Queensland writers. Like the state and national commemorations of 1959 and 1988, it began to recognise local talent and Queensland cultural achievement in a cohesive and semi-official manner.

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22

Webster, Patrick, Stephen Murphy, Nicholas Leseberg, and James Watson. "Retaining the ‘art’: Painted Button-quail Turnix varius do make platelets in north-eastern Queensland." Australian Field Ornithology 39 (2022): 206–10. http://dx.doi.org/10.20938/afo39206210.

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Button-quail Turnix spp. forage in a unique manner, leaving behind circular scratched depressions in the substrate known as platelets. These platelets offer an indirect method of surveying an otherwise cryptic and shy group of birds. Painted Button-quail T. varius are well known for creating platelets throughout most of their distribution. However, following 8 years of surveys from 1992 to 2000 in North Queensland, Nielsen (2000, p. 25) failed to locate any platelets and questioned whether Painted Button-quail in North Queensland may have “lost the art of forming platelets?”. During surveys in North Queensland between 2017 and 2022, we found extensive evidence at multiple locations of Painted Button-quail creating platelets that were consistent in size, shape, and placement with descriptions from elsewhere throughout the species’ distribution. A marked seasonal difference in occurrence and density of platelets was detected. Platelets were scarce from January to April, which coincides with the wet season, and increased in abundance throughout the dry season, with a peak at the end of the dry season (September–December). Platelets may represent a viable method for detecting Painted Button-quail in North Queensland, particularly during the dry season.

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23

David, Bruno, and Noelene Cole. "Rock art and inter-regional interaction in northeastern Australian prehistory." Antiquity 64, no. 245 (December 1990): 788–806. http://dx.doi.org/10.1017/s0003598x00078881.

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The Cape York peninsula, in tropical Queensland, shows distinct regional pattern in its recent rock art. And there is regional pattern also in the exchange networks of ethnohistorical times. Do these patterns bear a relationship?

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24

Murray, Rod. "Holography Course, Royal College of Art." Leonardo 24, no. 4 (1991): 481. http://dx.doi.org/10.2307/1575528.

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25

Vecchiola, Rina. "College Art Association 92nd Annual Conference." Library Hi Tech News 21, no. 4 (April 2004): 3. http://dx.doi.org/10.1108/07419050410545834.

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26

Smith, Gillian Crampton. "Design brief: Royal College of Art." Interactions 7, no. 2 (March 2000): 54–58. http://dx.doi.org/10.1145/330678.330807.

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27

Taylor, Pauline. "Doing it Differently. Link and Learn — the work of the Indigenous Education and Training Alliance." Australian Journal of Indigenous Education 30, no. 1 (2002): 43–52. http://dx.doi.org/10.1017/s1326011100001708.

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The Indigenous Education and Training Alliance (IETA) is a staff college of Education Queensland. Its primary focus is to broker and deliver professional development to educators around the policies contained within Partners for Success: strategy for the continuous improvement of education and employment outcomes for Aboriginal and Torres Strait Islander Peoples in Education Queensland (Education Queensland, 2000b). This paper describes how IETA's work to support one of the policies, Literacy for Aboriginal and Torres Strait Islander Students, has been theorised and enacted. It also discusses the organisation's successes and challenges in the significant area of language and literacy pedagogy for Indigenous students.

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28

Grant, Don. "Northern Exposure: A Queensland Councillor's Views on the College Constitutional Debate." Australasian Psychiatry 3, no. 2 (April 1995): 108. http://dx.doi.org/10.3109/10398569509080400.

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29

Flood, J., and N. Horsfall. "Excavation of Green Ant and Echidna Shelters, Cape York Peninsula." Queensland Archaeological Research 3 (January 1, 1986): 4–64. http://dx.doi.org/10.25120/qar.3.1986.181.

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This paper presents the results of archaeological excavations at Green Ant and Echidna Shelters on the Koolburra Plateau, northwest of Laura in Cape York Peninsula, north Queensland. The work was undertaken as part of a multi-attribute approach to the prehistory of the region. Such an approach to regional prehistory is exemplified by the work of Morwood in the Central Queensland Highlands who used two principal types of evidence in his study, excavated assemblages and rock art, on the basis that "as two strands in the web of evidence documenting the workings of a cultural system, a combined study of art and stone seemed to offer potential for yielding a more detailed account of the processes by which archaeological observations relate to their cultural context" (1981:1). A similar approach seemed well suited to the Koolburra Plateau, which is also extremely rich in rock art sites (Flood 1983b, 1983c).

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30

Zhang, Ran. "The Intervention and Influence of Contemporary Art in College Art Teaching." Lifelong Education 9, no. 4 (July 22, 2020): 271. http://dx.doi.org/10.18282/le.v9i4.982.

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The unique charm and various expressions of contemporary art itself have a profound impact on China's art industry, and gradually brought a positive effect on the reform of art majors in colleges and universities. Therefore, the author mainly discusses the impact of the introduction of contemporary art on the art teaching work from multiple perspectives in the art classroom teaching activities of colleges and universities through his own teaching experience, in order to provide some references for other teachers.

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31

Brewer, Thomas M. "Implications of the Southeastern College Art Conference's Art Education Policy Statement." Arts Education Policy Review 99, no. 2 (November 1997): 30–34. http://dx.doi.org/10.1080/10632919709600768.

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32

王, 爱莉. "College Art Education—Exploration and Prospect of “Art and Technology” Major." Design 04, no. 01 (2019): 5–8. http://dx.doi.org/10.12677/design.2019.41002.

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33

Eales, Tony, Catherine Westcott, Ian Lilley, Sean Ulm, Deborah Brian, and Chris Clarkson. "Roof Fall Cave, Cania Gorge: Site Report." Queensland Archaeological Research 11 (December 1, 1999): 29. http://dx.doi.org/10.25120/qar.11.1999.85.

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This site report presents a description of archaeological investigations undertaken at Roof Fall Cave, an occupied rockshelter and art site located at Cania Gorge, eastern Central Queensland. Excavation yielded quantities of stone artefacts, bone and charcoal, along with some freshwater mussel shell and ochre with an occupational sequence spanning from up to 18,576 cal BP to the historical period. Roof Fall Cave is currently the oldest dated site in Cania Gorge and possibly in the Central Queensland region.

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34

Gibson, Megan, and Nadine McAllister. "Big Art Small Viewer: A Collaborative Community Project." Contemporary Issues in Early Childhood 6, no. 2 (June 2005): 204–8. http://dx.doi.org/10.2304/ciec.2005.6.2.9.

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Campus Kindergarten is a community-based centre for early childhood education and care located on campus at the University of Queensland (UQ) in Brisbane, Australia. Being located within this diverse community has presented many opportunities for Campus Kindergarten. It is creating and embracing possibilities that has formed the basis for ongoing projects for children and teachers involving research and investigation. In 2002 Campus Kindergarten embarked on a collaborative project with the Art Museum bringing together these two departments within the university community.

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35

Heffern, Mary-Kate. "College Health Nursing: State of the Art." Journal of American College Health 34, no. 3 (December 1985): 148–49. http://dx.doi.org/10.1080/07448481.1985.9939628.

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36

Gussak, David E. "The Invisible College of Art Therapy Professionals." Art Therapy 17, no. 1 (January 2000): 4–6. http://dx.doi.org/10.1080/07421656.2000.10129439.

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37

Higgins, Ian. "Identities: A Royal College of Art Project." Interiors 9, no. 2 (May 4, 2018): 232–48. http://dx.doi.org/10.1080/20419112.2019.1575011.

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38

Koch, Jerome R., Alden E. Roberts, Myrna L. Armstrong, and Donna C. Owen. "Body art, deviance, and American college students." Social Science Journal 47, no. 1 (March 1, 2010): 151–61. http://dx.doi.org/10.1016/j.soscij.2009.10.001.

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39

Susan Curtis. "The Art of Teaching Chemistry: Bennet College." Journal of Chemical Education 71, no. 11 (November 1994): 925. http://dx.doi.org/10.1021/ed071p925.1.

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40

Dinan, Frank J., and Joseph F. Bieron. "The Art of Teaching Chemistry: Canisius College." Journal of Chemical Education 71, no. 11 (November 1994): 925. http://dx.doi.org/10.1021/ed071p925.2.

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41

Sheridan, Peter S. "The Art of Teaching Chemistry: Colgate College." Journal of Chemical Education 71, no. 11 (November 1994): 926. http://dx.doi.org/10.1021/ed071p926.1.

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Zimmer, Marc. "The Art of Teaching Chemistry: Connecticut College." Journal of Chemical Education 71, no. 11 (November 1994): 926. http://dx.doi.org/10.1021/ed071p926.3.

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Stinson, Charlie M. "The Art of Teaching Chemistry: Talladega College." Journal of Chemical Education 71, no. 11 (November 1994): 928. http://dx.doi.org/10.1021/ed071p928.1.

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44

Mai, Xin. "Multimedia Technology Aids College Art Teaching Research." Journal of Physics: Conference Series 1213 (June 2019): 042010. http://dx.doi.org/10.1088/1742-6596/1213/4/042010.

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45

Centra, John A., and Peggy Bonesteel. "College teaching: An art or a science?" New Directions for Teaching and Learning 1990, no. 43 (1990): 7–15. http://dx.doi.org/10.1002/tl.37219904303.

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46

Kong, Fanwen. "Evaluation Model of Adaptive Teaching Ability of College Art Teachers." International Journal of Emerging Technologies in Learning (iJET) 15, no. 09 (May 15, 2020): 143. http://dx.doi.org/10.3991/ijet.v15i09.14031.

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The existing evaluation models for the teaching ability of college art teachers are unadaptable, unsystematic and incomplete. To solve these problems, this paper puts forward a novel model to evaluate the adaptive teaching ability of college art teachers. Firstly, the teaching demand of college art teachers was analyzed in the knowledge age, highlighting the necessity to evaluate the adaptive teaching ability of college art teachers. Next, an evaluation system was established for the adaptive teaching ability of college art teachers in the knowledge age, and different types of evaluation indices were identified. On this basis, the grey relational analysis (GRA) was introduced to build an evaluation model for the adaptive teaching ability of college art teachers. The GRA-based evaluation model enjoys good operability and feasibility. To sum up, this paper fully integrates the evaluation system and evaluation model for the adaptive teaching ability of college art teachers. The research results have great significance in terms of theoretical innovations and practical applications.

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Bernal, Abigail. "Tracey Moffatt: Spirited, Queensland Art Gallery, Gallery of Modern Art, 25 October 2014 to 8 February 2015." Queensland Review 22, no. 2 (December 2015): 204–5. http://dx.doi.org/10.1017/qre.2015.19.

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Chandler, Lisa. "A Project Waiting to be Done: The Legitimisation of Contemporary Asian Art within the Queensland Art Gallery." Australian and New Zealand Journal of Art 16, no. 2 (July 2, 2016): 185–201. http://dx.doi.org/10.1080/14434318.2016.1237930.

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Morwood, M. J. "The archaeology of art: excavations at Maidenwell and Gatton Shelters, southeast Queensland." Queensland Archaeological Research 3 (January 1, 1986): 88–132. http://dx.doi.org/10.25120/qar.3.1986.184.

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This paper presents the results of excavations at Maidenwell and Gatton Shelters, two rock art sites in S.E. Queensland. The work was undertaken as part of a research project concerned with a major theme in Australian prehistory - the development of social and economic complexity in Aboriginal society (e.g. Lourandos 1983, 1985; Morwood 1984). As foci for a range of symbolic activities, Maidenwell and Gatton Shelters have the potential to yield evidence for changes in the nature and intensity of social interaction, particularly in the context of evidence for economic, technological and demographic change (cf. Conkey 1978, 1980; Gamble 1982, 1983).

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Chanda, Jacqueline, and Dele Jegede. "Art by Metamorphosis: Selections of African Art from the Spelman College Collection." African Arts 23, no. 4 (October 1990): 92. http://dx.doi.org/10.2307/3336958.

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