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Journal articles on the topic 'The Australian National Gallery'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

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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2

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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3

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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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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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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6

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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8

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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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

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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Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.

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Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.

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12

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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13

Oliveri, Vicki, Glenn Porter, Pamela James, Jenny Wise, and Chris Davies. "Art crime: discussion on the Dancing Shiva acquisition." Journal of Criminological Research, Policy and Practice 6, no. 4 (June 6, 2020): 307–19. http://dx.doi.org/10.1108/jcrpp-03-2020-0033.

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Purpose This paper aims to explore how stolen Indian antiquities were purchased by a major Australian collecting institution, despite cultural protection policies designed to prevent such inappropriate acquisitions. Using the acquisition of the Dancing Shiva as a case study, the purpose of this paper is to examine how collecting institutions such as the National Gallery of Australia experience difficulty when determining legal title through provenance research. The impact of incautious provenance research produces significant risk to the institution including damaging its social responsibility credentials and reputation when the acquisition is discovered to be stolen. Design/methodology/approach This research applies a qualitative case study method and analysis of sourced official policy documents, personal communication with actors involved with the case, media reports and published institutional statements. Findings This work identifies four contributing factors that resulted in the National Gallery of Australia’s acquisition of stolen Indian artefacts: a misguided level of trust of the art dealer based on his professional reputation; a problematic motivation to expand the gallery’s Asian art collection; a less transparent and judicious acquisition process; and a collaboration deficiency with cultural institutions in India. Crime preventative methods would appear to be a strategic priority to counter art crime of this nature. Research limitations/implications Additional research into how collecting institutions can be effectively supported to develop and implement crime preventative methods, especially less-resourced institutions, can potentially further enhance cultural heritage protection. Practical implications Fostering a higher degree of transparency and institutional collaboration can enhance cultural heritage protection, develop a greater level of institutional ethics and social responsibility and identify any potential criminal activity. Changing the culture of “owning” to “loaning” may provide a long-term solution for cultural heritage protection, rather than incentivising a black market with lucrative sums of money paid for artefacts. Social implications Art crime involving the illegal trade of antiquities is often misinterpreted as a victimless crime with no real harm to individuals. The loss of a temple deity statue produces significant spiritual anguish for the Indian community, as the statue is representative not only of their God but also of place. Collecting institutions have a social responsibility to prioritise robust provenance policy and acquisition practices above collection priorities. Originality/value Art crime is a relatively new area within criminology. This work examines issues involving major collecting institutions acquiring stolen cultural heritage artefacts and the impact art crime has on institutions and communities. This paper unpacks how motivations for growing more prestigious collections can override cultural sensibilities and ethical frameworks established to protect cultural heritage. It highlights the liabilities associated with purchasing antiquities without significant due diligence regarding provenance research and safeguarding cultural heritage. It also emphasises the importance for collecting institutions to establish robust acquisition policies to protect the reputation of the institutions and the communities they represent.

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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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15

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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16

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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17

Wolny, Ryszard W. "Andrew Taylor: Australia’s Poet of the (Extra)Ordinary." European Journal of Language and Literature 5, no. 3 (September 25, 2019): 7. http://dx.doi.org/10.26417/ejls.v5i3.p7-10.

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Andrew Taylor (1940-) has been regarded as one of the most significant living Australian poets largely due to the fact of his unusual use of the poetic language and the selection of topics. He undoubtedly belongs to the group of the poets, like John Kinsella, who create mastery in their so-called ‘niche’ market, quietly continuing to produce compositions of remarkable quality, and receiving national and international recognition for their achievements. Andrew Taylor’s Impossible Preludes (Poems 2008-2014) is a unique and beautiful retrospective on life, love and everything in between, with its full array of extraordinariness embedded in the ordinariness of everyday life. Each line is a story within itself, painting a picture for the reader to follow as vividly as one might expect in an art gallery. Every poem is full of colour and weight as it takes you on a journey into the mind of this creative and talented individual. Therefore, the aim of this paper is to disclose these elements in Andrew Taylor’s poetry that make it so extraordinary in its ordinariness and find out possible sources of this idiosyncrasy.

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18

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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Hudson, Hugh. "A Note on the Identity of the Donor in a Triptych from the Cologne School in the National Gallery of Australia." Parergon 33, no. 1 (2016): 183–90. http://dx.doi.org/10.1353/pgn.2016.0009.

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20

Williams, Leah, and Sophie Lewincamp. "On Parr: materiality and intent in the preservation of Mike Parr’s prints in the collection of the National Gallery of Australia." AICCM Bulletin 35, no. 1 (December 2014): 33–43. http://dx.doi.org/10.1179/bac.2014.35.1.004.

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D'Cunha, Nathan M., Andrew J. McKune, Stephen Isbel, Ekavi N. Georgousopoulou, Jane Kellett, and Nenad Naumovski. "EFFECTS OF AN ART GALLERY INTERVENTION IN PEOPLE LIVING WITH DEMENTIA: A PILOT STUDY." Innovation in Aging 3, Supplement_1 (November 2019): S52. http://dx.doi.org/10.1093/geroni/igz038.204.

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Abstract Art gallery programs tailored to the needs of people living with dementia are becoming more popular worldwide. This study aimed to observe the effects of six consecutive weekly discussion-based small group visits to the National Gallery of Australia Art and Dementia program on the salivary cortisol (SC) diurnal rhythm, salivary interleukin-6, quality of life (QoL), depressive symptoms, and cognitive function. Twenty-five participants (17 female; mean age 84.6 ± 7.27 years) completed the study with data collection at baseline, post-intervention, and at a six-week follow-up. Statistical methods were selected based on data distribution. The waking to evening (WE) SC ratio was altered (p = 0.016) (Baseline: 1.35 (1.19, 1.64), Post-intervention: 1.72 (1.54, 1.96), Follow-up: 1.44 (1.22, 1.79)) in the 22 participants who provided viable saliva samples. The WE SC ratio was higher post-intervention compared with baseline (p = 0.011), indicating a more dynamic SC rhythm, but returned to baseline levels at follow-up (p = 0.020). Interleukin-6 levels were unchanged (p = 0.664). In the total sample, no improvements in QoL (Proxy) (p = 0.165) were observed. However, self-reported depressive symptoms differed (p = 0.006), decreasing post-intervention (2.00 (1.00, 2.00)) compared with baseline (3.00 (2.00, 4.50)) (p = 0.015), and verbal fluency was affected (p = 0.027), improving from baseline (2.00 (0.00, 3.00)) to post-intervention (2.00 (0.50, 4.00)) (p = 0.027). Art and Dementia programs appear to have quantifiable benefits, including improved hypothalamic-pituitary-adrenal axis function, justifying a longer controlled trial inclusive of physiological outcomes.

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McKellar, Duncan, and Jackie Hanson. "Codesigned framework for organisational culture reform in South Australian older persons' mental health services after the Oakden Report." Australian Health Review 44, no. 6 (2020): 862. http://dx.doi.org/10.1071/ah18211.

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The Oakden Report documented failures in governance, clinical practice and organisational culture occurring at the Oakden Older Persons’ Mental Health Service and drew national attention to the care of older people with complex clinical needs. Responding to the recommendations of the Report, a working group brought together stakeholders to engage in a codesign process involving literature review, gallery walks and focus groups, under the governance of the Oakden Response Oversight Committee. The working group developed a framework as a blueprint for organisational culture reform built around a central philosophy of compassionate relationship-centred care, supported by four priorities: developing a values-based workforce, cultivating psychological safety, facilitating excellence in care and providing transparent accountability. The purpose of the framework was to provide a way forward for South Australian older persons’ mental health services after The Oakden Report, and it may provide insight into similar processes of codesign and culture change in other service contexts. What is known about the topic? Changes to healthcare systems, requiring improved efficiencies and lower costs, are contributing to increasing challenges with staff satisfaction and wellbeing, and consistent delivery of dignified, meaningful care to people and their families. The need to nurture and lead healthcare organisations characterised by compassionate cultures is an increasingly prominent theme in global healthcare literature. The engagement of people with lived experience at all levels of system design supports effective and ethical service development. What does this paper add? This paper illustrates an approach to positive, compassion-focused organisational culture change, developed through codesign, occurring as a reform process following a crisis in service delivery. The paper applies key concepts in a framework that may be applied in a range of services to achieve positive organisational transformation. What are the implications for practitioners? Committed action to develop positive organisational culture characterised by compassionate relationship-centred care will have benefit for healthcare providers and the people who receive care. Keeping people with lived experience at the centre of design and development will support optimal outcomes for all stakeholders.

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Bruns, Axel, and Christian Nuernbergk. "Political Journalists and Their Social Media Audiences: New Power Relations." Media and Communication 7, no. 1 (March 21, 2019): 198–212. http://dx.doi.org/10.17645/mac.v7i1.1759.

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Social media use is now commonplace across journalism, in spite of lingering unease about the impact the networked, real-time logic of leading social media platforms may have on the quality of journalistic coverage. As a result, distinct journalistic voices are forced to compete more directly with experts, commentators, sources, and other stakeholders within the same space. Such shifting power relations may be observed also in the interactions between political journalists and their audiences on major social media platforms. This article therefore pursues a cross-national comparison of interactions between political journalists and their audiences on Twitter in Germany and Australia, documenting how the differences in the status of Twitter in each country’s media environment manifest in activities and network interactions. In each country, we observed Twitter interactions around the national parliamentary press corps (the Bundespressekonferenz and the Federal Press Gallery), gathering all public tweets by and directed at the journalists’ accounts during 2017. We examine overall activity and engagement patterns and highlight significant differences between the two national groups; and we conduct further network analysis to examine the prevalent connections and engagement between press corps journalists themselves, and between journalists, their audiences, and other interlocutors on Twitter. New structures of information flows, of influence, and thus ultimately of power relations become evident in this analysis.

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24

Kirby, Michael. "Health, Law and Sexuality. Qui Cherche Trouve." Law in Context. A Socio-legal Journal 36, no. 2 (March 23, 2020): 1–5. http://dx.doi.org/10.26826/law-in-context.v36i2.105.

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This is the keynote address for the Bold Thinking Series event at the National Gallery of Victoria (NGV) Great Hall on 4 May 2017. The language of the oral delivery of this address has been retained. Amidst a rich historical context, the author explores the legal and moral complexities that lie at the intersection of law, sexuality and health. Drawing on his long-standing participation in many international bodies concerned with human rights, he discusses the many great wrongs perpetrated against LGTBQI communities both internationally and domestically, and highlights the challenges that countries around the world face to remove discrimination in laws, policies and culture. He emphasises by way of case examples, the physical, emotional and political harm that this has caused and will continue to cause if legislative and cultural change is not forthcoming. He concludes that equality before the law is a basic tenet of human rights, and that to the extent that Australia and other countries are not achieving equality, we must rise to the challenge and drive genuine change.

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Diego Espinel, Andrés. "A glimpse at the life of a 6th dynasty official: Ankhemtjenenet/Inkhi and the block National Gallery of Victoria (Australia) inv. no. D118-1982." Chronique d'Egypte 90, no. 180 (January 2015): 227–58. http://dx.doi.org/10.1484/j.cde.5.110402.

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Garrison, Mark B. "Ancient Near Eastern Glyptic in the National Gallery of Victoria, Melbourne, Australia. By Parvine H. Merrillees. Studies in Mediterranean Archaeology 129. Jonsered: Paul Åströms Förlag, 2001. Pp. viii + 94 + 28 figs. + 8 pls." Journal of Near Eastern Studies 63, no. 3 (July 2004): 216–17. http://dx.doi.org/10.1086/424777.

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27

Rubinstein, Ben. "The micro gallery at the national gallery of London." Archives and Museum Informatics 6, no. 2 (June 1992): 5–10. http://dx.doi.org/10.1007/bf02770344.

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Smith, Philip E. M. "Neurology in the National Gallery." Journal of the Royal Society of Medicine 92, no. 12 (December 1999): 649–52. http://dx.doi.org/10.1177/014107689909201214.

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Thomas, Ann W. "The National Gallery of Canada." History of Photography 20, no. 2 (June 1996): 171–74. http://dx.doi.org/10.1080/03087298.1996.10443645.

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30

Mervis, J. "National Lab Day: Image Gallery." Science 329, no. 5989 (July 15, 2010): 270. http://dx.doi.org/10.1126/science.329.5989.270-f.

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31

Braman, George N. "The Girl in the National Gallery." Annals of Internal Medicine 144, no. 8 (April 18, 2006): 595. http://dx.doi.org/10.7326/0003-4819-144-8-200604180-00010.

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32

Cannon, Catríona. "The National Gallery of Ireland Library." Art Libraries Journal 25, no. 3 (2000): 21–24. http://dx.doi.org/10.1017/s030747220001172x.

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The National Gallery of Ireland Library has recently re-opened to internal and external readers after a number of years. The concentration so far has been on reader services, while a major revision of the cataloguing and classification procedures is being undertaken. New projects to organise the Gallery’s Archives and make them more accessible for research, and to open a sponsored Centre for the Study of Irish Art in 2002-3, show the Library’s revived interest in reaching its potential users.

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Molnar, Michael. "Freud in the National Portrait Gallery." American Imago 69, no. 1 (2012): 107–33. http://dx.doi.org/10.1353/aim.2012.0000.

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Raymond, Mareeni. "Making Sculpture at the National Gallery." BMJ 326, Suppl S5 (May 1, 2003): 0305171. http://dx.doi.org/10.1136/sbmj.0305171.

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C.-B., P. "The National Gallery Christies Furniture Fund." Museum Management and Curatorship 8, no. 3 (September 1989): 327–28. http://dx.doi.org/10.1016/0260-4779(89)90082-4.

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Molaro, P. "Thomas Harriot at the National Gallery?" Astronomische Nachrichten 339, no. 1 (August 9, 2017): 103–8. http://dx.doi.org/10.1002/asna.201713374.

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37

L. Oliver, Damon, Andrew J. Ley, Hugh A. Ford, and Beth Williams. "Habitat of the Regent Honeyeater Xanthomyza phrygia and the value of the Bundarra-Barraba region for the conservation of avifauna." Pacific Conservation Biology 5, no. 3 (1999): 224. http://dx.doi.org/10.1071/pc990224.

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Five types of woodland and forest in the Bundarra-Barraba region of northern New South Wales were surveyed for Regent Honeyeaters Xanthomyza phrygia and other birds over two years. Regent Honeyeaters were found in 24 of the 93 transects, at a density of 0.09 birds/ha. Most were found in box-ironbark woodland (34% of 62 sites), with single records from box-gum woodland, box-stringybark woodland and dry plateau complex woodland. No Regent Honeyeaters were found in riparian gallery forest during censuses, but they were found breeding there at other times. All habitats contained a high density of birds, compared to other wooded regions in southern Australia, with riparian gallery forest and box-ironbark woodland being particularly rich in species and numbers. These habitats had greater flowering indices, larger trees and more mistletoes than other habitats. Sites used by Regent Honeyeaters supported significantly more birds and bird species than unoccupied sites. The region supports a total of 193 species, four of which are nationally threatened and seven which are threatened in New South Wales. The richness of the bird community in the region is partly because it retains a higher proportion of native vegetation cover (43%) than many other parts of rural Australia. Protection and rehabilitation of box-ironbark woodland and riparian gallery forest is of high priority in a regional conservation plan. However, all habitats in the Bundarra-Barraba region should be protected from clearing and degradation, because they are also used at times by Regent Honeyeaters and support a wide range of bird species. Wise management should retain many sensitive bird species that have disappeared from or declined in other regions of southeastern Australia.

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38

Imhof, Robin. "National Portrait Gallery200442National Portrait Gallery. London: National Portrait Gallery Gratis URL: http://www.npg.org.uk/ Last visited September 2003." Reference Reviews 18, no. 1 (January 2004): 48–49. http://dx.doi.org/10.1108/09504120410513429.

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39

Clarke, Patricia. "The Australian in Canberra, 1964–67." Media International Australia 157, no. 1 (November 2015): 41–48. http://dx.doi.org/10.1177/1329878x1515700106.

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This article discusses the impact of The Australian on Canberra from its first issue on 15 July 1964 to the move to Sydney on 18 March 1967. It covers the acquisition of the Territorial; the change of ownership of Federal Capital Press to the Fairfax organisation; the battle with the Canberra Times for dominance in the local market; the impact of the influx of journalists on a previously static news scene; their impact on Press Gallery reporting; and the impact of more penetrating reporting on the public service. These themes are developed against the background of a city enjoying a burst of development. The article draws on the author's experience as a journalist with the ABC in the Press Gallery in Canberra in the 1960s, as a contributor to The Australian as a writer/editor for Maxwell Newton, as a citizen and as honorary secretary for the Canberra Day Celebrations 1964.

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40

Houghton, Kim, and Royall Tyler. "Australian National University." Japanese Studies 12, no. 1 (May 1992): 101–3. http://dx.doi.org/10.1080/10371399208521932.

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41

Young, Christabel. "Australian National Identity." Population Studies 46, no. 3 (November 1, 1992): 557–58. http://dx.doi.org/10.1080/0032472031000146656.

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42

Warner, Malcolm. "The Pre-Raphaelites and the National Gallery." Huntington Library Quarterly 55, no. 1 (January 1992): 1–11. http://dx.doi.org/10.2307/3817652.

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43

Whitehead, Christopher. "Architectures of display at the National Gallery." Journal of the History of Collections 17, no. 2 (December 1, 2005): 189–211. http://dx.doi.org/10.1093/jhc/fhi023.

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44

Wiseman, Frederick. "Presentación de National Gallery, de Frederick Wiseman." Cuadernos de Cine Documental, no. 10 (September 2, 2016): 62–66. http://dx.doi.org/10.14409/ccd.v0i10.6036.

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45

Wright, Elizabeth. "Virginia Woolf at the National Portrait Gallery." Women: A Cultural Review 25, no. 4 (October 2, 2014): 429–30. http://dx.doi.org/10.1080/09574042.2014.989744.

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46

Baxter, Paula A. "THE NATIONAL PORTRAIT GALLERY COLLECTION. Susan Foister." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 1 (April 1990): 43. http://dx.doi.org/10.1086/adx.9.1.27948199.

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47

Strauss, RM, H. Marzo-Ortega, and V. Goulden. "Skin abnormalities in the National Portrait Gallery." Journal of the European Academy of Dermatology and Venereology 18, no. 5 (September 2004): 566–68. http://dx.doi.org/10.1111/j.1468-3083.2004.01024.x.

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48

Hasnes, Geir. "Chesterton and the National Portrait Gallery Postcards." Chesterton Review 46, no. 1 (2020): 87–111. http://dx.doi.org/10.5840/chesterton2020461/212.

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49

Kluger, Nicolas. "Skin abnormalities in the Finnish National Gallery." Journal of Cosmetic Dermatology 19, no. 4 (August 24, 2019): 960–63. http://dx.doi.org/10.1111/jocd.13095.

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ROGERS, MALCOLM. "MASTER DRAWINGS FROM THE NATIONAL PORTRAIT GALLERY." Art Book 1, no. 2 (March 1994): 30. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00038.x.

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