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Artykuły w czasopismach na temat "Australian Centre for Contemporary Art"
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Stevenson, Ian. "Sonic Residues 02 Australian Centre for Contemporary Art, Melbourne, Australia, 17 November 2 December 2000". Computer Music Journal 25, nr 3 (wrzesień 2001): 82–85. http://dx.doi.org/10.1162/comj.2001.25.3.82.
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Vett. "Australian Indigenous Art Centres Online: A Multi-Purpose Cultural Tourism Framework". Arts 8, nr 4 (26.10.2019): 145. http://dx.doi.org/10.3390/arts8040145.
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In early 2019, Australia’s Northern Territory (NT) government announced the $106 million funding and promotion of a new state-wide Territory Arts Trail featuring Indigenous art and culture under the banner “The World’s biggest art gallery is the NT.” Some of the destinations on the Arts Trail are Indigenous art centres, each one a nexus of contemporary creativity and cultural revitalisation, community activity and economic endeavour. Many of these art centres are extremely remote and contend with resourcing difficulties and a lack of visitor awareness. Tourists, both independent and organised, make their travelling decisions based upon a range of factors and today, the availability of accessible and engaging online information is vital. This makes the quality of the digital presence of remote art centres, particularly their website content, a critical determinant in visitor itineraries. This digital content also has untapped potential to contribute significant localised depth and texture to broader Indigenous arts education and comprehension. This article examines the context-based website content which supports remote Indigenous art centre tourism and suggests a strategic framework to improve website potential in further advancing commercial activities and Indigenous arts education.
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Fosdike, Tahney. "Kader Attia, Australian Centre for Contemporary Art (Melbourne, Australia), 30 September–19 November 2017. Curated by Rachel Kent". Journal of Visual Art Practice 17, nr 2-3 (29.05.2018): 230–32. http://dx.doi.org/10.1080/14702029.2018.1426760.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection". Dance Research 38, nr 2 (listopad 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Tuohy, Ian R. "A Proposal for an Australian Space Astronomy Data Centre". Publications of the Astronomical Society of Australia 7, nr 1 (1987): 80–87. http://dx.doi.org/10.1017/s1323358000021901.
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AbstractThe concept of a national centre for the analysis of archival and contemporary space astronomy data has been identified as a highly desirable objective by the Australian astronomical community for a number of years. With the approaching launch of the Hubble Space Telescope (HST), the time is now appropriate to actively pursue this objective. HST will generate a data archive of unique astrophysical significance over the course of the ≥ 20 year mission. It is essential that Australian astronomers have efficient access to this resource, both to maintain our position at the forefront of astronomical research, and to complement our major ground-based facilities (particularly the AAT and the Australia Telescope). An Australian facility would provide efficient access to HST data and also to the analysis tools and expertise necessary for utilizing the data. Archival data from other NASA and ESA missions could also be supported, and in the longer term, the facility could become the science centre for the Lyman/Quasat missions.This paper presents the case for an Australian Space Astronomy Data Centre, reviews the astronomy missions of relevance, and addresses the role, scope and implementation timescale of the facility. Preliminary estimates are given for the resources that will be required, and possible routes for funding the centre are outlined. Above all, the report is intended as a Discussion Paper to promote further consideration of the concept and of the service that could be provided to the Australian astronomical community.
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McQuilten, Grace. "Who is afraid of public space? Public art in a contested, secured and surveilled city". Art & the Public Sphere 8, nr 2 (1.12.2019): 235–54. http://dx.doi.org/10.1386/aps_00023_1.
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In the wake of multiple global crises, fears of terrorism, rising nationalistic sentiments globally and the pervasive impacts of gender-based violence in public spaces, contemporary urban cities are permeated with surveillance, anxiety, fear and division. In this context, what role can (and should) public art be playing? This article explores this question in the context of Melbourne, a major metropolitan centre in Australia, which has been ruptured by the multiplying effects of highly publicized episodes of street violence, isolated terrorist attacks, high-profile murders and politically driven narratives about youth gangs. Looking at the work of female artists Maryann Talia Pau, Amy Spiers and Catherine Ryan, and artists from African Australian communities including Ez Deng, Atong Atem and Asia Hassan, the article addresses questions about agency and marginalization for artists working in public space, and considers how marginalized community groups may face barriers to creating artworks that engage directly in mainstream public spaces.
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Loaney, Denis. "Australian Indigenous Art Innovation and Culturepreneurship in Practice: Insights for Cultural Tourism". Arts 8, nr 2 (9.04.2019): 50. http://dx.doi.org/10.3390/arts8020050.
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Indigenous cultural tourism offers significant future opportunities for countries, cities and Indigenous communities, but the development of new offerings can be problematic. Addressing this challenge, this article examines contemporary Australian Indigenous art innovation and cultural entrepreneurship or culturepreneurship emanating from Australia’s remote Arnhem Land art and culture centres and provides insight into the future development of Indigenous cultural tourism. Using art- and culture-focused field studies and recent literature from the diverse disciplines of art history, tourism, sociology and economics, this article investigates examples of successful Indigenous artistic innovation and culturepreneurship that operate within the context of cultural tourism events. From this investigation, this article introduces and defines the original concept of Indigenous culturepreneurship and provides six practical criteria for those interested in developing future Indigenous cultural tourism ventures. These findings not only challenge existing western definitions of both culture and culturepreneurship but also affirm the vital role of innovation in both contemporary Indigenous art and culturepreneurial practice. Equally importantly, this investigation illuminates Indigenous culturepreneurship as an important future-making socio-political and economic practice for the potential benefit of Indigenous communities concerned with maintaining and promoting their cultures as living, growing and relevant in the contemporary world.
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Fisher, Laura, i Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas". Media International Australia 158, nr 1 (11.01.2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.
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In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine art status – something that, while no longer questioned in Australia, continues to be precarious overseas. By considering how both political and aesthetic concerns were addressed by Indigenous curators Hetti Perkins and Brenda L. Croft, this discussion sheds light on the ways in which emergent political meanings associated with Indigeneity have driven new kinds of institutional practice and international cultural brokerage.
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Porr, Martin. "Art und rock-art of the Kimberley, Northwest Australia: Narratives, interpretations and imaginations". EAZ – Ethnographisch-Archaeologische Zeitschrift 51, nr 1/2 (24.03.2010): 173–90. http://dx.doi.org/10.54799/bwdk8871.
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This chapter introduces some issues related to the different interpretations and narratives that have been put forward in relation to the Indigenous rock-art of the Kimberley, Northwest Australia. At the centre of inquiry is an examination of the construction of European narratives around these images in their respective historical context. The earliest interpretations were put forward by British explorers and were constructed within the racist and evolutionistic frameworks of the 19th century. These narratives were intimately bound to the contemporary colonialist experience. However, it is also shown that certain elements of these interpretations have lasting effects that resonate until today. Interpretations about the art and the rock-art of the Kimberley find their place today in disputes over the control over land and resources between Aboriginal and other interest groups in post-colonial Australia.
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Byrne, Paula Jane. "Tracing a Female Mind in Late Nineteenth Century Australia: Rose Selwyn". Genealogy 7, nr 2 (27.04.2023): 30. http://dx.doi.org/10.3390/genealogy7020030.
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Rose Selwyn (1824–1905) was a first wave Australian feminist and public speaker. The poetry, art, and scraps of writing Rose left in her archive allow the reader to piece together an intellectual history, a genealogy of the making of self. Rose attained her way of being through several contemporary influences—the mysticism of Tractarianism, a concern with death and its meanings, an interest in the literary edges of the world, a concern with the suffering body, and a passion for women and a woman-centred world. From these tangled contemporary concerns, she made a feminism for all non-Aboriginal women apparent in her speeches. Her role as a colonising woman in a violent landscape created a complex relationship with Aboriginal people where she may be seen to be criticising her elite landholding (squatter) peers and introducing concepts such as an Aboriginal parliament.
Rozprawy doktorskie na temat "Australian Centre for Contemporary Art"
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Devrome, Kelly. "The Oneiric Veil in contemporary Australian art". Thesis, University of Ballarat, 2012. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/41170.
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The Oneiric Veil in Contemporary Australian Art researches the use of the veil in modernist art and its generative capacity to visually evoke an oneiric space. The oneiric veil is a lens through which current conceptual approaches and practices in contemporary visual art can be understood. More precisely, the oneiric veil delineates an intermediary space present in current visual culture. Therefore, the research surveys the veil sign and applications of it employed by artists from an extended historical period to demonstrate connections that link the veil to the oneiric through traditional practice and theoretical concerns. (Taken from Abstract)Doctor of Philosophy
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Foster, Susanne. "Contemporary indigenous art reflecting the place of prison experiences in indigenous life /". Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmf7541.pdf.
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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "March 2005" Bibliography: leaves 179-190.
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Aydemir, Cigdem. "Image and Voice: Muslim women in Contemporary Art". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15723.
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This paper investigates the Western image of the Muslim woman in the context of contemporary art. Through my art practice I use the veiled woman cipher to reflect on personal experiences whilst broadening definitions and displacing hegemonic representations of veiling and Muslim women in an Australian cultural context. These are exemplified through autobiographical elements, parody in the Extremist Activity series, performative interventions illustrating the concept of the body as an occupied site and architectural devices that (re)create notions of inclusion, exclusion and otherness in space. From loquacious and overbearing noblewomen to helpless harem slaves awaiting rescue by her Orientalist saviours, an analysis of the development of the Muslim woman’s image throughout history reveals the shifting and contingent nature of her role in the Western imagination. Finally, an examination of current representations of Muslim women in Australian contemporary art demonstrates how these images often repeat and reinforce, rather than depart from, Orientalist and neo-Orientalist constructs.
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Shiel, Erin Patricia. "Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15995.
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During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem. My exegesis considers these different forms and draws some links between the creative processes of the artists interviewed and the writing of poetry.
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Souliere, Rolande. "Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada". Phd thesis, University of Sydney, 2019. http://hdl.handle.net/2123/21193.
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The debate of Indigenous art as contemporary art in Western art discourse has been ongoing since the acceptance of Indigenous art as contemporary art in the early 1990s. This has resulted in a collision of four diverse fields; Western art history, Western art criticism, anthropology and Indigenous cultural material. The debate stems from the problematised way the term contemporary is defined by globalised Euro-Western art and its institutions. This thesis considers the value of applying the concept of the contemporary to Indigenous art practices and art, in particular as a mode for cultural self-determination in order to avoid the historical domination of Western art history, history and its discursive power arrangements. The term, concept or theory of the contemporary remains elusive, indefinable and widespread in Western art discourse. Various definitions exist and are based on notions of openness, newness or plurality. Criticism of the contemporary’s openness has led to speculation of the contemporary as a valid concept or theory and or as a field of art practice, particularly its claim to social or political engagement and its inability to historicise current art. This thesis contends that the openness of the contemporary concept provides a gateway in which to situate it in a much broader cultural analysis that embraces different historiographies and worldviews. Thereby directly contributing to the ongoing critical discourse of Indigenous art as contemporary art debate. This thesis contributes to addressing this debate by proposing a definition of the contemporary that bridges history, art history and contemporary art and explores the potential for administering a contemporary art practice within this view. It highlights the historical analysis of the journey of Indigenous art from the ethnographic to the contemporary art museum by examining Indigenous rupture and transformation through Western history and art history. The thesis examines Terry Smith’s recent contextualisation of contemporary theory, as Smith is the only art historian to include Indigenous art in the discussion on contemporary theory.[1] Richard Meyer’s theory on the contemporary is also examined as Meyer is unique in approaching contemporary theory from an artistic practice that embraces co-temporalities, art production and modes of trans-historicity. In ‘rendering the past as newly present’, this thesis proposes methods of contemporary art analysis in the examination of contemporary Indigenous artworks in the context that the socio-political and cultural use of contemporary art as a form of history production. Description of Creative Work An exhibition of one large installation took place at Sydney College of the Arts Galleries, Sydney in September 2016. Media included two- and three-dimensional artworks that were hung on the walls and placed on the floor. The installation used Indigenous forms, designs, processes and social, political, and cultural content as a result of the thesis research and demonstrated Indigenous artists are creating their Indigenous histories within the context of contemporary art. Photographic documentation is available in Appendix 3. [1] Terry Smith, What is Contemporary Art? (Chicago: University of Chicago Press, 2009), 133.
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Rups-Eyland, Annette Maie, University of Western Sydney, of Arts Education and Social Sciences College i School of Social Ecology and Lifelong Learning. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual". THESIS_CAESS_SELL_Rups-Eyland_A.xml, 2002. http://handle.uws.edu.au:8081/1959.7/771.
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The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.Doctor of Philosophy (PhD)
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Fries, Katherine. "Ariadne's thread - memory, interconnection and the poetic in contemporary art". Connect to full text, 2008. http://hdl.handle.net/2123/5709.
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Thesis (M.V.A.)--University of Sydney, 2009.Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.
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Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual". Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/771.
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The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.
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Wenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity". Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.
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Studio:
The work submitted for examination in December 2007 at SCA
Galleries, consists of a painting constructed within the gallery
space, and is the culmination of the research undertaken during
the Masters of Visual Arts program. Untitled (Vinyl wall
composition) I (2007) investigates how the act of making can
function as a speculative activity interested in both the
materiality of painting and the architectural context in which the
work is placed.
Research Paper:
The objective of this research paper is to investigate the
theoretical concerns raised by the studio work. It explores the
contemporary position of medium specificity through the work of
Tony Tuckson, Robert Ryman, Bernard Frize, Alan Charlton, Daniel
Buren and Katharina Grosse.
Discussion of the work of each of these artists focuses on the way
in which the physical characteristics of the materials used to
construct a painting can inform how the work is read and the ways
in which the architectural context can influence how a painting is
perceived.
Through exploring the practices of each of these artists and
establishing the conceptual strategies employed by each, this
paper seeks to locate the central concerns of my practice within
the discourse of contemporary painting.
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Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual /". View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031222.160235/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2002.A thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.
Książki na temat "Australian Centre for Contemporary Art"
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Bennett, Gordon. Godon Bennett: Contemporary Art Centre of South Australia. Adelaide: Contemporary Art Centre of South Australia, 1993.
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Adelaide Biennial of Australian Art (6th 2000). Beyond the pale: Contemporary indigenous art : 2000 Adelaide Biennial of Australian Art, Art Gallery of South Australia. Adelaide, S. Aust: The Art Gallery, 2000.
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Terry, Smith. What is contemporary art? Chicago: The University of Chicago Press, 2009.
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Mantes-la-Jolie (France). Musée de l'Hôtel-Dieu. Au centre de la Terre d'Arnhem: Entre mythes et réalité : art aborigène d'Australie = In the heart of Arnhem Land : myth and the making of contemporary aboriginal art. Mantes-la-Jolie: Musée de l'Hôtel-Dieu, 2001.
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Guest, Andrew. Baltic Centre for Contemporary Art. London: Scala, 2008.
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Gellatly, Kelly. 101 contemporary Australian artists. Melbourne, Victoria, Australia: National Gallery of Victoria, 2012.
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Cross-currents in contemporary Australian art. St. Leonards, Sydney, N.S.W: Craftsman House and Fine Art Pub., 2001.
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Isaacs, Jennifer. Spirit country: Contemporary Australian Aboriginal art. South Yarra, Vic: Hardie Grant, 1999.
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Charles, Green. Peripheral vision: Contemporary Australian Art, 1970-1994. Roseville East, N.S.W: Craftsman House, 1995.
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Manson & Woods Christie. Post-war and contemporary art. London: Christie's, 2003.
Znajdź pełny tekst źródłaCzęści książek na temat "Australian Centre for Contemporary Art"
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May, Sally K. "The Australian Art Centre Movement". W Karrikadjurren, 94–117. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429321832-6.
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Roggema, Rob. "Australian Urbanism; State of the Art". W Contemporary Urban Design Thinking, 1–10. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91950-8_1.
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Cooper, Trudi. "Community Impact of an Australian Aboriginal Art Centre". W Community Development for Social Change, 173–80. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781315528618-32.
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Chlanda, Jacqueline, Léuli Eshrāghi i Peta Rake. "The `Blue Turn' in Contemporary Art". W Critical Approaches to the Australian Blue Humanities, 93–107. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003365501-10.
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Lenehan, Fergal. "Learning About Colonialism by Scrolling?" W Studies in Digital Interculturality, 79–102. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839468890-006.
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It is here argued that lifewide learning possibilities may also be viewed in relation to social media, not least the plat-form Twitter, recently rebranded as X, and the Twitter/X thread; a number of tweets threaded together to form a longer text which is then communicated to, often, a large number of people. Twitter threads may be seen as a lifewide textual offer containing cosmopolitan potentiality, meaning here the potential for a transformation in per-spective due to contact with others on global issues, as envisioned by Delanty (2008). It is also argued that the Twitter/X thread functions as a type of social media genre, and three specific types of thread are here analyzed: 1) a collectively created type of thread which looks for contributions from numerous followers on Twitter/X, creating a multi-agent text; 2) an individually-created, 'closed' and usually numbered thread; and 3) an individually-created and open and/or open to collectivization thread, to which other tweets may be added at any time. Twitter threads from the curated Indigenous Australian account @IndigenousX, the British-Irish academic Katy Hayward and Irish historian Liam Hogan are analyzed as lifewide textual offers containing cosmopolitan potentiality. The global issue at the centre of all three threads - and accounts - are the contemporary consequences of European colonialism.
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Nakata, Sana, i Daniel Bray. "Political Representation of Aboriginal and Torres Strait Islander Youth in Australia". W The Politics of Children’s Rights and Representation, 301–23. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-04480-9_13.
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AbstractPolitical representations of Aboriginal and Torres Strait Islander children and youth reflect the deep ambivalences Australian society continues to hold toward First Nations people. This chapter explores these ambivalences by considering two key representative fields concerning Aboriginal and Torres Strait Islander children in recent years, which serve to illustrate our thesis that children play a constitutive role as temporary outsiders who present both risk and renewal to the demos (Bray & Nakata, The Figure of the Child in Democratic Politics. Contemporary Political Theory, 19, 20. https://doi.org/10.1057/s41296-019-00319-x, 2020). The first focuses on the Northern Territory Don Dale Youth Detention Centre that became the site of political controversy in 2016 for its mistreatment of youth detainees. The second explores a 2020 campaign by the conservative Liberal National Party in a recent Queensland state election to implement a youth curfew in the cities of Townsville and Cairns, that have a high number of Aboriginal and Torres Strait Islander residents. As evidenced by these debates about youth crime and incarceration, we argue that Aboriginal and Torres Strait Islander children are often represented as a source of risk which lies in tension with and forecloses the transformative potential of representing Indigenous children as sources of renewal. These cases reveal the representative terrain in which Aboriginal and Torres Strait Islander young people must resist and speak back to a white national imaginary that works to limit the possible futures that Aboriginal and Torres Strait Islander peoples imagine for themselves.
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Haag, Oliver. "Post-colonial Narratives of Australian Indigeneity in Austria: The Essl Exhibition on Contemporary Indigenous Australian Art". W German-Australian Encounters and Cultural Transfers, 161–77. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6599-6_11.
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Corbet, David. "Decolonising the Exhibitionary Complex: Australian and Latin American Art and Activism in the Era of the Global Contemporary". W Mapping South-South Connections, 23–57. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-78577-6_2.
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Reddel, Tim, Kelly Hand i Lutfun Nahar Lata. "Influencing Social Policy on Families through Research in Australia". W Family Dynamics over the Life Course, 297–312. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-12224-8_14.
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AbstractThere is an emerging academic and public policy discourse about better research engagement, impact and policy translation. In this chapter we examine the place of research in making ‘real world’ impact on the social policies and practices affecting Australian families, especially the transmission of (dis)advantage over the life course and across generations. We begin by briefly reflecting on the influence of ‘policy research’ in shaping Australia’s early social development through the 1907 Basic Wage Case by Justice Higgins (The Harvester judgement), which placed the intersection of work and family life at the centre of economic and social policy debates. While historical, these reforms laid the foundations for what can be seen as tentative life course social policy frameworks engaged in the dynamics of family life from birth to death, changing family structures, and increasing economic and gender inequality. We then examine selected historical and contemporary social policy episodes consistent with the book’s central themes where research from academia, the public sector and civil society has been impactful in key national and state-based policy systems such as social security, balancing work and family, child care, addressing gender inequality and support for vulnerable and complex families.
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Mallinson, Jonathan. "1. 1897–1900: The Making of a Potter". W William Moorcroft, Potter, 7–30. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.01.
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This chapter looks at Moorcroft’s training as a potter at the firm of E.J.D. Bodley where his father had worked as Artistic Director, and his education both at the innovative Burslem School of Art and at the National Art Training School (soon to be renamed the Royal College of Art). His appointment as a designer at James Macintyre & Co., Ltd. put him in a firm at the very centre of enlightened art education in the Potteries, its Directors including the forward-looking M.P. Wm Woodall (who had served on the Royal Commission on Technical Instruction), the philanthropist Th. Hulme, and the gifted ceramic chemist, H. Watkin. It was a firm developing its production of electrical porcelain, but keen also to invest in the manufacture of high-quality art pottery. The firm’s Minutes reveal the great benefit it soon derived from Moorcroft’s appointment. After just four years, Moorcroft had acquired an international reputation as a ceramic artist, and his Florian ware was stocked by exclusive retailers the world over, bringing widespread commercial success. It was the ideal collaboration of manufacturer and designer, of commerce and art, very much in the spirit of the Arts and Crafts. The chapter also considers Moorcroft’s distinctive integration of ornament and form, a quality often singled out in early reviews and quite different from the ‘applied’ decoration of much contemporary pottery. No less distinctive was his technique of slip decoration, his unusually rich colours achieved by staining the unfired clay with metallic oxides, and his unique practice of signing every pot by hand.
Streszczenia konferencji na temat "Australian Centre for Contemporary Art"
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Marquis, Jenefer, i Theodor Wyeld. "Ancestral Forces in Contemporary Indigenous Australian Women's Art: 3 Case Studies of Multi-dimensional Cultural Heritage Knowledge". W 2010 14th International Conference Information Visualisation (IV). IEEE, 2010. http://dx.doi.org/10.1109/iv.2010.60.
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Chun Wai, Wilson Yeung, i Estefanía Salas Llopis. "THE SPACE BETWEEN US". W INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.
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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
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Zammit, Sarah-Jane. "Notre-Dame as the Memory of Paris: Hugo, the Historical Novel and Conservation". W The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5050pxtvl.
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Controversies surrounding the restoration and representation of the narrative and memory of Notre-Dame de Paris are not new. The latest debates remind us that the building has been at the centre of conservation controversies since the nineteenth century. But why is Notre-Dame de Paris central to these debates? The answer appears to lie in its function as a mnemonic device for Paris and the French nation. This paper focuses on the four literary pieces published by Victor Hugo in the period between 1823 and 1832 – ‘Le Bande Noir’ (‘The Black Band’), ‘Note sur la Destruction des Monuments en France’ (‘Note on the Destruction of Monuments in France’), ‘Guerre aux Démolisseurs!’ (‘War on the Demolishers!’) and Notre-Dame de Paris (also known as The Hunchback of Notre-Dame). Through an analysis of these four texts, the paper will attempt to understand Hugo’s convictions about the role of buildings – especially Notre-Dame de Paris – in establishing the memory of the city and the nation, and how these in turn underpinned his arguments for conservation. Whilst these texts were all written in a period before the development of key contemporary concepts in the psychology and neuroscience of memory, this paper nevertheless uses the concepts of memory, imagination and Mental Time Travel to try to understand the kind of memory work that the Cathedral performs, and that Hugo suggests it performs in his writing. By examining how Hugo’s literature augmented and engaged the reader’s memory and imagination of the past, this paper will explain how Hugo romanticised the idea that the building was a witness to history. The paper ultimately argues that Hugo positioned Notre-Dame de Paris not only as the centrepiece in his own fiction, but as a beacon of memory for Paris and France, and as such the building came to represent Paris, and indeed the nation as a whole.
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Ozola, Silvija. "SPATIAL AND ARTISTIC DEVELOPMENT OF THE HANSEATIC CITIES ON THE BALTIC SEACOAST IN THE 13TH AND 14TH CENTURIES". W 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs09.14.
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The Roman Catholic Church had a special influence. During the economic and cultural upswing, an abbey built in Cluny became a sample in the church building during the 9th�11th century. Various trends in the cathedral building existed in different regions of Western Europe. On the Baltic Sea coast, the Pope of Rome and the Holy Roman Emperor started to spread the Catholic faith by the mid-12th century. In cities, cathedrals took the leading position and replaced monastery churches in the 13th century. The commercial importance of the trading centre of Lubeck increased when it joined with Hamburg in 1241 to form the nucleus of the Hanseatic League. Churches for citizenship Catholic parishes became architectural dominates in Hanseatic cities. An important trade city of Riga became the main economic base of the Teutonic Order and the Riga Archbishopric Centre, where urban space developed. Research object: urban space of the 13th and 14th centuries in Hanseatic cities. Research problem: sacral buildings changed urban aesthetics and the development of cities� planning; the spatial and artistic quality of Hanseatic cities had been sufficiently studied to preserve their identity during the development of the contemporary urban environment. Novelty: analysis of common and distinctive artistic features in European and Latvian Hanseatic cities in the 13th and 14th centuries. Research goal: analyse the impact of churches on the development of cities in the 13th and 14th centuries. Methods: analysis of archive documents, cartographic materials, studies of published literature, an inspection of churches in nature, photo fixation.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE". W 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.
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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE". W 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.
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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.
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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
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Faroldi, Emilio, i Maria Pilar Vettori. "Architecture as a heteronomous discipline. Debate, theories, perspectives". W 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15481.
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The debate surrounding the universal criteria of education is the starting point for an exploration of the specific nature of teaching architectural disciplines, based on a balanced alchemy between scientific, humanistic and technical knowledge, and characterised by an essential experimental approach. In this scenario, are there codified formulae for arriving at a definition of education in architecture that is capable of responding to the needs of a renewed approach to knowledge and the discipline’s evolution? We are living in a historic phase where the dynamics of training are being constantly revised, which should see teachers once again play a central role as the cornerstone of an educational and formative journey, consistent with the current reconfiguration of professions. It is a maieutic method of learning which interprets the conceptual, design-oriented and constructive dimensions as substantial and integrated elements of architectural practice; methods and tools are the means and not the ends of a teaching environment that is open and increasingly connected to each individual student. As an intellectual figure, the architect requires holistic – as well as scientific – training, able to strengthen a cross-cutting search for the foundation of an architect who should have mastered the art of constructing real buildings and living spaces, and have an evident sensitivity towards measurement, space and harmony. Today it is essential to formulate a reflection on the role of the architect, in relation to contemporary urban and social dynamics which place the environment – and its protection – at the centre of the debate. Design is learnt by designing. This means that the transmission of the values of design culture should be understood as critical competence, capable of synthesising cross-cutting contributions and addressing the complex problems of contemporaneity, by means of a conscious creative process. This contribution examines this phenomenon in order to outline methods and tools capable of training architects of the future.
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Golubkova, Ekaterina. "The Potential for the Transformation of Public Space in Yekaterinburg via Non-Standard Advertising Media". W The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-53.
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In the article, the author considers the influence of new advertising media on the establishment of public space and the transformation of the urban environment of Yekaterinburg. Though popular in Europe, the sociocultural phenomenon Ambient media remains insufficiently studied in contemporary Russia. Ambient advertising has the ability to change the usual urban space in a special way, overcoming environmental alienation and modelling the environment into a comfortable and safe one, therefore developing the public life of the city, making it attractive and creating ‘places of attraction’ for city dwellers. The author carried out an in-depth interview with representatives from the advertising community in Yekaterinburg (N = 22) to research into expert views on unconventional media, and to study expert appraisal of how the new form of advertising communication, Ambient media, impacts the urban environment of Yekaterinburg. The interviewed experts were specialists in advertising and marketing. Main occupation: advertising project management, creative strategies, outdoor ads, event-marketing, PR with a status of an advertising agency or department in the city of Yekaterinburg. Gender profile: 50% males, and 50% females; all aged between 27 and 50. Our study has revealed that advertisement experts regard Ambient media to be a very promising tool in terms of their professional practice, including in regards to the transformation of ambient urban space. Respondents note a correlation between the propagation of Ambient- objects in the city and public space formation. Non-standard media can fill the city with new meanings of freedom and creativity, helping to overcome feelings of alienation and creating new comfortable and safe spaces that people recognise as ‘their own’. Ambient-objects are moreover a source of pride for various social groups of citizens, as they contribute to the formation of a new image of Yekaterinburg: a unique, modern art centre, a city of freedom and creativity.
Raporty organizacyjne na temat "Australian Centre for Contemporary Art"
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McIntyre, Phillip, Susan Kerrigan i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.
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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.
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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Coombs, HC opening exhibition of contemporary Australian paintings at Art Gallery - September 1955. Reserve Bank of Australia, wrzesień 2022. http://dx.doi.org/10.47688/rba_archives_pn-002886.
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