Статті в журналах: "The National Museum of Australia"

1

Alexander, Margaret. "NATIONAL MUSEUM OF AUSTRALIA." AICCM Bulletin 15, no. 1-2 (January 1989): 42–43. http://dx.doi.org/10.1179/bac.1989.15.1-2.013.

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2

Dean, David, and Peter E. Rider. "Museums, Nation and Political History in the Australian National Museum and the Canadian Museum of Civilization." Museum and Society 3, no. 1 (April 8, 2015): 35–50. http://dx.doi.org/10.29311/mas.v3i1.63.

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The role museums play in shaping the public’s understanding of the past has recently become a matter of considerable interest for historians and others. In Canada and Australia, portraits of their country’s history created by national museums have ignited considerable controversy. The Canadian Museum of Civlization’s Canada Hall was the subject of a review by four historians, chosen to examine the Hall’s portrayal of political history, while the National Museum of Australia faced a highly politicised public review of all of its exhibits soon after the museum opened. By analysing and interpreting the findings of these reviews, the authors raise questions about the ability of museums to respond to historical controversy, shifting historiographies and changing understandings of what is important in the past.

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3

Bilous, Rebecca H. "Macassan/Indigenous Australian ‘sites of memory’ in the National Museum of Australia and Australian National Maritime Museum." Australian Geographer 42, no. 4 (December 2011): 371–86. http://dx.doi.org/10.1080/00049182.2012.619953.

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4

Ferres, Kay. "Cities and Museums: Introduction." Queensland Review 12, no. 1 (January 2005): 1–4. http://dx.doi.org/10.1017/s1321816600003846.

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In September 2004, the Museum of Brisbane, Museums Australia and the Centre for Public Culture and Ideas at Griffith University hosted a symposium, ‘Cities and Museums’, at the university's Southbank campus. This event initiated a conversation among museum professionals and academics from across Australia. Nick Winterbotham, from Leeds City Museum, and Morag Macpherson, from Glasgow's Open Museum, and were keynote speakers. Their papers provided perspectives on museum policy and practice in the United Kingdom and Europe, and demonstrated how museums can contribute to urban and cultural regeneration. Those papers are available on the Museum of Brisbane website (www.brisbane.qld.gov.au/MoB). The Cities and Musuems section in this issue of Queensland Review brings together papers that explore the relationship of cities and museums across global, national and local Brisbane contexts, and from diverse disciplinary perspectives. The disciplines represented in this selection of papers from the symposium include social history, urban studies, literary fiction, and heritage and cultural policy.

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5

ALLSOPP, PETER G., and PETER J. HUDSON. "Novapus bifidus Carne, 1957, a primary homonym and synonym of Novapus bifidus Lea, 1910 (Coleoptera: Scarabaeidae: Dynastinae)." Zootaxa 4560, no. 3 (February 26, 2019): 576. http://dx.doi.org/10.11646/zootaxa.4560.3.9.

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In his landmark revision of the Australian Dynastinae (Coleoptera: Scarabaeidae) Phil Carne (1957) described Novapus bifidus Carne, 1957 from males and females collected at Cape York and Thursday Island. The type series is in the Australian National Insect Collection, Canberra, Australia (ANIC); the Natural History Museum, London, United Kingdom; the South Australian Museum, Adelaide, Australia (SAM); and the Museum of Victoria, Melbourne, Australia. He noted “In the collections of the South Australian Museum there are specimens designated as types of bifidus Lea. No description of this species has been published, and it is now described under the same specific name”. One of his paratypes is a female in SAM identified as “Lea’s unpublished ♀ type” and two other paratypes are males in SAM. Cassis & Weir (1992) noted that one of the SAM specimens has the registration number I4268, although they knew of only two paratypes (one male, one female) in that collection. The name has been attributed to Carne by most subsequent authors (Endrődi 1974, 1985; Carne & Allsopp 1987; Cassis & Weir 1992; Dechambre 2005; Atlas of Living Australia 2018.). Krajcik (2005, 2012) listed it in his scarab checklists but as “bifidus? Carne 1957”.

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6

McShane, Ian. "Productive Nation? Museums, Cultural Policy and Australia’s Productivity Narrative." Museum and Society 14, no. 1 (June 9, 2017): 131–45. http://dx.doi.org/10.29311/mas.v14i1.669.

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This article traces the emergence of productivity as a central theme in Australia’s national cultural policy, and discusses some implications of this development for the Australian museum sector. The analysis focuses on two texts – Australia’s two national cultural policies, Creative Nation (1994) and Creative Australia (2013) – to highlight changing policy rhetorics through which cultural heritage and cultural pluralism lose traction, and productivity, innovation and creativity find favour. The article argues that the government’s concern to boost sources of economic growth in twenty-first century Australia focus cultural policy on the arts and creative industries, seen as the locus of innovation and the wellspring of creative activity. The article argues against this narrow construction of productivity and its sources, showing why museums are important contributors to a productivity policy agenda in a culturally diverse and globalized society. Key words: cultural policy, Australia, creative industries, productivity, diversity

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7

Morphy, Howard, Jason M. Gibson, and Alison K. Brown. "Special Section." Museum Worlds 10, no. 1 (July 1, 2022): 218–29. http://dx.doi.org/10.3167/armw.2022.100119.

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Anthropology, Art, and Ethnographic Collections: A Conversation with Howard MorphyJason M. Gibson (JG): In your book Museums, Infinity and the Culture of Protocols: Ethnographic Collections and Source Communities (Morphy 2020), you begin with an anecdote of visiting the Pitt Rivers Museum as a young child. Did museums play a part in sparking an interest in humanity, and its diversity, or were you fascinated by the Other?Book Review: Museums, Societies and the Creation of Value, Howard Morphy and Robyn McKenzie, eds. (London: Routledge, 2022)What does value mean within and beyond museum contexts? What are the processes through which value is manifested? How might a deeper understanding of these processes contribute to the practice of museum anthropology? These questions are explored in Museums, Societies and the Creation of Value, which looks at collaborative work in museums using ethnographic collections as a focus. Most of the chapters involve collections from Australia and the Pacific—reflecting the origins of many of them in two conferences associated with the project “The Relational Museum and Its Objects,” funded by the Australian Research Council and the Australian National University and led by Howard Morphy. Bringing together early career researchers, as well as museum-based scholars who have many years of thinking through and learning with community-based research partners, makes evident how the processual shifts in museum anthropology toward a more collaboratively grounded practice have become normalized, but crucially also highlights the value of “slow museology,” as the editors note in their introduction (3), acknowledging Raymond Silverman’s (2015) term. While the editors caution that the core values of ethnographic collections and museums are not universal, the inclusion of chapters from beyond the Australia/Pacific region highlights that the foundational underpinning values and aspirations for cross-cultural work—“the desire for understanding” and “the desire to be understood” (22) are shaping much of the innovative museum-based work currently being carried out worldwide. Examples include Gwyneira Isaac’s chapter on 3D technologies of reproduction and their value for Tlingit of Alaska, and Henrietta Lidchi and Nicole Hartwell’s examination of how materiality and memory intersect in collections associated with nineteenth-century British military campaigns.

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8

Nettelbeck, Amanda. "Remembering indigenous dispossession in the national museum: The National Museum of Australia and the Canadian Museum of Civilization." Time & Society 21, no. 1 (March 2012): 39–54. http://dx.doi.org/10.1177/0961463x11431335.

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9

Stead, Naomi. "The semblance of populism: National Museum of Australia." Journal of Architecture 9, no. 3 (September 2004): 385–96. http://dx.doi.org/10.1080/13602360412331296170.

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10

Gore, James. "The Idea of a National Museum for Australia." Museum History Journal 1, no. 1 (January 2008): 75–102. http://dx.doi.org/10.1179/mhj.2008.1.1.75.

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11

BEAVER, ETHAN P., MICHAEL D. MOORE, ALEJANDRO VELASCO-CASTRILLÓN, and MARK I. STEVENS. "Three new ghost moths of the genus Oxycanus Walker, 1856 from Australia (Lepidoptera: Hepialidae)." Zootaxa 4732, no. 3 (February 13, 2020): 351–74. http://dx.doi.org/10.11646/zootaxa.4732.3.1.

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Three new species of ghost moth, Oxycanus ephemerous sp. nov., O. flavoplumosus sp. nov., and O. petalous sp. nov. are described from South Australia, New South Wales, and south-west Western Australia, respectively. We illustrate these species and compare morphological and molecular (mtDNA COI gene) characters with similar Oxycanus Walker, 1856 species from Australia. Comparative images of Oxycanus subvaria (Walker, 1856), O. byrsa (Pfitzner, 1933), and O. determinata (Walker, 1856) are figured. The type material of the three new species are held in the Australian National Insect Collection, Canberra, the Western Australian Museum, Perth, and in the South Australian Museum, Adelaide. The type specimens of Oxycanus hildae Tindale, 1964 syn. n. were also examined and the taxon is here considered synonymous with O. subvaria. Concerns are raised about the conservation status of all three new species due to few or localised distribution records.

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12

Hauck, Allan J., Derek H. T. Walker, Keith D. Hampson, and Renaye J. Peters. "Project Alliancing at National Museum of Australia—Collaborative Process." Journal of Construction Engineering and Management 130, no. 1 (February 2004): 143–52. http://dx.doi.org/10.1061/(asce)0733-9364(2004)130:1(143).

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13

Biskup, Peter. "State Libraries in Australia." Alexandria: The Journal of National and International Library and Information Issues 6, no. 2 (August 1994): 115–31. http://dx.doi.org/10.1177/095574909400600204.

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Australia is a federation of six states, two self-governing territories and a number of external territories. The state libraries were modelled on the British Museum Library and saw themselves as ‘national’ institutions, with a mandate to collect ‘books of all languages and descriptions’. Until the 1950s they remained the backbone of the Australian library system. By 1962, with the expansion of university education, the holdings of the university libraries for the first time equalled the combined resources of the state libraries and the National Library of Australia (NLA). The other development that transformed the post-war library scene was the emergence of the NLA itself from the relative obscurity of the pre-war years. The rivalry that grew up between the state libraries and the NLA was eventually put to rest by a number of factors, including the creation of the Australian Bibliographic Network and the resulting National Bibliographic Database, which made all types of library more interdependent; also the enforced sharing of the new poverty of the 1980s and the early 1990s. However, the state libraries themselves are now better housed, leaner and more efficiently run than they were even a decade ago. The 5.2 million volumes they hold account for almost 13% of the nation's bibliographic resources.

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14

Cvoro, Uros. "Monument to anti-monumentality: the space of the National Museum Australia." Museum and Society 4, no. 3 (April 9, 2015): 116–28. http://dx.doi.org/10.29311/mas.v4i3.83.

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This article explores the space of the National Museum Australia as a complex interplay between different spatial levels, and the way in which this interplay enables the NMA to foreground internal tensions architecturally. I am also interested in the way these internal tensions contribute towards creating representations of spaces as politically charged. I argue that the space of the NMA should be read as riven with tension between monumental space and what I refer to as protean monumental space. The tension between the monumental and the protean monumental is always already entailed within the spatial practice and spatial representation of producing the NMA’s space. This tension is internal and central to the museum itself, yet it is a tension that leads to a production of a ‘third space’ that is already predicated by the other two, or is revealed by the experiencing body of the museum visitor.

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15

Hansen, Guy. "Telling the Australian Story at the National Museum of Australia: ‘Once Upon A Time...’." History Australia 2, no. 3 (January 2005): 90.1–90.9. http://dx.doi.org/10.2104/ha050090.

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16

Cole, Anne J., and Eva Brooks. "Inclusive Indigenous Australian voices in the semiotic landscape of the National Museum of Australia." Museums & Social Issues 12, no. 2 (July 3, 2017): 126–39. http://dx.doi.org/10.1080/15596893.2017.1388624.

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17

Humphreys, Janelle Robyn. "Art and the Mathematics of the National Museum of Australia." International Journal of the Arts in Society: Annual Review 1, no. 4 (2007): 69–76. http://dx.doi.org/10.18848/1833-1866/cgp/v01i04/36054.

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18

Ford, Bruce. "Non-destructive microfade testing at the National Museum of Australia." AICCM Bulletin 32, no. 1 (December 2011): 54–64. http://dx.doi.org/10.1179/bac.2011.32.1.008.

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19

Chandler, Donald S. "New Genera and Species of Tyrini From Australia (Coleoptera: Pselaphidae)." Psyche: A Journal of Entomology 94, no. 1-2 (January 1, 1987): 15–34. http://dx.doi.org/10.1155/1987/42532.

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While preparing a paper on the pselaphid genera of Australia, three groups of the Tyrini, subtribe Tyrina, were discovered which could not be placed within the current generic concepts of the Australian fauna One of hese groups apears to be congeneric with Tyrogetus Broun from New Zealand. white the other two represent undescribed genera, With the recognition of these taxa, the major generic components of the Tyrini appear to be described for AustraliaAll measurements are in millimeters. Slides of cleared and disarticulated specimens were used to determine the patterns of foveation of the genera. Holotypes are placed in the Australian National Insect Collection Canberra, or in the National Museum of Victoria, Abbotsford.

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20

Marcus, Julie. "What's at Stake? History Wars, the NMA and Good Government." Cultural Studies Review 10, no. 1 (September 13, 2013): 134–48. http://dx.doi.org/10.5130/csr.v10i1.3548.

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I want to place the fate of the National Museum of Australia (NMA) in the context of some of the political strategies that underpin the electoral placidity and public acceptance of a government so radically reshaping Australian democratic institutions. A national museum that reaches and engages with a national constituency can be an important place for the vigorous public debate that democracy requires. In such a place, political doctrines and dogmas, cultural fantasies and assumptions, historical interpretations and good old common-sense may all be scrutinised as well as confirmed. Such a place sits beside schools and universities, public libraries and art galleries and festivals, each of which provides the opportunity for reflection as well as for congratulation. As with the other publicly funded but independent sites of public reflection, the National Museum is to be reined in and redirected. It is to become ‘balanced’. Nothing could more surely ring its death knell. In future, the museum’s visitors will reflect along the narrow and limited lines of carefully delineated ‘alternatives’ that in fact confine and constrain rather than enlarge understanding.

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21

Krige, Anna-Sheree, Siew-May Loh, and Charlotte L. Oskam. "New host records for ticks (Acari : Ixodidae) from the echidna (Tachyglossus aculeatus) revealed in Australian museum survey." Australian Journal of Zoology 65, no. 6 (2017): 379. http://dx.doi.org/10.1071/zo18018.

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A nationwide survey was conducted for ticks (Ixodidae) removed from echidnas, Tachyglossus aculeatus (Shaw, 1792), that had been previously collected between 1928 and 2013, and archived within Australian national (Australian National Insect Collection, Australian Capital Territory) and state (Queensland, South Australia, Victoria, and Western Australia) natural history collections. A total of 850 ticks from 89 T. aculeatus hosts were morphologically identified to determine instar, sex and species. Seven larvae, 349 nymphs and 494 adults were identified; 235 were female and 259 were male. The most common tick species was Bothriocroton concolor (Neumann, 1899) (89.2%). In addition, ticks previously recorded from T. aculeatus were identified, including Amblyomma australiense Neumann, 1905 (1.8%), Amblyomma echidnae Roberts, 1953 (0.1%), Bothriocroton hydrosauri (Denny, 1843) (1.4%), Bothriocroton tachyglossi (Roberts, 1953) (1.5%) and Ixodes tasmani Neumann, 1899 (1.2%). For the first time, 22 Amblyomma fimbriatum Koch, 1844 (2.6%) and 19 Amblyomma triguttatum Koch, 1844 (2.2%) ticks were recorded from T. aculeatus. This is the first survey to utilise archived Australian tick collections for the purpose of acquiring new data on tick species that parasitise T. aculeatus.

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22

O’Brien, Patty. "Reviews of Nicholas Thomas’s Cooks Sites, National Library of Australia, and Cooks Pacific Encounters, National Museum of Australia." History Australia 4, no. 1 (January 2007): 21.1–21.2. http://dx.doi.org/10.2104/ha070021.

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23

VANCLAY, FRANK, RUTH LANE, JOANNA WILLS, IAN COATES, and DAMIAN LUCAS. ""COMMITTING TO PLACE" AND EVALUATING THE HIGHER PURPOSE: INCREASING ENGAGEMENT IN NATURAL RESOURCE MANAGEMENT THROUGH MUSEUM OUTREACH AND EDUCATIONAL ACTIVITIES." Journal of Environmental Assessment Policy and Management 06, no. 04 (December 2004): 539–64. http://dx.doi.org/10.1142/s1464333204001791.

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The Australian "Committing to Place" Research Project investigates the potential of outreach activities and educational programmes to increase community commitment to natural resource management. New communication technologies offer tools for enhancing participation — in terms of a deeper commitment from communities and participation of a wider range of groups — through their interactive qualities and capacity to link people in different places. The research project evaluates the piloting, by the National Museum of Australia, of several innovative outreach activities which use information and communication technologies specifically for community capacity building and developing platforms for change. With an understanding of evaluation as research to inform decision-making at all phases of project design, the Research Team is evaluating: (1) the effectiveness of each outreach activity in meeting stakeholder objectives, including community participants; (2) the potential each activity has to increase participation in the activity and other activities associated with cultural heritage or natural resources; and (3) progress towards "the higher purpose", that is, the potential for such activities to affect natural resource management outcomes in the long run. The research project is an Australian Research Council Linkage Grant involving the University of Tasmania, the National Museum of Australia, and the Murray–Darling Basin Commission.

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24

Hilton-Smith, Simon, M. Elizabeth Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nalani Wilson-Hokowhitu, Fei Chen, Yi Zheng, and Xiaorui Guan. "Exhibition Reviews." Museum Worlds 10, no. 1 (July 1, 2022): 257–89. http://dx.doi.org/10.3167/armw.2022.100121.

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[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)

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25

Taylor, Michael A., and L. I. Anderson. "The museums of a local, national and supranational hero: Hugh Miller's collections over the decades." Geological Curator 10, no. 7 (August 2017): 285–368. http://dx.doi.org/10.55468/gc242.

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Hugh Miller (1802-1856), Scottish geologist, newspaper editor and writer, is a perhaps unique example of a geologist with a museum dedicated to him in his birthplace cottage, in Cromarty, northern Scotland. He finally housed his geological collection, principally of Scottish fossils, in a purpose-built museum at his house in Portobello, now in Edinburgh. After his death, the collection was purchased in 1859 by Government grant and public appeal, in part as a memorial to Miller, for the Natural History Museum (successively Edinburgh Museum of Science and Art, Royal Scottish Museum, and part of National Museums Scotland). The collection's documentation, curation and display over the years are outlined, using numerical patterns in the documentation as part of the evidence for its history. A substantial permanent display of the Miller Collection, partly by the retired Benjamin Peach (1842-1926), was installed from c. 1912 to 1939, and briefly postwar. A number of temporary displays, and one small permanent display, were thereafter created, especially for the 1952 and 2002 anniversaries. Miller's birthplace cottage was preserved by the family and a museum established there in 1885 by Miller's son Hugh Miller the younger (1850-1896) of the Geological Survey, with the assistance of his brother Lieutenant-Colonel William Miller (1842-1893) of the Indian Army, and the Quaker horticulturalist Sir Thomas Hanbury (c. 1832-1907), using a selection of specimens retained by the family in 1859. It may not have been fully opened to the public till 1888. It was refurbished for the 1902 centenary. A proposal to open a Hugh Miller Institute in Cromarty, combining a library and museum, to mark the centenary, was only partly successful, and the library element only was built. The cottage museum was transferred to the Cromarty Burgh Council in 1926 and the National Trust for Scotland in 1938. It was refurbished for the 1952 and just after the 2002 anniversaries, with transfer of some specimens and MSS to the Royal Scottish Museum and National Library of Scotland. The Cottage now operates as the Hugh Miller Birthplace Cottage and Museum together with Miller House, another family home, next door, with further specimens loaned by National Museums Scotland. The hitherto poorly understood fate of Miller's papers is outlined. They are important for research and as display objects. Most seem to have been lost, especially through the early death of his daughter Harriet Davidson (1839-1883) in Australia. Miller's collection illustrates some of the problems and opportunities of displaying named geological collections in museums, and the use of manuscripts and personalia with them. The exhibition strategies can be shown to respond to changing perceptions of Miller, famous in his time but much less well known latterly. There is, in retrospect, a clear long-term pattern of collaboration between museums and libraries in Edinburgh, Cromarty and elsewhere, strongly coupled to the fifty-year cycle of the anniversaries of Miller's birth.

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26

Jungová, Gabriela. "Australian Wooden Weapons and Tools from the J. V. Daneš Collection in the Náprstek Museum." Annals of the Náprstek Museum 39, no. 2 (2018): 79–98. http://dx.doi.org/10.1515/anpm-2018-0014.

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J. V. Daneš’s collection of the National Museum – Náprstek Museum includes over 700 ethnographic objects from the entire Pacific area. The collection is mostly unpublished, and some of the objects never had their provenience established. The present paper introduces 46 indigenous wooden weapons – clubs and sticks, boomerangs, spears, shields and spear throwers – from Australia.

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27

Robin, Libby. "Collections and the Nation: Science, History and the National Museum of Australia." Historical Records of Australian Science 14, no. 3 (2002): 251. http://dx.doi.org/10.1071/hr02013.

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28

Stead, Naomi. "In the vernacular: On the architecture of the national museum of Australia." Journal of Australian Studies 26, no. 72 (January 2002): 121–29. http://dx.doi.org/10.1080/14443050209387744.

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29

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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30

McCarthy, Conal, and Alison K. Brown. "Editorial." Museum Worlds 10, no. 1 (July 1, 2022): vii—ix. http://dx.doi.org/10.3167/armw.2022.100101.

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Museum studies is an academic and practical field of research that is ever expanding and alive with potential, opportunity, and challenge paralleling the extraordinary growth of museums in every part of the world. Museum Worlds: Advances in Research, launched in 2012, has responded to the need for a rigorous, in-depth review of current work in museums and related industries, including galleries, libraries, archives, and cultural heritage. The inspiration for the journal came from Howard Morphy, Professor of Anthropology at the Australian National University in Canberra, along with founding editors Kylie Message, also at the ANU, and Sandra Dudley from the School of Museum Studies at the University of Leicester.

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31

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

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

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32

Moore, Andrew. "Review of Guy Hansen’s League of Legends: 100 Years of Rugby League in Australia, Powerhouse Museum. A National Museum of Australia Travelling Exhibition." History Australia 6, no. 1 (January 2009): 14.1–14.2. http://dx.doi.org/10.2104/ha090014.

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33

Turner, Stephanie. "Negotiating Nostalgia: The Rhetoricity of Thylacine Representation in Tasmanian Tourism." Society & Animals 17, no. 2 (2009): 97–114. http://dx.doi.org/10.1163/156853009x418055.

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AbstractThe recently extinct thylacine, endemic to Australia, has become a potent cultural icon in the state of Tasmania, with implications for Australian ecotourism and Tasmanian conservation strategies. While the thylacine's iconicity has been analyzed by naturalists and cultural historians, its significance in Tasmanian tourism has yet to be examined. Thylacine representations in tourism-related writings and images, because of their high degree of ambivalence, function as a rich site of conflicting values regarding national identity and native species protection. Drawing on cultural studies of the thylacine and constructivist theories of tourism, this study identifies and documents three polarities in thylacine representation: the thylacine as wild yet domesticated, present yet absent, and an Australian national—yet distinctly regional—subject. A close reading of contradictory textual and visual elements in tourist guides, travel writing, specialized maps, and museum exhibits illuminates ongoing debates about Australian econationalism in the global tourism economy.

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Walker, Derek H. T., and Martin Loosemore. "Flexible problem solving in construction projects on the National Museum of Australia project." Team Performance Management: An International Journal 9, no. 1/2 (February 2003): 5–15. http://dx.doi.org/10.1108/13527590310468015.

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Walliss, Julian. "Garden without a destiny: Untangling landscape narratives at the national museum of Australia." Journal of Australian Studies 28, no. 83 (January 2004): 105–16. http://dx.doi.org/10.1080/14443050409387977.

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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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Fransen-Taylor, Pamela, and Bhuva Narayan. "Challenging prevailing narratives with Twitter: An #AustraliaDay case study of participation, representation and elimination of voice in an archive." Journal of Librarianship and Information Science 50, no. 3 (May 7, 2018): 310–21. http://dx.doi.org/10.1177/0961000618769981.

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Social media, specifically a microblogging service such as Twitter, constitute a public space that has changed how we interact with, exchange, and respond to information in a civil society. They also have the potential to give public voice to minority narratives that are under-represented in the mainstream media, just as grassroots graffiti in public spaces have done over human history. Using a specific case study around an issue in the Australian national discourse around Australia Day, this study contributes new insights towards an understanding of how alternate narratives are expressed and erased in cyberspace, just as graffiti are erased from public view by the authorities. Widely promoted by official sources as a day of festivity and celebration, the Australia Day Your Way initiative actively promotes the use of the hashtag #AustraliaDay to metatag tweets for capture to an annual time capsule stored by the National Museum of Australia. For Australia’s indigenous minority though, Australia Day is symbolic of an entirely different narrative, expressed online through the hashtags #InvasionDay and #SurvivalDay. We studied all three hashtags and their intersections on Twitter and also compared this data to what was showcased in the official time capsule. We found that although the alternative voices existed on Twitter, they were excluded from the official time capsule. This has implications both for archives and for future historians studying contemporary events.

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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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Biber, Katherine. "Evidence in the museum: Curating a miscarriage of justice." Theoretical Criminology 22, no. 4 (May 11, 2017): 505–22. http://dx.doi.org/10.1177/1362480617707950.

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After the conclusion of criminal proceedings, criminal evidence sometimes survives in what is described here as an afterlife. In its afterlife, criminal evidence is preserved in various locations; this article explores the museum as a repository for evidentiary exhibits. It examines the case of Lindy Chamberlain, the victim of Australia’s most notorious miscarriage of justice, and the evidence that has survived since her exoneration. Drawing upon interviews with Chamberlain herself, and also the curator of the Chamberlain collections at the National Museum of Australia, this article examines the challenges posed by curating a wrongful conviction.

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Hassam, Andrew. "Indian Jute in Australian Collections: Forgetting and Recollecting Transnational Networks." Public History Review 18 (December 31, 2011): 108–28. http://dx.doi.org/10.5130/phrj.v18i0.2268.

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Indian jute sacking played an essential role in Australian life for over 150 years, yet its contribution to Australian development and its Indian origins have been barely recognised in Australian public collections. What has Australian history gained by this erasing of jute from public memory? Wool, sugar and hop sacks are displayed in public collections as evidence of an Australian national story, but their national dimension depends on the cultural invisibility of jute and jute’s connections to the stories of other communities in other places. Developing an awareness of the contribution of Indian jute to the development of Australia requires an awareness not simply that jute comes from India but that the construction of national identity by collecting institutions relies on forgetting those transnational connections evident in their own collections. Where jute sacks have been preserved, it is because they are invested with memories of a collective way of life, yet in attempting to speak on behalf of the nation, the public museum denies more multidimensional models of cultural identity that are less linear and less place-based. If Indian jute is to be acknowledged as part of ‘the Australian story’, the concept of an Australian story must change and exhibitions need to explore, rather than ignore, transnational networks.

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Shea, Glenn M. "From lineages to webs: a history of the Australian Society of Herpetologists." Australian Journal of Zoology 62, no. 6 (2014): 431. http://dx.doi.org/10.1071/zo14095.

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The foundation of the Australian Society of Herpetologists in 1964 occurred at a time of change in Australian herpetology, as university-based herpetological studies began to spread, both within and between institutions, and a new generation of museum researchers was employed. The Society’s foundation can be traced to a single lineage of anuran research at the University of Western Australia, which flowered in the 1950s with the stimulus of new techniques and technology introduced to Australia by John Alexander Moore and then spread to the University of Melbourne and Monash University as former students established new research groups. This stimulus coincided with new zoology staff appointments, particularly of New Zealand herpetologists, at the University of Sydney and the Australian National University, all of whom began to support students working on herpetological topics. The spreading of herpetology across institutions and scientific disciplines necessitated increasing communication, provided by the Society through its newsletters and meetings, and the Society has continued to expand over the half a century of its existence, and in turn encouraged the diversification of Australian herpetological research and the training of new generations of herpetological students.

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Ford, Bruce, and Nicki Smith. "The development of a significance-based lighting framework at the National Museum of Australia." AICCM Bulletin 32, no. 1 (December 2011): 80–86. http://dx.doi.org/10.1179/bac.2011.32.1.011.

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Holland, Alison. "Review of Sue Taffe’s Online Exhibition, Collaborating for Aboriginal Rights, National Museum of Australia." History Australia 5, no. 2 (January 2008): 50.1–50.2. http://dx.doi.org/10.2104/ha080050.

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Nelson, Gil, and Shari Ellis. "The Impact of Digitization and Digital Data Mobilization on Biodiversity Research and Outreach." Biodiversity Information Science and Standards 2 (July 25, 2018): e28470. http://dx.doi.org/10.3897/biss.2.28470.

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The first two decades of the 21st Century have seen a rapid rise in the creation, mobilization, research, and educational use of digital museum data, especially in the natural and biodiversity sciences. This has thrust natural history museums and especially the biodiversity specimen collections they hold into the forefront of biodiversity research in systematics, ecology, and conservation, underscoring their central role in the modern scientific enterprise. The advent of such digitization and data mobilization initiatives as the United States National Science Foundation’s Advancing the Digitization of Biodiversity Collections program (ADBC), Australia’s Atlas of Living Australia (ALA), Mexico’s National Commission for the Knowledge and Use of Biodiversity (CONABIO), Brazil’s Centro de Referência em Informação (CRIA), Europe’s SYNTHESYS, and China’s National Specimen Information Infrastructure (NSII) has led to a rapid rise in regional, national, and international digital data aggregators and has precipitated an exponential increase in the availability of digital data for scientific research. The international Global Biodiversity Information Facility (GBIF) now serves about 130 million museum specimen records, and Integrated Digitized Biocollections (iDigBio), the U.S. national biodiversity portal, has amassed over 109 million records representing over 300 million specimens that are international in scope. These digital resources raise the profiles of museums, expose collections to a wider audience of systematic and conservation researchers, provide the best biodiversity data in the modern era outside of nature itself, and ensure that specimen-based research remains at the forefront of the biodiversity sciences. Here we provide a brief overview of worldwide digital data generation and mobilization, the impact of these data on biodiversity research, new data underscoring the impact of worldwide digitization initiatives on citation in scientific publications, and evidence of the roles these activities play in raising the public and scientific profiles of natural history collections.

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Jungová, Gabriela. "Daneš the Collector: Pacific Journeys of J. V. Daneš and his Collection in the Náprstek Museum." Annals of the Náprstek Museum 38, no. 2 (2017): 43–52. http://dx.doi.org/10.1515/anpm-2017-0029.

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J. V. Daneš (1880–1928) was not only an outstanding figure of his time in the international scientific community, but also a diplomat and a traveller. Two of his overseas trips led him to Australia and the Pacific region, where he assembled a remarkable collection of ethnographic objects and photographs. This collection, now kept in the National Museum – Náprstek Museum of Asian, African and American Cultures in Prague, has been mostly neglected and unpublished for decades. This paper provides a basis for its further study by introducing Daneš’s journeys around the region and comparing them to the proveniences of the ethnographic objects.

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46

Bowker, Sam. "No Looking Back." Australian Journal of Islamic Studies 4, no. 1 (July 17, 2019): 18–32. http://dx.doi.org/10.55831/ajis.v4i1.153.

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This is a critical review of changes in the two years since I wrote “The Invisibility of Islamic Art in Australia” for The Conversation in 2016. This includes the National Museum of Australia’s collaborative exhibition “So That You May Know Each Other” (2018), and the rise of the Eleven Collective through their exhibitions “We are all affected” (2017) in Sydney and “Waqt al-Tagheer – Time of Change” (2018) in Adelaide. It considers the representation of Australian contemporary artists in the documentary “You See Monsters” (2017) by Tony Jackson and Chemical Media, and the exhibition “Khalas! Enough!” (2018) at the UNSW. These initiatives demonstrate the momentum of generational change within contemporary Australian art and literary performance cultures. These creative practitioners have articulated their work through formidable public networks. They include well-established and emerging artists, driven to engage with political and social contexts that have defined their peers by antagonism or marginalisation. There has never been a ‘Golden Age’ for ‘Islamic’ arts in Australia. But as the Eleven Collective have argued, we are living in a time of change. This is an exceptional period for the creation and mobilisation of artworks that articulate what it means to be Muslim in Australia.

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Mcintyre, Darryl. "The National Museum of Australia and Public Discourse: the role of public policies in the nation's cultural debates1." Museum International 58, no. 4 (December 2006): 13–20. http://dx.doi.org/10.1111/j.1468-0033.2006.00578.x.

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Sweeney, Dominique. "What is the Australian National Maritime Museum Ilma collection?" Archives and Manuscripts 47, no. 1 (January 2, 2019): 153–63. http://dx.doi.org/10.1080/01576895.2019.1570283.

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Morphy, Howard. "Encounters at the National Museum of Australia: a moment in an ongoing process of engagement." International Journal of Heritage Studies 23, no. 9 (September 2, 2017): 875–78. http://dx.doi.org/10.1080/13527258.2017.1347577.

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Carty, John, and Karen Dorion-Coupal. "Yiwarra Kuju, ou comment l’espace a été transformé en lieu au National Museum of Australia." Anthropologie et Sociétés 38, no. 3 (March 11, 2015): 207–30. http://dx.doi.org/10.7202/1029025ar.

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Yiwarra Kuju: The Canning Stock Route est l’exposition qui a remporté le plus de succès dans toute l’histoire du National Museum of Australia (NMA). Structurée autour de peintures du désert réalisées par des Aborigènes contemporains, l’exposition représente la tentative la plus importante du NMA d’honorer les concepts, les valeurs et les voix aborigènes au moyen d’une exposition. En racontant l’histoire coloniale avec une perspective aborigène et en proposant aux visiteurs une expérience culturelle complexe dans le cadre d’une exposition d’art, Yiwarra Kuju… explorait des terrains inconnus de la muséologie. En effet, l’idée même d’« exposition » a été remise en question et transformée par un processus de conservation collaboratif et transculturel. Toutefois, l’acte collaboratif le plus important, préalable à Yiwarra Kuju…, a été de prendre au sérieux les artistes aborigènes ainsi que le défi conceptuel que représentait leur travail, tout en donnant à l’art aborigène l’espace institutionnel nécessaire pour remettre en question les conventions et les présupposés qui sous-tendent les approches muséales envers la culture matérielle et le patrimoine immatériel indigènes. Yiwarra Kuju… a testé différentes frontières dans l’approche muséale de l’art aborigène et de l’histoire australienne. Dans cet article, j’explore les défis conceptuels, politiques et méthodologiques uniques qui ont défini le processus de conservation.

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