Implementing Aboriginal and Multicultural Policy in the Museum Sector
Helen Andreoni writes on matters which are addressed in the report commissioned by the Office of Multicultural Affairs (OMA) by Amareswar Galla (also in this edition of Artlink).
Looks at the exhibition 'Terra Australis Incognita' at the Dunedin Public Art Gallery in New Zealand, to celebrate the 350th anniversary of Abel Tasman's discovery.
Guest editor for Vol 12 No 1 Museums on the Edge. This edition was founded on a perception of a lack of any quantity of readily available material on the Australian and New Zealand experience of museums.
I am particularly troubled about debates such as those illustrated by the publications 'What Price Heritage? - Finance 1989' and 'What value Heritage? DASETT 1990' and Professor Donald Horne's article 'Weekend Australian Jan 4-5 1992' on museums, because there is nearly always truth on all sides.
On 23 October 2002, yet another Council of Australian Museums Associations (CAMA) ran down. Conferees were already half deep in thought about melting credit cards and distant work site desks stacked high with urgent files. Well Not exactly CAMA...
Accreditation is set to become one of the significant features of the Victorian museum scene in the 1990s. At a time when Victoria might be perceived as out for the count it may seem unlikely to be introducing major developments in the operation of the State's 400 Museums.
Whatu Aho Rua - Tandanya Aboriginal Cultural Institute Adelaide Festival. The exhibition Whatu Aho Rua 'weaving with two strands' organised by the Sarjeant Gallery in Wanganui, New Zealand, is a departure form exhibitions usually seen in New Zealand Galleries.
Exhibition review The Heritage of Namatjira
Tandanya National Aboriginal Cultural Institute
Adelaide South Australia
November - December 1991
Curated by Angela Tidmarsh and JVS Megaw on behalf of the Flinders University of South Australia
Catalogue edited by Ruth Megaw.
The recession led rash of public conferences on the theme of Australian identity raises questions about the sources of our national self-knowledge. The congregation of bureaucrats, economists, television personalities, writers and artists has a democratic ring to it but it also points to the failure of our cultural institutions - notably our museums, galleries and libraries - to embrace their responsibility to develop a regional self consciousness.