Published 01 June 2020
Interview with First Nations curators Kathleen Ash-Milby (Portland Art Museum), Maia Nuku (Metropolitan Museum of Art) and Nigel Borell (Auckland Art Gallery Toi o Tāmaki).
Report on the 3rd International Salon of Museums and Exhibitions (SIME) at the Grand Palais Paris January 1992
Book review Australian Art Museums and Public Galleries Directory published by the Art Museums Association of Australia Inc and the National Centre for Australian Studies Monash University 1991.
Published March 1992
Museum exhibitions tend not to challenge visitors with critical perspectives, contradictory points of view or subject matter which is controversial. I would like to explore different ways that conflict might be included in exhibitions and used to further our understanding of the past.
De-accessioning is too often characterised as an ill-wind, blowing through the vast and mostly undisturbed reaches of our cultural store-houses capriciously violating the integrity of our collections.
The South Australian Museum has the world's largest and most comprehensive collection of Australian Aboriginal material culture. It also has a vast archive of information about that material and about other aspects of Aboriginal life in the form of photographs, films, audio tapes, diaries and other records.
Headlands: Thinking through New Zealand Art. Exhibition for the Museum of Contemporary Art, Sydney from 31st March 1992. Article by the co-curator Robert Leonard.
Andrew Andersons is, and has been, engaged to contribute to many of Australia's leading art museums as well as to other public buildings and spaces. His work might be described as adaptive; accommodating to the style and typology of the major buildings on which he has worked as well as responding to the varied views of curators with whom he has co-operated closely when designing galleries.
With so many people feeling bruised and battered by the 1980s, it may seem cynical to point out that this unlamented decade also produced some new museums. These two 1980s legacies appear unrelated. On the face of it, museums are a quintessentially boom-time phenomenon, another emblem of 1980s extravagance.
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...
Looks at Arthouse in Launceston Tasmania.
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.
The Zandra Rhodes costume in Sydney's Powerhouse Museum holds unique significance within the design collection.
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.