Published 01 September 2020
Published September 2020
Report on the 3rd International Salon of Museums and Exhibitions (SIME) at the Grand Palais Paris January 1992
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).
Published March 1992
Looks at recent issues for the National Art Gallery of New Zealand from the boardroom dismissals and judgments as well as the operations.
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.
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.
Suggestions for renaming many cultural institutions which are ambiguously named.
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.
One of the curious things about very large cities is the gulf that exists between the inner city and the outer suburbs or hinterland.
Conference review CAMA Something for Everyone: Access to Museums held at the University of Adelaide October 1991.
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.
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.
One of the things which continues to fascinate me about museums is how, despite the vast amount of talk about displaying material culture, the often personal, often idiosyncratic, often haphazard decisions about departments are very rarely mentioned. Yet these decisions are central to much of the museum's collection, display, exhibitions and research programme.
Museums are complex social phenomena and valuable resources. There's an ecological analogy there; if you mess with even apparently trivial elements of a complex system, the results can be unpredictable, powerful and are most often catastrophic.