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.
Background to the National Agenda for a Multicultural Australia with the final report to be released by the Office of Multicultural Affairs OMA in mid 1992. See also the article by Helen Andreoni in this issue.
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.
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.
Cultural diversity has become a key issue in the 1990s for a number of reasons. In the United States we have recently completed a census. The results of that census indicate a dramatic change in the nation's demographics.
Conservation - access, equity and future directions. Everyone is talking about the effects of the economic climate, some people are calling it a recession and others a depression.
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.
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.
Jim Specht of the Australian Museum Sydney, has written that "public and private collections of archaeological and ethnographic specimens around the world contain tens of millions of specimens yet only a minute fraction of this total is actually held in its countries of origin" ; most of this material he says, was acquired through colonial or military occupation.
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.