Sources of Synergy: Museums for Design

Cover of Sources of Synergy: Museums for Design
1.126
Amala Groom: Cosmic Body of remembrance
Feature
Hannah Donnelly

Published 01 June 2019
1.128
imagineNATIVE at 20
Feature
Pauline Clague in conversation with Jason Ryle

Published 01 June 2019
1.128
Sydney Elders: Continuing Aboriginal Stories

State Library of NSW

Feature
Jonathan Jones

Published 01 June 2019
NAVA
1.126
Speaking back to colonial collections: Building living to Aboriginal archives
Feature
Kirsten Thorpe

Published 01 June 2019
1.122
Unravelling the past: Barbed wire and campfire learnings
Feature
Ali Cobby Eckermann

Published 01 June 2019
1.108
Dark Emu: Thank the Earth
Feature
Bruce Pascoe

Published 01 June 2019
UTS
1.126
Deaths in custody: We've got to give it everything
Feature
Lorena Allum

Published 01 June 2019
1.12
Indigenous storytelling: Deconstructing the archetype
Feature
Pauline Clague

Published 01 June 2019

The Zandra Rhodes costume in Sydney's Powerhouse Museum holds unique significance within the design collection.

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More from this Issue Full Issue Contents

Te Papa Tongarewa: Museum of New Zealand
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Ian Wedde

Looks at recent issues for the National Art Gallery of New Zealand from the boardroom dismissals and judgments as well as the operations.

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Local Conditions: New Zealand Art
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Robert Leonard

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.

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Abel Tasman at Dunedin
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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.

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A Continuum of Maori Art
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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.

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Spirit of Enquiry Refreshing
Review
Sean Kelly

Exhibition review Moet and Chandon Touring Exhibition
Tasmanian Museum and Art Gallery Hobart
12 February - 22 March 1992 and touring

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European Museums Make an Exhibition of Themselves
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Report on the 3rd International Salon of Museums and Exhibitions (SIME) at the Grand Palais Paris January 1992

Published March 1992
Exhibiting the Museum
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Paul Carter

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.

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Whams and Whimms: An Exercise in Classification and Meaning
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Dale Spender

Interview with Louise Dauth about issues of gender. Dale Spender is a foundation member of the Women Heritage and Museums Group.

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Independent Curators
Book Review
Elizabeth Cross

Book review A guide for the Employment of Independent Curators
by Alison Carroll
Published by the Art Museums Association of Australia 1991

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Repatriation of Papua New Guinea's Cultural Heritage
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Barry Craig

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.

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Aboriginal People and Museums: Restricting Access to Increase It
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Christopher Anderson

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.

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A Virtue of Necessity: Deaccessioning Without Guilt
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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.

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