Published 01 June 2019
State Library of NSW
The Zandra Rhodes costume in Sydney's Powerhouse Museum holds unique significance within the design collection.
Looks at recent issues for the National Art Gallery of New Zealand from the boardroom dismissals and judgments as well as the operations.
Published March 1992
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.
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.
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 Moet and Chandon Touring Exhibition
Tasmanian Museum and Art Gallery Hobart
12 February - 22 March 1992 and touring
Report on the 3rd International Salon of Museums and Exhibitions (SIME) at the Grand Palais Paris January 1992
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.
Interview with Louise Dauth about issues of gender. Dale Spender is a foundation member of the Women Heritage and Museums Group.
Book review A guide for the Employment of Independent Curators
by Alison Carroll
Published by the Art Museums Association of Australia 1991
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.
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.
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.