Published 01 September 2005
Published 01 June 2020
Suggestions for renaming many cultural institutions which are ambiguously named.
Conference review CAMA Something for Everyone: Access to Museums held at the University of Adelaide October 1991.
Published March 1992
Life in Cyrus with all its charms and challenges.
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.
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.
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).
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.
Daniel Thomas provoked a distinct murmur at the 1990 CAMA Conference when he suggested that art museums have a greater capacity to disturb and move people than other cultural museums. If this is true and I think it is.....
Book review A guide for the Employment of Independent Curators
by Alison Carroll
Published by the Art Museums Association of Australia 1991
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.
The Zandra Rhodes costume in Sydney's Powerhouse Museum holds unique significance within the design collection.
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.
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.