Published 01 December 2019
Life in Cyrus with all its charms and challenges.
In 1975 the Whitlam Government's Committee of Inquiry on Museums and National Collections (the Piggott Committee, after its chairman P H Piggott) unsuccessfully recommended setting up of a Museum's Commission.
Published March 1992
The quintessential purpose of Museums is to encourage and instil the joy of intellectual and aesthetic discovery. Abstracted partly from a public lecture entitled 'Ideas -Heresies even - for Museum Futures' given in Perth for the Western Australian Government Department of the Arts Task Force on Museums in August 1991.
Looks at Arthouse in Launceston Tasmania.
One of the curious things about very large cities is the gulf that exists between the inner city and the outer suburbs or hinterland.
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.
Selected list of museums and art galleries around Australia.
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.
Accreditation is set to become one of the significant features of the Victorian museum scene in the 1990s. At a time when Victoria might be perceived as out for the count it may seem unlikely to be introducing major developments in the operation of the State's 400 Museums.
Museum exhibitions tend not to challenge visitors with critical perspectives, contradictory points of view or subject matter which is controversial. I would like to explore different ways that conflict might be included in exhibitions and used to further our understanding of the past.
Exhibition review Unfamiliar territory: Second Adelaide Biennial of Australian Art 1992 Art Gallery of South Australia 28 February - 19 April 1992
The Zandra Rhodes costume in Sydney's Powerhouse Museum holds unique significance within the design collection.
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.
