Published 01 December 2019
Life in Cyrus with all its charms and challenges.
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.
Published March 1992
Conference review CAMA Something for Everyone: Access to Museums held at the University of Adelaide October 1991.
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.
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.
Exhibition review The Heritage of Namatjira Tandanya National Aboriginal Cultural Institute Adelaide South Australia November - December 1991 Curated by Angela Tidmarsh and JVS Megaw on behalf of the Flinders University of South Australia Catalogue edited by Ruth Megaw.
The Zandra Rhodes costume in Sydney's Powerhouse Museum holds unique significance within the design collection.
Exhibition review Unfamiliar territory: Second Adelaide Biennial of Australian Art 1992 Art Gallery of South Australia 28 February - 19 April 1992
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.
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.
Museums are complex social phenomena and valuable resources. There's an ecological analogy there; if you mess with even apparently trivial elements of a complex system, the results can be unpredictable, powerful and are most often catastrophic.
On 23 October 2002, yet another Council of Australian Museums Associations (CAMA) ran down. Conferees were already half deep in thought about melting credit cards and distant work site desks stacked high with urgent files. Well Not exactly CAMA...
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.
