Various venues, Adelaide
Published 12 November 2018
Articulate project space
Published 09 November 2018
UTS Gallery, Sydney
Published 24 October 2018
Riddoch Art Gallery
Published 12 October 2018
TarraWarra Museum of Art
Published 10 October 2018
Plimsoll Gallery, Hobart
Published 08 October 2018
Araluen Arts Centre
Published 27 September 2018
Published 11 September 2018
Looks at Arthouse in Launceston Tasmania.
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
Guest editor for Vol 12 No 1 Museums on the Edge. This edition was founded on a perception of a lack of any quantity of readily available material on the Australian and New Zealand experience of museums.
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.
Suggestions for renaming many cultural institutions which are ambiguously named.
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.
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.
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.
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.
Exhibition review An Interrupted Dialogue. One of the first international experimental art exhibitions to be shown outside Hungary since the end of World War 2. Grayson worked with Suzy Meszoly of the Soros Fine Art Documentation Centre of Budapest in 1988 during the time when changes were sweeping through Central Europe.
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.
Interview with Louise Dauth about issues of gender. Dale Spender is a foundation member of the Women Heritage and Museums Group.
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.
