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Journal articles on the topic 'Arts – Australia – Exhibitions'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection." Arts 8, no. 4 (September 27, 2019): 126. http://dx.doi.org/10.3390/arts8040126.

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Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions.

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Fisher, Laura, and Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas." Media International Australia 158, no. 1 (January 11, 2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.

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In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine

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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline

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Taylor, Gretel, and Deborah Warr. "Touchy Art: A phenomenological approach to artistic practice in stigmatised neighbourhoods." Conjunctions. Transdisciplinary Journal of Cultural Participation 5, no. 1 (May 24, 2018): 1–16. http://dx.doi.org/10.7146/tjcp.v5i1.105290.

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This paper outlines an artistic method combining a socially engaged and site-responsive arts practice with sociological discursive reflection that aimed to challenge the stigmatising stereotypes associated with many low-income neighbourhoods in Australia. We characterise our approach as ‘touchy’ to draw attention to issues that informed our approach: the sensitivity of the topic of stigma for residents; the need for a phenomenological method that sensitised participants to see/perceive beyond stereotypes; and aims of creating experiential and tactile artworks that could engage local and wider

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Ladas, Nancy. "Ethical and Legal Considerations for Collection Development, Exhibition and Research at Museums Victoria." Heritage 2, no. 1 (March 13, 2019): 858–67. http://dx.doi.org/10.3390/heritage2010057.

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With over 17 million collection items, Museums Victoria is the largest museum in Australia. Museums Victoria recognises the public benefit derived from lending and borrowing between collecting institutions and actively participates in the international loans network in order to complement and enhance the potential for learning and enjoyment for all audiences. Museums Victoria staff undertook an extensive review of policies and procedures in order to apply for approval for protection under the Australian Government’s Protection of Cultural Objects on Loan Scheme (PCOL Scheme), established to ad

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Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism." Arts 8, no. 4 (December 6, 2019): 161. http://dx.doi.org/10.3390/arts8040161.

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Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural dip

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Norman, MD. "Ameloctopus litoralis, gen. et sp. nov. (Cephalopoda : Octopodidae), a new shallow-water octopus from tropical Australian waters." Invertebrate Systematics 6, no. 3 (1992): 567. http://dx.doi.org/10.1071/it9920567.

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A new genus of octopus is described from northern Australian waters. Ameloctopus litoralis, gen. et sp. nov., is a shallow-water octopus characterised by the absence of an ink sac, vestigial funnel organ, terminal organ without a diverticulum, marked elongation of the arms and arm autotomy. It is found across northern Australia from southern Queensland to north-west Western Australia, primarily on coastal mudflats and intertidal reefs. This species occupies lairs in shallow and intertidal coastal habitats, feeding by extending arms from the safety of the lair or by foraging at night during low

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Duggan, Jo-Anne, and Enza Gandolfo. "Other Spaces: migration, objects and archives." Modern Italy 16, no. 3 (August 2011): 315–28. http://dx.doi.org/10.1080/13532944.2010.507931.

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Other Spaces is a collaborative creative arts exhibition project that explores visual and material expressions of cultural identity with a particular focus on museum collections. This project aims to provide a rich examination – visual, emotional and intellectual – of the multiple cultural narratives that contribute to the social fabric of Australia through a unique marriage of contemporary photomedia and creative writing practice. This project explores the ways that migrants and refugees have found to express their cultural identity through the material objects they have brought with them to

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Endersby, Jim. "The evolving museum." Public Understanding of Science 6, no. 2 (April 1997): 185–206. http://dx.doi.org/10.1088/0963-6625/6/2/005.

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This paper examines a recent exhibition on evolution at the Australian Museum, in Sydney, and contrasts it with the museum's earlier exhibitions on the same theme, looking at the images of science each presents. The differences between the most recent display and its predecessors can be broadly grouped under three themes: the use of narrative and chronology to organize the display; the use of realistic dioramas and reconstructions; and the use of glass cases to keep the visitors and the science apart. Partly through deliberate decisions and partly through other pressures—including space, time

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Bunda, Tracey, Robyn Heckenberg, Kim Snepvangers, Louise Gwenneth Phillips, Alexandra Lasczik, and Alison L. Black. "Storymaking Belonging." Art/Research International: A Transdisciplinary Journal 4, no. 1 (February 27, 2019): 153–79. http://dx.doi.org/10.18432/ari29429.

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Sometimes data invites more of us. To be physically held and touched, through hands creating and crafting with matter, cultivating a closer connection to the fibres, threads, textures and sinews of data. Through touching and shaping the materiality of data, other beings, places and times are aroused. Here, we share the story of data that invited more of us and how this has spurred the creation of an exhibition titled Stories of Belonging with Indigenous and non-Indigenous artist/scholars for an arts festival in Queensland, Australia. This work by the collective, SISTAS Holding Space, deeply in

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Rothenberg, M., and P. Hoffenburg. "Australia at the 1876 Exhibition in Philadelphia." Historical Records of Australian Science 8, no. 2 (1989): 55. http://dx.doi.org/10.1071/hr9900820055.

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Lenette, Caroline, Tanja Johnston, Jandy Paramanathan, and Sonia Poorun. "Facilitated arts engagement with women veterans for health and well-being." Journal of Applied Arts & Health 12, no. 2 (July 1, 2021): 193–207. http://dx.doi.org/10.1386/jaah_00061_1.

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To demonstrate the health and well-being benefits of facilitated arts engagement with women veterans, we draw on a key practice-based example from the Australian National Veterans Arts Museum (ANVAM), an organization with expertise in collaborative art-making with veterans. We outline ANVAM’s framework and the processes art therapists use to create facilitated art exhibitions. We discuss how veterans’ involvement with art-making has therapeutic benefits, can contribute new knowledge on health and well-being, and convey nuances of gender-specific experiences. We briefly outline the trend in evi

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Bertrand, Ina. "Education or exploitation: The exhibition of ‘social hygiene ‘ films in Australia." Continuum 12, no. 1 (April 1998): 31–46. http://dx.doi.org/10.1080/10304319809365750.

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Ryan, Louise. "Transcending Boundaries: “The Arts of Islam” Exhibition, Nasser Khalili Collection, Art Gallery of New South Wales, Australia, 2007." International Journal of the Arts in Society: Annual Review 4, no. 2 (2009): 67–80. http://dx.doi.org/10.18848/1833-1866/cgp/v04i02/35599.

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Aveyard, Karina. "‘Coming to a cinema near you?’: digitized exhibition and independent cinemas in Australia." Studies in Australasian Cinema 3, no. 2 (January 2009): 191–203. http://dx.doi.org/10.1386/sac.3.2.191/1.

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Aveyard, Karina. "Cinema on the edge: Improvised film exhibition and digital projection in rural Australia." Studies in Australasian Cinema 6, no. 2 (January 2012): 189–201. http://dx.doi.org/10.1386/sac.6.2.189_1.

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Illert, Chris. "The Australian Supercomputer Graphics Exhibition and First International Conchology Conference." Leonardo 29, no. 2 (1996): 158. http://dx.doi.org/10.2307/1576356.

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Anderson, Margot. "Dream weaving: A conversation with Jennifer Irwin." Studies in Costume & Performance 6, no. 1 (June 1, 2021): 69–86. http://dx.doi.org/10.1386/scp_00036_1.

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In December 2019 as I made my way through Bangarra Dance Theatre’s exhibition Knowledge Ground, Australia was in the early stages of a devastating bushfire season and Sydney was shrouded in a cloud of smoke. It was Bangarra Dance Theatre’s 30th anniversary and I was fully immersed in a theatrical display of set pieces, soundscapes and costumes from landmark productions by Australia’s premier First Nations performing arts company. Bangarra’s body of work draws on over 65,000 years of Indigenous culture and fuses the language of traditional and contemporary dance to create a compelling narrative

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Clark, Susan F. "Up against the Ropes: Peter Jackson As “Uncle Tom” in America." TDR/The Drama Review 44, no. 1 (March 2000): 157–82. http://dx.doi.org/10.1162/10542040051058960.

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Nineteenth-century heavyweight champion of Australia, Peter Jackson, “The Black Prince”, could not get a world-title match with John L. Sullivan, the “Boston Strong Boy.” Racism was the reason. Jackson turned to acting, and exhibition fights between acts—becoming the best-known “Uncle Tom” of his day.

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Davis, Susan. "Wildflowering culture: Kathleen McArthur and creating a popular wildflower consciousness." Australasian Journal of Popular Culture 9, no. 1 (March 1, 2020): 67–82. http://dx.doi.org/10.1386/ajpc_00016_1.

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Changing people’s hearts and minds requires courage, conviction and creativity. To change attitudes and reach the public consciousness, a diverse range of communicative and cultural tools need to be employed. Australian artist and conservationist Kathleen McArthur rose to the challenge using all the forms that were available to her. Working with others such as renowned poet Judith Wright, she sought to change the way Australians regarded our native plants and landscapes. Kathleen understood that to protect the precious environments that remained would require reaching out to ordinary Australia

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Reichelt-Brushett, Amanda, and John Smith. "Connecting Silos - Inviting Art and Science Interactions." Leonardo 45, no. 5 (October 2012): 484–85. http://dx.doi.org/10.1162/leon_a_00453.

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In tertiary education in Australia there are often clear divisions between disciplines defined by hierarchy that is established for administrative purposes. These purposes often conflict with notions of trans-disciplinary study by creating an environment of competition rather than one of collaboration. Through this project we brought together science and art by developing a ‘hands on’ workshop where scientists and artists explored tools and techniques from unfamiliar disciplines. Collaborative projects and self emersion post workshop resulted in an exhibition of outcomes. The development of th

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Jarldorn, Michele. "Picturing creative approaches to social work research: Using photography to promote social change." Aotearoa New Zealand Social Work 28, no. 4 (December 23, 2016): 5–16. http://dx.doi.org/10.11157/anzswj-vol28iss4id293.

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INTRODUCTION: This article argues for the benefits of employing the arts-based method known as photovoice. Drawn from a social work PhD project with 12 South Australian exprisoners, this research aimed to better understand the post-release experiences within the context of a rising prison population and high recidivism rates.METHODS: Participants were given a single-use camera and the research question if you had 15 minutes with a policy maker or politician, what would you want to tell them about your experience? Later, the participants’ narratives were combined with the photographs and used t

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paine, garth. "endangered sounds: a sound project." Organised Sound 10, no. 2 (August 2005): 149–62. http://dx.doi.org/10.1017/s1355771805000804.

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endangered sounds is a project that focuses on the exploration of sound marks (trade-marked sounds). the initial stage of this project was funded by arts victoria, and comprised legal searches that resulted in the listings of sound marks registered in australasia and the united states of america. this list was published on the internet with a call for volunteers to collect samples of the listed sounds internationally. the volunteer was sent a specimen tube with label and cap, and asked to collect the sound by placing the specimen tube close to the source (thereby capturing the air through whic

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Spear, Jeffrey L. "An Empire on Display: English, Indian and Australian Exhibitions from the Crystal Palace to the Great War (review)." Victorian Studies 45, no. 2 (2003): 343–44. http://dx.doi.org/10.1353/vic.2003.0101.

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Rosen, Alan. "Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia." Epidemiologia e Psichiatria Sociale 16, no. 2 (June 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.

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SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Resul

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Thomson, Jody, and Bronwyn Davies. "Becoming With Art Differently: Entangling Matter, Thought and Love." Cultural Studies ↔ Critical Methodologies 19, no. 6 (February 14, 2019): 399–408. http://dx.doi.org/10.1177/1532708619830123.

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In this article, we put new materialist concepts to work in an experiment in thinking-with-matter. We write our way into an encounter with two artworks by Australian French Impressionist John Russell, hanging in an exhibition space at the Art Gallery of New South Wales. In being-with and becoming-with the pictures, we go off the beaten track, not concerning ourselves with aesthetics, critique, meaning-making, or sociocultural conventions. We begin with W. J. T. Mitchell’s question what do pictures want? We extend his question, drawing on new materialist philosophers, to explore what is made po

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Daniel, Natalie. "Burning the Interface, International Artists' CD-ROM exhibition, held at the Museum of Contemporary Art, Sydney, Australia, 27 March-14 July 1996, and curated by Mike Leggett and Linda Michael." Convergence: The International Journal of Research into New Media Technologies 3, no. 1 (March 1997): 102–10. http://dx.doi.org/10.1177/135485659700300108.

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Spear, Jeffrey L. "BOOK REVIEW: Peter H. Hoffenberg.AN EMPIRE ON DISPLAY: ENGLISH, INDIAN AND AUSTRALIAN EXHIBITIONS FROM THE CRYSTAL PALACE TO THE GREAT WAR. Berkeley and London: University of California Press, 2001." Victorian Studies 45, no. 2 (January 2003): 343–44. http://dx.doi.org/10.2979/vic.2003.45.2.343.

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Gorchakova, Valentina, and Kenneth F. Hyde. "The Impact on Well-Being of Experiences at Cultural Events." Event Management, 2021. http://dx.doi.org/10.3727/152599521x16192004803638.

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Major international cultural exhibitions, often referred to as touring ‘blockbuster’ exhibitions (TBEs), are arguably among the most stimulating and engaging event experiences. The role of orchestrating an experience that is meaningful and memorable has captured the attention of scholars in the events literature over recent decades. The aims of this paper are to re-conceptualise major international cultural exhibitions as special events, present a framework of the experiences these exhibitions generate for visitors, and explore the roles such experiences play in visitor well-being. The study d

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Daniel, Ryan. "Artists and the Rite of Passage North to the Temperate Zone." M/C Journal 20, no. 6 (December 31, 2017). http://dx.doi.org/10.5204/mcj.1357.

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IntroductionThree broad stages of Australia’s arts and culture sectors may be discerned with reference to the Northern Hemisphere. The first is in Australia’s early years where artists travelled to the metropoles of Europe to learn from acknowledged masters, to view the great works and to become part of a broader cultural scene. The second is where Australian art was promoted internationally, which to some extent began in the 1960s with exhibitions such as the 1961 ‘Survey of recent Australian painting’ at the Whitechapel gallery. The third relates to the strong promotion and push to display a

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Noyce, Diana Christine. "Coffee Palaces in Australia: A Pub with No Beer." M/C Journal 15, no. 2 (May 2, 2012). http://dx.doi.org/10.5204/mcj.464.

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The term “coffee palace” was primarily used in Australia to describe the temperance hotels that were built in the last decades of the 19th century, although there are references to the term also being used to a lesser extent in the United Kingdom (Denby 174). Built in response to the worldwide temperance movement, which reached its pinnacle in the 1880s in Australia, coffee palaces were hotels that did not serve alcohol. This was a unique time in Australia’s architectural development as the economic boom fuelled by the gold rush in the 1850s, and the demand for ostentatious display that gather

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Dooley, Gillian. "Renaissance Man." Writers in Conversation 7, no. 1 (January 22, 2020). http://dx.doi.org/10.22356/wic.v7i1.64.

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Professor Joost Daalder taught in the English Department at Flinders University from 1976 until his retirement in 2001, mostly in the area of English Renaissance literature. Prior to that, he taught at the University of Otago (New Zealand) from 1966 to 1976. He has an impressive list of publications, including several scholarly editions of Renaissance literary texts and many journal articles, book chapters, and reviews. See http://www.flinders.edu.au/ehl/englishandcreativewriting/staff/joost-daalder-pub.cfm for acomplete list.Joost was born in the Netherlands in 1939, and studied at Amsterdam

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Williams, Graeme Henry. "Australian Artists Abroad." M/C Journal 19, no. 5 (October 13, 2016). http://dx.doi.org/10.5204/mcj.1154.

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At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offer

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Elliott, Susie. "Irrational Economics and Regional Cultural Life." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1524.

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IntroductionAustralia is at a particular point in its history where there is a noticeable diaspora of artists and creative practitioners away from the major capitals of Sydney and Melbourne (in particular), driven in no small part by ballooning house prices of the last eight years. This has meant big changes for some regional spaces, and in turn, for the face of Australian cultural life. Regional cultural precincts are forming with tourist flows, funding attention and cultural economies. Likewise, there appears to be growing consciousness in the ‘art centres’ of Melbourne and Sydney of interes

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D'Paula, Clay. "A EXPOSIÇÃO ‘O TEMPO DOS SONHOS’ E A ARTE DOS ARTISTAS ABORÍGENES DA AUSTRÁLIA." ILUMINURAS 19, no. 46 (December 22, 2018). http://dx.doi.org/10.22456/1984-1191.85262.

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RESUMO: Este texto pretende descortinar algumas variações e fatos que marcaram a produção artística dos artistas aborígenes. Para alcançar o meu objetivo utilizei como guia obras de arte que compõem a exposição ‘O Tempo dos Sonhos: Arte Aborígene Contemporânea da Austrália’. O projeto visita cidades brasileiras desde 2015 e oferece ao nosso público, pela primeira vez, uma coleção diversificada e vigorosa da arte dos primeiros australianos, em contexto contemporâneo. Palavras-Chave: arte aborígene, Austrália, pinturas do deserto. THE EXHIBITION ‘OUT OF DREANING’ AND THE ART BY ABORIGINAL ARTIST

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Sarantou, Melanie Augusta, Daria Akimenko, and Nuno Escudeiro. "Margin to Margin: Arts-Based Research for Digital Outreach to Marginalised Communities." Journal of Community Informatics 14, no. 1 (November 7, 2018). http://dx.doi.org/10.15353/joci.v14i1.3407.

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This article discusses the artistic activity titled ‘Conversations with the edge’ that was executed by communities in Australia, Russia and Finland, and curated for an exhibition at the Helinä Rautavaara Museum in Espoo, Finland in 2017. This activity was created in the context of Margin to Margin: Women living on the edges of the world, a larger arts-based research project that took place between four geographical margins: outback South Australia, Finnish Lapland, Russian Kola Peninsula and Namibia. Margin to Margin was a collaboration between artist communities with the aim to explore the re

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Sturm, Ulrike, Denise Beckton, and Donna Lee Brien. "Curation on Campus: An Exhibition Curatorial Experiment for Creative Industries Students." M/C Journal 18, no. 4 (August 10, 2015). http://dx.doi.org/10.5204/mcj.1000.

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Introduction The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this

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Ryan, Robin, and Uncle Ossie Cruse. "Welcome to the Peoples of the Mountains and the Sea: Evaluating an Inaugural Indigenous Cultural Festival." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1535.

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IntroductionFestivals, according to Chris Gibson and John Connell, are like “glue”, temporarily sticking together various stakeholders, economic transactions, and networks (9). Australia’s First Nations peoples see festivals as an opportunity to display cultural vitality (Henry 586), and to challenge a history which has rendered them absent (587). The 2017 Australia Council for the Arts Showcasing Creativity report indicates that performing arts by First Nations peoples are under-represented in Australia’s mainstream venues and festivals (1). Large Aboriginal cultural festivals have long thriv

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Guarini, Beaux Fen. "Beyond Braille on Toilet Doors: Museum Curators and Audiences with Vision Impairment." M/C Journal 18, no. 4 (August 7, 2015). http://dx.doi.org/10.5204/mcj.1002.

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The debate on the social role of museums trundles along in an age where complex associations between community, collections, and cultural norms are highly contested (Silverman 3–4; Sandell, Inequality 3–23). This article questions whether, in the case of community groups whose aspirations often go unrecognised (in this case people with either blindness or low vision), there is a need to discuss and debate institutionalised approaches that often reinforce social exclusion and impede cultural access. If “access is [indeed] an entry point to experience” (Papalia), then the privileging of visual e

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Tower, Greg, and Brenda Ridgewell. "Benchmarking: An International Comparison." International Business & Economics Research Journal (IBER) 5, no. 5 (February 17, 2011). http://dx.doi.org/10.19030/iber.v5i5.3476.

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The study examines the impact of national research assessment exercises for the accounting and visual arts disciplines. Analysis is also made of the impact of a national research quality assessment exercise of New Zealand and UK initiatives (Tertiary Education Commission. 2004; RAE, 2001) and well as the proposed Australian RQF (2005). We find that whilst the definition of research is broad enough to include most of the activities of accounting and finance, and visual arts academia the actual measures of research performance may be problematic. The need to clearly demonstrate quality peer revi

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Wishart, Alison. "Make It So: Harnessing Technology to Provide Professional Development to Regional Museum Workers." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1519.

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IntroductionIn regional Australia and New Zealand, museums and art galleries are increasingly becoming primary sites of cultural engagement. They are one of the key tourist attractions for regional towns and expected to generate much needed tourism revenue. In 2017 in New South Wales alone, there were three million visitors to regional galleries and museums (MGNSW 13). However, apart from those (partially) funded by local councils, they are often run on donations, good will, and the enthusiasm of volunteers. Regional museums and galleries provide some paid, and more unpaid, employment for agei

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Warr, Deborah, Gretel Taylor, and Keith Jacobs. "You can’t eat art! But can arts-based research challenge neighbourhood stigma?" Qualitative Research, June 15, 2020, 146879412092768. http://dx.doi.org/10.1177/1468794120927683.

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We present research findings from an arts-based research (ABR) project that aimed to redress the symbolic effects of negative recognition associated with place-based stigma. Focusing on two prominently stigmatised neighbourhoods in Melbourne and Hobart (Australia), we explain the rationale for the study and how arts-based tactics were used for phenomenological explorations of familiar environments and to generate alternate, faithful and compelling portrayals of neighbourhoods that stemmed from residents’ actual experiences. Our approach to ABR blended sociological concerns with socially engage

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Ralph, Elizabeth, and Margaret Gibson. "Too Muslim or not Muslim enough? Exploring identity negotiations for women visual artists in Australia." Journal of Sociology, June 22, 2021, 144078332110214. http://dx.doi.org/10.1177/14407833211021499.

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The title of this article is deliberately provocative aiming to trouble the imposition of identity fixations and reductive assumptions on creative endeavours and outputs. This article is based on a research project which investigated the identity negotiations and representational responsibilities of women visual artists of Muslim faith and/or cultural background practising and exhibiting their artwork in Australia. This article shows how artists sometimes embrace certain identity markers in order to gain opportunities and promote forms of visibility and debate. At the same time, artists can fe

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Morley, Sarah. "The Garden Palace: Building an Early Sydney Icon." M/C Journal 20, no. 2 (April 26, 2017). http://dx.doi.org/10.5204/mcj.1223.

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IntroductionSydney’s Garden Palace was a magnificent building with a grandeur that dominated the skyline, stretching from the site of the current State Library of New South Wales to the building that now houses the Sydney Conservatorium of Music. The Palace captivated society from its opening in 1879. This article outlines the building of one of Sydney’s early structural icons and how, despite being destroyed by fire after three short years in 1882, it had an enormous impact on the burgeoning colonial community of New South Wales, thus building a physical structure, pride and a suite of memori

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Vélez, Silvia. "Typicals/Típicos." PORTAL Journal of Multidisciplinary International Studies 1, no. 1 (January 23, 2004). http://dx.doi.org/10.5130/portal.v1i1.54.

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Typicals is a series of 12 colour photographs digitally created from photojournalistic images from Colombia combined with "typical" craft textiles and text from guest writers. Typicals was first exhibited as photographs 50cm x 75cm in size, each with their own magnifying glass, at the Contemporary Art Space at Gorman House in Canberra, Australia, in 2000. It was then exhibited in "Feedback: Art Social Consciousness and Resistance" at Monash University Museum of Art in Melbourne, Australia, from March to May 2003. From May to June 2003 it was exhibited at the Museo de Arte de la Universidad Nac

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Piancatelli, Chiara, Marta Massi, and Andrea Vocino. "#artoninstagram: Engaging with art in the era of the selfie." International Journal of Market Research, October 21, 2020, 147078532096352. http://dx.doi.org/10.1177/1470785320963526.

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This study aims to understand how people engage with art in the era of selfies, digital devices, and social media. It examines the audience experience of an art exhibition, where visitors are encouraged to use social media to share their art experience, to understand how such an approach might change the nature of visitor engagement with art. Arguably, selfies taken in the art space enrich the visitor’s experience and engagement with art and function as co-creational, empowering, and authentic marketing tools for museums. Data for this research were collected through non-participant observatio

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Brien, Donna Lee. "From Waste to Superbrand: The Uneasy Relationship between Vegemite and Its Origins." M/C Journal 13, no. 4 (August 18, 2010). http://dx.doi.org/10.5204/mcj.245.

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This article investigates the possibilities for understanding waste as a resource, with a particular focus on understanding food waste as a food resource. It considers the popular yeast spread Vegemite within this frame. The spread’s origins in waste product, and how it has achieved and sustained its status as a popular symbol of Australia despite half a century of Australian gastro-multiculturalism and a marked public resistance to other recycling and reuse of food products, have not yet been a focus of study. The process of producing Vegemite from waste would seem to align with contemporary

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Hall, Karen, and Patrick Sutczak. "Boots on the Ground: Site-Based Regionality and Creative Practice in the Tasmanian Midlands." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1537.

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IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and h

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Lombard, Kara-Jane. "“To Us Writers, the Differences Are Obvious”." M/C Journal 10, no. 2 (May 1, 2007). http://dx.doi.org/10.5204/mcj.2629.

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   Introduction It appears that graffiti has begun to clean up its act. Escalating numbers of mature graffiti writers feel the removal of their graffiti has robbed them of a history, and are turning to legal projects in an effort to restore it. Phibs has declared the graffiti underground “limited” and Kano claims its illegal aspect no longer inspires him (Hamilton, 73). A sign of the times was the exhibition Sake of Name: Australian Graffiti Now which opened at the Wharf 2 Theatre in January 2001. The exhibition was commissioned by the Sydney Theatre Company and comprised twe

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Fredericks, Bronwyn, and Pamela CroftWarcon. "Always “Tasty”, Regardless: Art, Chocolate and Indigenous Australians." M/C Journal 17, no. 1 (March 3, 2014). http://dx.doi.org/10.5204/mcj.751.

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Black women are treated as though we are a box of chocolates presented to individual white women for their eating pleasure, so they can decide for themselves and others which pieces are most tasty (hooks 80). Introduction bell hooks equates African-American women with chocolates, which are picked out and selected for someone else’s pleasure. In her writing about white women who have historically dominated the feminist movement, hooks challenges the ways that people conceptualise the “self” and “other”. She uses a feminist lens to question widespread assumptions about the place of Black women i

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