Relevant bibliographies by topics / Powerhouse Museum of Applied Arts and Sciences

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Academic literature on the topic 'Powerhouse Museum of Applied Arts and Sciences'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Powerhouse Museum of Applied Arts and Sciences"

1

Rebecca Anderson. "Out of the Vault: Health and Medicine Collections at the Museum of Applied Arts and Sciences." Health and History 18, no. 1 (2016): 180. http://dx.doi.org/10.5401/healthhist.18.1.0180.

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2

Fennessy, Kathleen M. "'Industrial Instruction' for the 'Industrious Classes': Founding the Industrial and Technological Museum, Melbourne." Historical Records of Australian Science 16, no. 1 (2005): 45. http://dx.doi.org/10.1071/hr05003.

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This paper examines the movement to foster scientific and technical learning in the colony of Victoria during the 1860s. It discusses how the concept of a public museum for 'industrial' and 'technological' instruction emerged, and analyses the events leading to the establishment of the Industrial and Technological Museum, Victoria's first public institution for educating the people in applied science.
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Rae, Ian D. "Radiocarbon Dating at the Museum of Applied Science Victoria 1952–70: a Pioneer Venture." Historical Records of Australian Science 29, no. 1 (2018): 14. http://dx.doi.org/10.1071/hr17019.

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The Museum of Applied Science in Melbourne committed in the earlier 1950s to the development of a radiocarbon dating laboratory that would provide dates for carbonaceous material obtained by archaeologists and anthropologists. Progress through the 1950s was very slow due to under-resourcing and -staffing, but Victorian researchers obtained results by sending material to New Zealand and the USA for dating. The laboratory was officially opened in 1961 but few dates emerged. While the process for obtaining carbon dioxide from carbonaceous material, operated by chemist Anne Bermingham, was satisfactory, the apparatus for counting the carbon-14 decompositions, built by her and a series of electronics technicians was never satisfactory. The radiocarbon laboratorywas closed at the end of 1970, bywhich time several other dating services had opened in Australia.
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4

Lomb, N. R., and T. Wilson. "Sydney Observatory Goes Public." International Astronomical Union Colloquium 105 (1990): 357–59. http://dx.doi.org/10.1017/s0252921100087170.

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In 1982, after a 124-year history of research, Sydney Observatory became a branch of a large local museum, the Museum of Applied Arts and Sciences. A four-year, million-dollar project was undertaken to restore the building and its grounds to their nineteenth century appearance. The services needed for a modern museum were also added. One of the larger areas became a modern lecture theater seating up to fifty people, with back projection video, film and slide projectors.Exhibition space within the building is limited to eight rooms of approximately 200 m2 total area. To overcome this lack of space, a proposal has been made for an extension to the rear of the building. An underground 100-seat planetarium is included in the proposal. There is a great need for this as there is no planetarium currently in Sydney.
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5

Lurie, Nancy. "Sol Tax and Tribal Sovereignty." Human Organization 58, no. 1 (March 1, 1999): 108–17. http://dx.doi.org/10.17730/humo.58.1.y84xh610402x182u.

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Nancy Oestreich Lurie is curator emerita of anthropology, Milwaukee Public Museum (MPM). This article draws upon her first-hand knowledge of the American Indian scene including ongoing research with the Ho-Chunk Nation (formerly Winnebago) that began in 1944; lasting friendships made with Indian people across the country while serving as assistant coordinator to Sol Tax during the American Indian Chicago Conference; and association as an action anthropologist in the founding of the Wisconsin Winnebago government under the Indian Reorganization Act, the Menominee's drive to repeal their termination, and the establishment of the Milwaukee Indian Community School and the Potawatomi Bingo-Casino enterprise in Milwaukee. Her work as an expert witness in cases before the U.S. Indian Claims Commission and federal and state courts familiarized her with the history and effects of federal Indian policy. An earlier version of this paper was presented at the 1998 meeting of the Society for Applied Anthropology, where the results of discussion enriched and helped to clarify the present version. In addition to published sources cited, this account rests in large part on personal recollections, particularly of the American Indian Chicago Conference, and on the Indian affairs file of newspaper clippings and tribal and intertribal newspapers maintained since 1972 in the Anthropology Department at the Milwaukee Public Museum.
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6

Salvemini, Filomena, Vladimir Luzin, Maxim Avdeev, Anton Tremsin, Anna Sokolova, Alexander Gregg, Chris M. Wensrich, Sue Gatenby, Min Jung Kim, and Francesco Grazzi. "Samurai’s Swords, a Non-Invasive Investigation by Neutron Techniques." Materials Science Forum 983 (March 2020): 15–23. http://dx.doi.org/10.4028/www.scientific.net/msf.983.15.

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A synergic combination of neutron techniques was applied to characterize non-invasively the laminated structure of a set of ancient katana, part of the East Asian Collection of the Museum of Applied Arts and Sciences (MAAS) in Sydney. Neutron tomography, diffraction, residual stress and Bragg-edge transmission analyses were undertaken on samples of well-known origin, time period and authorship to create a reference database on the main manufacturing methods developed by Japanese swordsmiths. In the attempt to attribute mumei (no-signature) blades basing on a scientific analytical method rather than a stylistic analysis, data from the reference samples were benchmarked against the results obtained from the unknown blade to identify differences and commonalities in the production process.
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7

Štefcová, Petra, Jaroslav Valach, and Petr Zemánek. "The Analysis, Description and Archiving of Comprehensive Information concerning the Properties of Cultural Heritage Artifacts and the Usage of such Data during the Restoration, Conservation and Research Practice." Muzeum Muzejní a vlastivedná práce 55, no. 1 (2017): 11–20. http://dx.doi.org/10.1515/mmvp-2017-0020.

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The article is a brief description of the content and the objectives of a joint project that is entitled „The Analysis, Description and Archiving of Comprehensive Information concerning the properties of Cultural Heritage Artifacts and the Usage of such Data during Restoration, Conservation and Research“ that is carried out at various departments of the National Museum and of the Institute of Theoretical and Applied Mechanics of the Academy of Sciences of the Czech Republic and of the Faculty of Arts of Charles University within the Applied Research and Development of National and Cultural Identity Programme (NAKI) that is funded by the Ministry of Culture of the Czech Republic. It also provides some examples of the results that were achieved during the first year of the project.
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8

Vagapova, Firdaus G., and Lyudmila S. Timofeeva. "The role of A. Makhmudov and Sh. Tagirov in the revival of book art traditions in the culture of the Middle Volga Region Tatars." Historical Ethnology 5, no. 3 (November 27, 2020): 388–98. http://dx.doi.org/10.22378/he.2020-5-3.388-398.

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The article explores the period of reviving the art of calligraphy and handwritten book art in the Tatar culture, which falls on the end of the XIX century and is associated with the names of A. Makhmudov and Sh. Tagirov. The authors of the article presented the genesis and revealed the stages of calligraphy and hand-written book art formation in the culture of the Tatars. The article provides an art criticism analysis of the manuscript book art works included in the creative heritage of A. Makhmudov and Sh. Tagirov. A contrastive-comparative analysis led to a conclusion that the traditions of Iranian, Turkish and Dagestanian handwritten book art which were processed by Kazan calligraphers. That allowed them to develop local traditions of handwritten art. The study is based on the analysis of collections of manuscript monuments, including paperwork (khan labels) and books (of religious, scientific, literary and artistic content) from the collections of the Department of Manuscript and Rare Books of Kazan Federal University’s N.I. Lobachevsky Scientific Library, the Center for Written and Musical Heritage of G. Ibragimov Institute of the Language, Literature and Arts of the Republic of Tatarstan Academy of Sciences, the Department of Rare Books and Manuscripts of the Republic of Tatarstan National Library, the National Museum of the Republic of Tatarstan, the National Archives of the Republic of Tatarstan, the Graphics Department of the Republic of Tatarstan State Museum of Fine Arts. The article is based on a comprehensive study of the material; to conduct the analysis, analytical methods of research have been applied. The priority is given to the classical comparative-historical method which includes synchronous and diachronous analysis. In addition, general scientific art and cultural studies methods and approaches were implemented: the genetic one, for instance, allows making a diachronous section and tracing the process of book art formation.
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9

Boardman, John. "Sarah U. Wisseman: Corpus Vasorum Antiquorum. United States of America, Fasc. 24: World Heritage Museum, College of Liberal Arts and Sciences and Krannert Art Museum, College of Fine and Applied Arts. University of Illinois, Fasc 1. (Uniori Académique Internationale.) Pp. ix + 66; 7 figs, 64 plates and text drawings. Urbana–Champaign: University of Illinois, 1989. DM 128." Classical Review 41, no. 1 (April 1991): 262. http://dx.doi.org/10.1017/s0009840x00278669.

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10

FRANCIS, JACQUELINE. "The Being and Becoming of African Diaspora Art." Journal of American Studies 47, no. 2 (April 17, 2013): 405–16. http://dx.doi.org/10.1017/s0021875813000091.

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By and large, “African diaspora art” is a generic label, presently applied with the purpose of broadly situating modern and contemporary artwork by people of African descent in discussions of African art, most often in connection with “traditional” West African ritual sculpture, installation, and performance. I focus on the work that this term has done or has been summoned to do in the US since the late twentieth century. This essay considers several artistic projects and critical and institutional missions linked to African diaspora art and culture: (1) a 1960s essay by art historian Robert Farris Thompson that organizes nineteenth-century material culture under this heading, (2) the black body as icon of the African diaspora in in the work of US artist David Hammons from the 1970s, and (3) the founding of the Museum of the African Diaspora (MoAD) in San Francisco in 2002. We are in the process of institutionalizing African diaspora art, situating it as a cultural consciousness that supersedes other identifications and narratives of association. We value and celebrate this epistemological construct, and, in doing so, reveal that it is also a social formation driven by doubts about racial and national belonging and the desire for a transformative signification and new, organizing logics of being.Cultural identity … is a matter of “becoming” as well as of “being.”Stuart Hall1By and large, “African diaspora art” is a generic label, often summoned to broadly situate modern and contemporary artwork by people of African descent and to connect it to “traditional” West African ritual sculpture, installation, and performance.2 It is a valued and celebrated epistemological construct; it is also a social formation driven by doubts about racial and national belonging and the desire for a transformative signification and organizing logics of difference. We are in the process of institutionalizing African diaspora art, situating it as a cultural consciousness that is meant to supersede other powerful identifications and narratives of political association.
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Books on the topic "Powerhouse Museum of Applied Arts and Sciences"

1

Measham, Terry. Discovering the Powerhouse Museum: A personal view by the director. Sydney: Powerhouse Museum, 1997.

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2

Jane, De Teliga, ed. Australian fashion, the contemporary art: An exhibition : Twentieth Century Gallery, Victoria & Albert Museum, London, 7 June-13 August, 1989 and Powerhouse Museum of Applied Arts and Sciences, Sydney, 4 October, 1989-24 February, 1990. Sydney: the Museum, 1989.

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3

Jane, De Teliga, Victoria and Albert Museum, Powerhouse Museum, and Australia Council, eds. Australian fashion: The contemporary art : an exhibition curated by Jane de Teliga for the Museum of Applied Arts and Sciences, Sydney in association with the Australia Council. Sydney: Powerhouse Museum of Applied Arts and Sciences, 1989.

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