Relevant bibliographies by topics / Sydney International Exhibition

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Academic literature on the topic 'Sydney International Exhibition'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Sydney International Exhibition"

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Morrow, Carol. "The mediation of taste: Japanese ceramics at the 1879 Sydney International Exhibition." Australian and New Zealand Journal of Art 1, no. 1 (2000): 17–41. http://dx.doi.org/10.1080/14434318.2000.11432652.

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Oniscu, Gabriel C., Geraldine Diaz, and Josh Levitsky. "Meeting report of the 19th Annual International Congress of the International Liver Transplantation Society (Sydney Convention and Exhibition Centre, Sydney, Australia, June 12‐15, 2013)." Liver Transplantation 20, no. 1 (2013): 7–14. http://dx.doi.org/10.1002/lt.23767.

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Wolska, Dorota. "Garden Palace rozebrany do kości. Sztuka jako anamneza." Prace Kulturoznawcze 21, no. 4 (2018): 69–78. http://dx.doi.org/10.19195/0860-6668.21.4.4.

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Garden Palace stripped to the bone. Art as anamnesisLondon’s Crystal Palace, the site of the first international exhibition in 1851 and the architectural symbol of modernity, was widely imitated not only in Europe. Sydney also had its crystal palace. The Australian Garden Palace, similarly to the ones in London, New York and Munich, burnt to the ground in 1882. In 2016 aboriginal artist Jonathan Jones tried to restore it in Australia’s collective memory. However, Jones’ project, barrangal dyara skin and bones, introduces a postcolonial perspective and recoveres the narratives that were repressed in White Australia, with the hope of working through the common past.
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Письмак, Юрий. "Viennese vase painted in Dresden (architectural, artistic, stylistic, morphological and structural features)." Arta 30, no. 1 (2021): 54–62. http://dx.doi.org/10.52603/arta.2021.30-1.08.

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The article examines the architectural, artistic, stylistic, morphological and structural features of an old porcelain vase from a private Odessa collection. The unpainted vase was made in 1860s at Vienna Porcelain Manufactory. This vase was painted in Helena Wolfsohn’s studio in Dresden between 1864 and 1878 (?). Helena Wolfsohn lived and worked in a significant center of European civilization, culture and arts of her time. The images are painted on the vase using the technique of manual overglaze painting. Amazingly arranged bouquets of flowers are painted on the turquoise background of the oval-shaped body of the vase, and gallant scenes in the Watteau style are depicted on the white parts of the body. On the bottom of the vase base an underglaze blue mark is applied: a shield. The painting of the vase is notable for a vivid pictorial effect, a successful composition, harmony and restraint of color shades. Similar vases painted at Helena Wolfsohn’s studio were exhibited at the International Exhibition in Sydney (1879) and at the World Exhibition in Melbourne (1880). Decorative porcelain vases play an important role in creating the architectural and artistic ensemble of the interior, whose main compositional principle is architectonics.
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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 (1997): 102–10. http://dx.doi.org/10.1177/135485659700300108.

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Brinke, Josef. "26th Congress of the International Geographical Union." Geografie 94, no. 1 (1989): 1–4. http://dx.doi.org/10.37040/geografie1989094010001.

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The autor, head of the Czechoslovak delegation, presents basic information about the 26th International Geographical Congress which took place in Sydney, Australia, from 21st to 26th August, 1988. The Congress was formally opened by Sir N. Stephen, Gavernor General of Australia, at the Concert Hall of Sydney Opera House. All sessions and exhibitions were held at the University of Sydney, established in 1850. In the congress more than 1200 geographers participated while from among 88 IGU member countries 51 ones were represented by official delegations. About 800 papers were presented in 14 sections, working and study groups sessions. Prof. Ronald Fuchs from the USA was elected president by the General Assembly of IGU for the next four years. The 27th International Geographical Congress will take place in Washington, D.C. in 1992.
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Anderson, Margot. "Dream weaving: A conversation with Jennifer Irwin." Studies in Costume & Performance 6, no. 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 based on a shared knowledge of country. These works have served as markers of revelation in the development of my own understanding of Australia and have made Bangarra an internationally acclaimed source of powerful story telling. They have also fuelled a long-lasting appreciation of the costumes designed for the company by Jennifer Irwin with whom I shared a series of discussions.
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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.

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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.
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Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.

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Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (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 how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Dissertations / Theses on the topic "Sydney International Exhibition"

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Orr, Kirsten School of Architecture UNSW. "A force for Federation: international exhibitions and the formation of Australian ethos (1851-1901)." Awarded by:University of New South Wales. School of Architecture, 2006. http://handle.unsw.edu.au/1959.4/23987.

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In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.
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Books on the topic "Sydney International Exhibition"

1

International Mechanical Engineering Congress and Exhibition. (1991 Sydney, N.S.W.). MECH '91: Australia : engineering for a competitive world : International Mechanical Engineering Congress and Exhibition, Sydney Convention & Exhibition Centre, Darling Harbour, Sydney, Australia, 8-12 July 1991 : preprints of papers. The Institution, 1991.

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International Mechanical Engineering Congress and Exhibition (1991 Sydney, N.S.W.). MECH '91, Australian--engineering for a competitive world: International Mechanical Engineering Congress and Exhibition, Sydney Convention & Exhibition Centre, Darling Harbour, Sydney, Australia, 8-12 July 1991 : preprints of papers. Institution of Engineers, Australia, 1991.

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3

IEEE International Symposium on Circuits and Systems (2001 Sydney, N.S.W.). ISCAS 2001: The 2001 IEEE International Symposium on Circuits and Systems : conference proceedings : 6-9 May 2001, Sydney Convention and Exhibition Centre, Darling Harbour, Sydney, Australia. IEEE, 2001.

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4

Australasian Information Online and On Disc Conference (5th 1991 Sydney, Australia). Information online & on disc 91: Proceedings of the Fifth Australasian Information Online and On Disc Conference and Exhibition, Hilton International Hotel, Sydney Australia, January 30-February 1, 1991. Information Science Section, Australian Library and Information Association, 1991.

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5

Colonial city, global city: Sydney's International Exhibition 1879. Crossing Press, 2000.

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Australian Surveying and Land Information Group, International Geographical Congress (26th : 1988 : Sydney, Australia), and Australian Cartographic Conference. (7th : 1988 : Sydney (N.S.W.)), eds. Catalogue of cartographic exhibits in Australian Bicentennial map exhibition and international map and geographical publications exhibition, Sydney, Australia, 1988. AUSLIG, 1988.

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Hannelore, Wass, and Neimeyer Robert A. 1954-, eds. Dying: Facing the facts. 3rd ed. Taylor & Francis, 1995.

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Wass, Hannelore. Dying: Facing The Facts: Facing the Facts (Series in Death Education, Aging and Health Care). 3rd ed. Taylor & Francis, 1995.

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Wass, Hannelore. Dying: Facing The Facts: Facing the Facts (Series in Death Education, Aging, and Health Care). 3rd ed. Taylor & Francis, 1995.

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Dunlop, John Charles, Alison Hay Dunlop, and William Fergusson Brassey Hole. Book of Old Edinburgh: And Hand-Book to the 'Old Edinburgh Street' Designed by Sydney Mitchell, Architect, for the International Exhibition of Industry, Science, and Art, Edinburgh 1886. University of Cambridge ESOL Examinations, 2013.

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